The Cleveland Orchestra April 7, 8, 9, 10 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director I N PA R T N E R S H I P W I T H

THE JOFFREY BALLET Ashley Wheater, Artistic Director

BARTóK ON STAGE:

DOUBLEBILL: BALLE T AND OPERA BY

B é L A B A R Tó K

A PR I L 7, 8 , 9 , 1O SEVERANCE HALL C L E V E L A N D — O H I O 2015-16 SEASON

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2015-16 SE ASON

SPRING SEASON

SEVERANCE HALL

Program: April 7, 8, 9, 10 IN PARTNERSHIP WITH THE JOFFREY BALLET

BARTÓK ON STAGE — page 25 THE MIRACULOUS MANDARIN — page 26 DUKE BLUEBEARD’S CASTLE — page 27 PERSPECTIVES from the Executive Director — page 7 Mellon Foundation Challenge Grant — page 8

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TA B L E

CONTENTS

THIS WEEK CLEVELAND

WEEK

ORCHESTRA

Upfront

PAGE

THE

2015-16 SE ASON

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . Music Director: Franz Welser-Möst . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . WEEK

11 13 19 22 95

Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com 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

BARTÓK ON STAGE Opera-Ballet Doublebill Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Program: April 7, 8, 9, 10 . . . . . . . . . . . . . . . . . . 25-27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 BARTÓK

Synopsis: The Miraculous Mandarin . . . . . . . . . 32 BARTÓK

Synopsis: Duke Bluebeard’s Castle . . . . . . . . . . . 34 Q&A with the Music Director . . . . . . . . . . . . . . . . . About Béla Bartók . . . . . . . . . . . . . . . . . . . . . . . . . . . About The Miraculous Mandarin . . . . . . . . . . . . About Duke Bluebeard’s Castle . . . . . . . . . . . . . . Education: Visualizing Music . . . . . . . . . . . . . . . .

37 41 47 49 66

Guest Artists: Joffrey Ballet dancers . . . . . . . . . 56-57 Guest Artists: Petrenko / Dalayman . . . . . . . . . . . . 59 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61 The Joffrey Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62-63 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . 28, 65 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 19 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 74

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.

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . . . 8 Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 54 Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

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.

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Table of Contents

The Cleveland Orchestra

- -/ vir•tu•o•so / v rCH 'woso performing with exceptional ability, technique, or artistry e

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Perspectivesfrom the Executive Director March-April 2016 I have watched and enjoyed The Cleveland Orchestra from the outside for many years. I’ve listened to radio broadcasts since I was very young. I’ve experienced live performances since I was a student in New York City. Since joining the Orchestra as executive director in January, I have had an amazing vantage point from which to ask questions and witness the vast breadth of what is offered each season. The Cleveland Orchestra did not become great overnight. It started strong, and kept getting better because this community wanted more. As a result, Cleveland has rightly claimed, for many decades now, a premium spot among the uppermost echelons of the world’s best orchestras. Cleveland’s orchestra has long been synonymous with precision, revered as a well-oiled musical machine. That clarity of sound remains — but today, this Orchestra is also known for the warmth of its sound and an emotional depth and complexity that pairs exactitude with understanding to produce truly great musical experiences. Coming from the outside, what I see as most noteworthy today is the incredible partnership that the Orchestra’s musicians now have with Franz Welser-Möst. Fourteen years into this pairing, The Cleveland Orchestra is playing better than at any time in history. Together, Franz and the Orchestra have forged an artistic partnership that brings unique power to the music. Franz chooses repertoire not simply because he wants to perform a certain piece, or because he thinks you will enjoy hearing a particular work, or because he knows The Cleveland Orchestra will play it superbly. All that is very true, but the choices are also made to challenge the musicians onstage — conductor and players alike — to grow ever better together. This Orchestra is not satisfied simply to maintain the highest levels of artistic success. Instead, under Franz Welser-Möst’s leadership it has evolved toward ever greater accomplishment, with flexible and daring artistry. I feel incredibly fortunate to have joined this Orchestra at this time. To be involved, in some small way, in shepherding this great orchestra forward into the future. All of us here in Northeast Ohio have the great pleasure of experiencing more of this Orchestra than anyone else in the world. It is a privilege and a joy — and a responsibility. This spring, we have incredible opportunities to hear world premieres and U.S. premieres . . . opera, ballet, theater, and film . . . standard repertoire and pieces lesser known. And such variety in programming is not unusual for this orchestra. Such diversity is what we all have come to expect, and relish. Thank you so much for recognizing the treasure you possess. Thank you for cherishing and nurturing your Orchestra with your applause and your generosity. By attending concerts, you have a direct role in the musical action and interaction. By supporting the Orchestra through donations, thousands of you are playing a crucial role in making this orchestra The Cleveland Orchestra. And those who have stepped up to support special programming, including April’s Bartók doublebill of opera and ballet, are critical to allowing Franz and his remarkable orchestra to do what they do best. Excellence — the kind that defines and is defined by The Cleveland Orchestra — is possible only because of you.

André Gremillet Severance Hall 2015-16

THE

CLEVELAND ORCHESTRA

Ensuring world-class opera and ballet for Northeast Ohio and the future . . . Passion and drama, beauty and spectacle define these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Time is running out to double your support! Ensuring the Orchestra continues presenting the best opera and ballet the world has to offer — right here at home — requires additional philanthropic support each season.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

And now, every dollar you contribute counts twice . . .

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Advancement Office by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

With Extra Special Thanks . . . The Cleveland Orchestra applauds the generous donors listed here, who are making possible presentaƟons of arƟsƟcally

ambiƟous programming of opera and ballet every year.

The Andrew W. Mellon Foundation George* and Becky Dunn Mrs. Emma S. Lincoln Blossom Friends of The Cleveland Orchestra Jeanette Grasselli Brown and Glenn R. Brown Judith and George W. Diehl T. K. and Faye A. Heston Margaret Fulton-Mueller Donald and Alice Noble Foundation, Inc. Rachel R. Schneider Anonymous Jim and Karen Dakin Mr. and Mrs. Dennis W. LaBarre James and Virginia Meil Ms. Beth E. Mooney Dr. James and Lynne Rambasek

Mr. Larry J. Santon Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Women’s Committee of The Cleveland Orchestra Anonymous

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Drs. Nathan A. and Sosamma J. Berger Mr. William P. Blair III Mrs. Barbara Ann Davis Mr. and Mrs. Ralph Daugstrup Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Angela and Jeffrey Gotthardt Iris and Tom Harvie Dr. Fred A. Heupler Elisabeth Hugh Robert and Linda Jenkins Mr. and Mrs. Richard W. Klym Tim and Linda Koelz Mr. Clayton R. Koppes Pannonius Foundation Anthony T. and Patricia A. Lauria Mr. and Mrs.* Thomas A. Liederbach

Ms. Grace Lim Elizabeth F. McBride Ms. Nancy W. McCann Mr. and Mrs. Stanley A. Meisel Deborah L. Neale Dr. and Mrs. Paul T. Omelsky Mr. J. William and Dr. Suzanne Palmer Ms. MacGregor W. Peck Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Marc Stadiem Mr. and Mrs. William W. Taft Ms. Ginger Warner Mrs. Darlene K. Woodruff Anonymous

Severance Hall 2015-16

Listing as of March 2016. Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

BROOKLYN HEIGHTS 1100 Resource Dr. WOODMERE 28000 Chagrin Blvd. 216.741.9000 CaliforniaClosets.com/Cleveland

T H E M U S I C AL ARTS ASSOCIATION

as of January 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT 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 TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark 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 Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer TE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey TE Katherine T. O’Neill The Honorable John D. Ong Rich Paul 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 Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

HO NO R A RY TR U S TE E S FO R L I FE 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

TE Trustee Emeritus

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. * deceased 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 2015-16

André Gremillet, Executive Director

Musical Arts Association

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AS IT NEARS THE CENTENNIAL OF

its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s 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 an unshakeable commitment to innovation and a fearless pursuit of success. 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 residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Severance Hall 2015-16

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, 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 experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, 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 being created 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

About the Orchestra

1918

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

14th

1l1l 11l1 1l1I

The 2015-16 season will mark Franz Welser-Möst’s 14th year as music director.

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

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52%

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.

4million

Likes on Facebook (as of March 20, 2016)

The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

116,801

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

tions with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in 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.

PHOTO BY ROGER MASTROIANNI

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, 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 — with 20% of attendees now comprised of concertgoers age 25 and under. 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 popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16

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 generos-

About the Orchestra

ity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. 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, 193343; 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

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

P H OTO BY J E N N I F E R TAY LO R

Franz Welser-Möst is among today’s most distinguished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semistaged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts. 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 and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Severance Hall 2015-16

Music Director

Zurich Opera across a decade-long tenure, conducting 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. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. 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 Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and performances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle

Music Director

The Cleveland Orchestra

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

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

Alexandra Preucil 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

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook 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

Orchestra Roster

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 Martha Baldwin Dane Johansen Paul Kushious 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 This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2015-16 SE ASON

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

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Richard Stout Alexander and Marianna C. McAfee Chair

* Principal §

Linnea Nereim

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

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 2015-16

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell ASSOCIATE CONDUCTOR

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

April 2016 Dear Friends,

Welcome to this season’s opera presentation here at Severance Hall. This new production of two Bartók masterpieces advances The Cleveland Orchestra’s ongoing commitment to offering dramatic stageworks not just as great musical experiences, but also as opportunities for dynamic creativity and innovation — and as creative collaborations with great guest artists, onstage and off. For this weekend’s presentations, we have expanded our decade-long partnership with Chicago’s renowned Joffrey Ballet, working together to create new stagings of these dark tales by Béla Bartók. This special doublebill, of a ballet and an opera, adds new dimension to Franz Welser-Möst’s ongoing series of staged opera presentations with The Cleveland Orchestra. Working with choreographer Yuri Possokhov and the Joffrey, Bartók’s nightmarish and chilling stories are brought vibrantly to life, musically and visually — and through movement. More than 70,000 people have experienced our performances with The Joffrey Ballet here in Northeast Ohio over the past decade. Nearly 90,000 more have witnessed the Orchestra’s presentations of opera. Franz’s vision — of a cultural hub that shares not just the world’s best music, but the world’s best opera and ballet, with its residents and visitors — has proven a strong calling card, with opera and ballet performances drawing packed-house crowds of aficionados from our great city and beyond. These offerings have also elicited the attention of the press — bringing rave reviews and new attention to Cleveland and its hometown orchestra. Your attendance here is testament to the interest and enthusiasm of Northeast Ohio for creative presentations of dramatic musical stageworks. Please join with me in extending special thanks to The Andrew W. Mellon Foundation, whose important and generous grant to the Orchestra — and its matching gift provision (concluding in June 2016) — is working to increase funding so that ballet and opera can be an ongoing and integral part of each Cleveland Orchestra season. Many thanks as well to the National Endowment for the Arts and the dozens of dedicated supporters whose philanthropy is helping to make possible these productions of opera and ballet each year. (To join your name to the list of opera and ballet supporters, please see pages 8-9.)

André Gremillet Executive Director

Welcome

The Cleveland Orchestra

Thursday evening, April 7, 2016, at 7:30 p.m. Friday evening, April 8, 2016, at 8:00 p.m. Saturday evening, April 9, 2016, at 8:00 p.m. Sunday afternoon, April 10, 2016, at 3:00 p.m. Severance Hall — Cleveland, Ohio

2015-16 SEASON

TH E C LE VE L AN D O RC H E S TR A Franz Welser-Möst, Music Director I N PA R T N E R S H I P W I T H

TH E J O F F RE Y BALLE T Ashley Wheater, Artistic Director

BARTóK ON STAGE:

DOUBLEBILL: BALLET AND OPERA BY

BéLA BARTóK

choreography and stage direction by Yuri Possokhov set, lighting, and projection design by Alexander V. Nichols costume design by Mark Zappone with THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst Sunday’s concert is co-sponsored by Great Lakes Brewing Company. This opera presentation is supported with funding from The Andrew W. Mellon Foundation in partnership with a group of generous Northeast Ohioans (see page 9) and a grant from the National Endowment for the Arts. Thursday’s performance is dedicated to Barbara S. Robinson in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Severance Hall 2015-16

Week 16 — Bartók On Stage

[A C SO DÁ L ATO S M A N DA R I N ] based on the story by Menyhért Lengyel One-Act Pantomime Ballet — Opus 19, Sz.73 music by (1881-1945)

CAST Young Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Jaiani Mandarin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yoshihisa Arai Old Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miguel Angel Blanco Shy Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Temur Suluashvili Three Thugs . . . . . . . . . . . . . . . . . . . . . Raúl Casasola, Paulo Rodrigues, and Joan Sebastián Zamora and members of the Cleveland Orchestra Chorus Robert Porco, director

SETTING An unsavory neighborhood of a large city, at night.

The Joffrey Ballet thanks Orli and Bill Staley for generously supporting the creation of this production of The Miraculous Mandarin featuring new choreography by Yuri Possokhov.

Week 16 — Miraculous Mandarin

The Cleveland Orchestra

[A K ÉK S Z A K Á L LÚ H ER C E G VÁ R A] based on the French literary tale “La Barbe bleue” by Charles Perrault Opera In One Act — Opus 11, Sz.48 music by (1881-1945) libretto by (1884-1949) CAST The Bard (Prologue) and Duke Bluebeard . . . . . Mikhail Petrenko, bass Judith, his new wife . . . . . . . . . . . . . . . . . . . . Katarina Dalayman, soprano Bluebeard’s Former Wives . . . . . . . . . . . . . . . . . . . . . . . Amanda Assucena, April Daly, and Victoria Jaiani SETTING The main hall of Bluebeard’s Castle, with seven locked doors. Sung in Hungarian with projected English supertitles.

The evening is presented with one intermission, between the ballet and the opera, and will run about two hours in overall length. Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs and the use of recording devices are not allowed in the concert hall during the performance.

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Week 16 — Bluebeard’s Castle

PRODUCTION Franz Welser-Möst, conductor and music director Yuri Possokhov, choreographer and director Alexander V. Nichols, set, lighting, and projection design Mark Zappone, costume design Katherine Selig, stage manager Joseph Short, orchestra stage manager John S. Bukala, technical director Mark A. Zappone & Co., costume construction Gregg Benkovich, wardrobe assistant

Members of the Cleveland Orchestra Chorus

Milos Repicky, prompter, répétiteur, and rehearsal pianist Brett Mitchell, assistant conductor Charles Latshaw, supertitle operator

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

For The Joffrey Ballet: Ashley Wheater, Artistic Director Gerard Charles, Director of Artistic Operations and Ballet Master For The Cleveland Orchestra: Mark Williams, Director of Artistic Planning Julie Kim, Director of Operations

The Miraculous Mandarin and Duke Bluebeard’s Castle are presented by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

Chorus: The Miraculous Mandarin Tyler Allen Christopher D. Aldrich Emily Austin Gerry C. Burdick Sean Cahill Susan Cucuzza Anna K. Dendy Carolyn L. Dessin Christopher Deward Jeffrey Duber Rebecca S. Hall Corey Hill * Kurtis B. Hoffman Lisa Hrusovsky Shannon R. Jakubczak

Jason Levy Shawn Lopez Tyler Mason Danielle S. McDonald Megan Meyer Daniel Parsley Lenore M. Pershing Ted Rodenborn Alanna M. Shadrake Thomas Shaw Martha Cochran Truby Gina Ventre *Shari Bierman Singer Fellow

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.

Production Personnel

The Cleveland Orchestra

SEASON 5

“TALES & LEGENDS” J U N E 1 5 - J U LY 2 2 0 1 6

ChamberFest Cleveland’s Season 5 will explore tales and legends as portrayed in music. Musical inspiration appears in many forms, often revolving around stories from the profane to the divine. From literary inspiration to the spinning of dreams, ChamberFest Cleveland will take you on journeys of the fantastical, mystical, and obsessive.

For ticket information call 216.471.8887

OPERA CIRCLE CLEVELAND 20th Anniversary Season R Dorota Sobieska, Artistic Director

Il trovatore by Giuseppe Verdi

A quintessential part of the opera canon, the production will be fully staged, with soloists, chorus, orchestra, sets, and costumes. Presented in the original Italian with English translation projected above the stage, Il trovatore will once again reassert its place as a staple of operatic repertoire. Follow the tragic love of the noble Leonora and the troubadour Manrico. Thwarted by the jealous Count di Luna, its course commingles with the shifting fortunes of PLOLWDU\ OHJLRQV FDXJKW LQ WKH FRQŴLFWHG feudalism of a turbulent medieval Spain, the deeply-felt piety of its religious orders, and the sinister tales of the elderly Captain of the Guard, Ferrando. Verdi’s superb scoring and soaring melodies bring the story to an ultimate, dreadful cadence, but not without a stupefying plot twist orchestrated by the ancient Gypsy enchantress, Azucena. Il trovatore will feature the Opera Circle Orchestra under the baton of Joel Smirnoff.

One Performance Only!

Saturday, June 11, 2016 | 7:30pm | The Ohio Theatre | PlayhouseSquare 1511 Euclid Avenue | Cleveland OH 44115 7LFNHWV DUH DYDLODEOH WKURXJK WKH 3OD\KRXVH6TXDUH %R[ 2IƓFH

216-241-6000 or online at PlayhouseSquare.org

INTRODUCING THE CONCERTS

Dark Opera & Murderous Ballet T W O S T O R I E S T O L D I N M U S I C . This week’s staged presentations offer

two differing methods of storytelling with music. One is a ballet, the other an opera, both written by the Hungarian composer Béla Bartók a century ago. Both were cutting-edge in their time, musically and in the philosophical nature of the storytelling. As Franz Welser-Möst says in talking about the two (see page 37), these are not stories with happy endings. Indeed, they are dark tales of love and obsession gone wrong, of animalistic greed and desire deep within human nature. In these brand-new made-for-Cleveland productions created for this doublebill, the world-renowned Joffrey Ballet does the storytelling for The Miraculous Mandarin while two world-class singers and dancers from the Joffrey work together for Duke Bluebeard’s Castle — managed by a creative team headed by choreographer and director Yuri Possokhov. As you contemplate these works (see synopsis of each on pages 32-35), you can also read more about the composer (beginning on page 41) or about each piece (page 47 or 49), or about the creative people involved in bringing these grim but telling tales to vibrant, thrilling life. Enjoy the suspense, and the art of human interaction — riddles of love and lust, of light and dark. —Eric Sellen

begins on page:

Cast and Production Team . . . . . . . . . . . . . . . . . . . . . . . . 25-28 Synopsis: The Miraculous Mandarin . . . . . . . . . . . . . . . . . . 32 Synopsis: Duke Bluebeard’s Castle . . . . . . . . . . . . . . . . . . . 34 Music Director’s Q&A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 About the Composer: Béla Bartók . . . . . . . . . . . . . . . . . 41 About The Miraculous Mandarin . . . . . . . . . . . . . . . . . . . . 47 About Duke Bluebeard’s Castle . . . . . . . . . . . . . . . . . . . . . . 49 Bios: About the Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-59 Bios: Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61 About The Joffrey Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . 62- 63 Bio: Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 About The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13

Severance Hall 2015-16

Introducing the Performance

SYNOPSIS

The Story Amidst the chaos of a big city, three Thugs search their room and pockets for money, but find none. They entice a Young Woman to stand by the window to lure in passing men for them to rob. The Young Woman begins the “First Decoy Game.” Almost at once, an Old Man approaches. The Thugs hide. The Old Man enters, pitifully indicating his desire to make love to her. She searches his pockets for money, but he has none. The three Thugs leap out from their hiding places, seize the Old Man, and throw him out. They turn again to the Young Woman, and encourage her to return to the window for a “Second Decoy Game.” The Young Woman sees another man approaching. The Thugs hide. A Shy Man enters, confused and hesitant. The Young Woman touches him encouragingly, even though he has no money. She draws him towards her. She dances

for him, at first shyly, then with more feeling. But the Thugs jump out, seize the Shy Man, and throw him out. The Young Woman returns to the window to find somebody suitable, and she begins the “Third Decoy Game.” The Thugs hide, as a strange figure approaches from the street. The Mandarin enters, with cold intensity. The Young Woman is intrigued, but stands away from her new guest. The Thugs urge her to begin the seduction. She begins to dance for him, gathering strength as the dance builds into a seductive display. As she dances, the Mandarin walks away, with aloof interest. He returns to embrace her — and they begin to dance. He trembles in excitement. The Young Woman shudders and tears herself away. He chases her with growing urgency. Finally, he catches the Young Woman. As she re-

Miraculous Mandarin — Synopsis

The Cleveland Orchestra

The Miraculous Mandarin music by Béla Bartók composed 1918-24

At a Glance

sists, the Thugs leap out, and tear him away from her. The Thugs decide they must kill the Mandarin. The Thugs attack him. He sways and begins to collapse, but reaches out with renewed passion for the Young Woman. The three Thugs restrain the Mandarin, and realize they must kill him yet again! They drag him forward and hang his body up, but the Mandarin will not die. He continues to stare at the Young Woman, who finally realizes that appeasing the Mandarin is the only way to end the turmoil. She releases him. The Mandarin falls on the floor and at once leaps at the Young Woman. She resists no longer. The Mandarin’s longing is stilled, and his wounds begin to bleed. His desire ends in her embrace, and he dies.

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Bartók composed the pantomime-ballet The Miraculous Mandarin (the title in Hungarian is “A csodálatos mandarin”) in 1918-19, based on a magazine story by Menyhért Lengyel. He completed orchestrating the score in 1923-24, and revised it further in subsequent years. Bartók and composer-pianist György Kósa played a part of the score in a piano-duet version on Hungarian Radio on April 8, 1926. The first performance of the complete stage work took place on November 27, 1926, in Cologne under the direction of Eugen Szenkár. In 1927, Bartók extracted a concert suite from the ballet. The Miraculous Mandarin runs about 30 minutes in performance. Bartók scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets, bass clarinet, 4 bassoons (fourth doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (large and small side drum, snare drum, bass drum, cymbals, triangle, tam-tam, xylophone), celesta, harp, piano, organ, strings, and optional chorus. The Cleveland Orchestra first played music from The Miraculous Mandarin in December 1969, when István Kertész led performances of the Ballet Suite. Both the Suite and complete ballet music have been programmed regularly in concert since that time, most recently led by Franz Welser-Möst in 2008. The Orchestra previously performed in a staged version of the work in August 1971, when they partnered with the touring Vienna State Opera Ballet at Blossom Music Center.

Miraculous Mandarin — Info

SYNOPSIS

The Story Duke Bluebeard and his new wife, Judith, have arrived at his castle. Despite dark and frightening rumors about Bluebeard, Judith believes that her love for him can bring the warmth of happiness into his life and the reassuring joy of light into his gloomy home. They enter the castle. Judith explores the dark room and damp walls, wet as if the castle itself is weeping. She sees seven doors, but all are locked. Professing her love, Judith asks that the doors be opened to let light into the castle. Bluebeard tells her that happiness is beyond his reach, and warns that opening the doors is fraught with danger. Judith calls on the strength of her love to calm her fears. She knocks on the First Door — and hears sighing. She insists on going further, and Bluebeard gives her the key. She opens the door and is horrified to discover Bluebeard’s torture chamber. Claiming to be unafraid, Judith requests the key to the Second Door

— and opens it to reveal Bluebeard’s armory, the weapons shining bright, but also stained with blood. Judith wants to know more. Behind the Third Door, she sees Bluebeard’s treasury, filled with bright jewels and coins, but blood stains darken everything. The Fourth Door opens out to a garden full of bloom and promise. But the flowers seem to wither, watered with blood. Seeing that Judith’s insatiable curiosity is now transfixed on learning more, regardless of the outcome, Bluebeard leads her onward. He demands that she unlock the Fifth Door. A grand vista is revealed, bathed in sunlight, looking out across the Duke’s vast kingdom. But blood-red clouds darken the scene, obscuring the sun and giving a ghastly pallor to everything. Bluebeard warns Judith that she does not want to know more, that her love for him can be enough and suggests that knowledge gained cannot be

Bluebeard’s Castle — Synopsis

The Cleveland Orchestra

Duke Bluebeard’s Castle music by Béla Bartók libretto by Béla Balázs composed 1911-17

At a Glance

lost. But Judith does not want to stop — and insists that Bluebeard give her the key to the Sixth Door. Behind it is a lake of tears, surrounded by the sound of infinite crying. Bluebeard refuses to give up the seventh and final key, but he understands that he must answer for his past, must yield to what fate reveals. Judith asks to know about the women Bluebeard has loved before her. When he will not answer, she comes to understand that the answer is behind the last door. Finally, Bluebeard gives her the key to the Seventh Door. Opening it, Judith finds Bluebeard’s former wives, where fate has locked them in. She is overwhelmed by their beauty. Bluebeard tells her that these are the brides of his life’s morning, noon, and evening — and that Judith will now be the dark bride of his night, the most beautiful . . . and silent like the rest. The door closes, leaving Bluebeard alone in his castle, in the darkness of his life.

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Bartók began composing his one-act opera Duke Bluebeard’s Castle (the title in Hungarian is “A kékszakállú herceg vára”) in 1911, using a libretto by Béla Balázs based on an old French tale first written down by Charles Perrault. Bartók completed most of the opera the next year, then revised it with a new ending in 1917. The opera’s premiere took place at the Royal Hungarian Opera, Budapest, on May 24, 1918, with Egisto Tango conducting and with Olga Haselbeck and Oszkár Kálmán as the two singers. Bartók’s opera runs about an hour in performance. It calls for two singers: Bluebeard (bass) and Judith (soprano), plus an orchestra of 4 flutes (third and fourth doubling piccolo), 2 oboes, english horn, 3 clarinets (first and second doubling piccolo clarinet in E-flat, third doubling bass clarinet), 4 bassoons (fourth doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, bass tuba, timpani, percussion (bass drum, snare drum, tam-tam, cymbals, suspended cymbal, xylophone, triangle), 2 harps, celesta, organ, and strings. In addition, four trumpets and four trombones are added offstage for the scene of the fifth door. The Cleveland Orchestra first performed Bartók’s opera in April 1961, in a concert presentation conducted by Louis Lane. It has been presented in concert three additional times, in March 1972 led by Pierre Boulez, in April 1999 conducted by Christoph von Dohnányi, and in February 2008 with Boulez.

Bluebeard’s Castle — Info

In Rehearsal

PHOTOGRAPH BY ROGER MASTROIANNI

Q&A

Franz Welser-Möst talks about opera and ballet, thrillers and art Q: How did the idea to partner with The Joffrey Ballet for these new productions in Bartók on Stage come about? Franz: “I’ve wanted to do Bluebeard’s Castle for a long time, but it is only half an evening. So the question is always what to pair with it? The extraordinary partnership that we have developed with The Joffrey Ballet, and its artistic director, Ashley Wheater, over the past decade helped give us the answer — to present another masterpiece that Bartók had written for the stage, The Miraculous Mandarin. For this special Bartók doublebill, opera and ballet are brought together to create a full program, with collaboration between dancers, singers, and musicians. The story of Mandarin is told completely through movement and ballet. Bluebeard’s Castle, meanwhile, calls for just two singers, but our idea was to add dancers for this production, to tell more of the inside story, to develop Bluebeard’s former wives through movement. Creating such new productions helps to engage the imaginations of everyone involved.” Q: Please talk about the music that Bartók wrote for this ballet and this opera. Are they connected in any way? Franz: “When talking about Bartók’s music, it is important to understand where his style came from. After some early works, he was looking for new ways to write, new sources of inspiration. And he and his colleague Zoltán Kodály went out and collected folksongs. They recorded in many villages. And then they studied this living history of Hungarian folk music. You can hear this influence and evolution in Miraculous Mandarin and in Bluebeard’s Castle. The source of energy of both pieces is deeply rooted in the sounds of this folk music. But because these are thrilling stories and cruel, too, Bartók took this underlying basis and distorted and twisted it. The musicians of the Orchestra and I have to work to bring out the rustic, dancing, folk elements in the music, but we must also understand how Bartók twisted and distorted things to feel different — so that the distorted quality comes across. This is music painted in strong and unexpected colors. There is nothing gentle or easy-going beneath this, there is always something threatening, something fearful. And it has to be that way, to move the action along and to bring these characters, who are becoming more and more frightened, to the end of each story.” Q: What should audiences expect from these two stageworks? Franz: “I think that when you go to this presentation, you should be prepared for something thrilling. Not just because it is being staged in an interesting way, but

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Q&A: About Bluebeard and Mandarin

Q&A continued

because these two stories are thrillers. Literally. These are not nice stories, they involve deception and murder. They help us to understand that there may be a dark side, or something unknown, within each of us. This opera and this ballet, in the stage directions that Bartók wrote, do not tell us everything. Each new production of these works may emphasize certain aspects, but it is also for each audience member to think about and to consider what these stories tell us. There are recurring or repeated actions in each work, and the music reflects this, but with a difference each time. In The Miraculous Mandarin, the Young Woman dances her “Decoy Game” three times, for three different men, and with different outcomes. Part of the thrill is waiting, on the edge of your seat, to see what happens each time. In Bluebeard’s Castle, Judith opens one locked door after another, discovering more and more about her husband’s past. Eventually she asks about his former wives, and we feel anxiety and fear for Judith, and what may happen to her. This is the drama of these stories. I hope that people always leave Severance Hall having had an emotional experience with our music. Sometimes it may be full of joy, or it may be sadness, or intense contemplation of what you have seen and heard. In opera, certainly, not everything ends happily. And that’s part of learning about life — and it is reflected in great art, it is something that art helps us to understand.”

While he was in Cleveland to perform as soloist in his Second Piano Concerto in December 1940, composer Béla Bartók sat for a series of studio shots by photographer Geoffrey Landesman. (Photograph courtesy of The Cleveland Orchestra Archives)

Q&A: About Bluebeard and Mandarin

The Cleveland Orchestra

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Severance Hall 2015-16

Experience Royal Life Through June 12 A Centennial Exhibition

WORLD PREMIERE IN CLEVELAND

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

Titian Through Apr 3

Kifwebe Mask Mar 25 – Jun 12

Presenting Exhibition Sponsor

Karl Schmidt-Rottluff Aug 25 – Dec 18

Marcel Duchamp Apr 5 – Jul 3

Presenting Centennial Sponsor

Supporting Centennial Sponsor

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John Singer Sargent Sep 1 – Nov 1

ClevelandArt.org

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art. The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation. Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576). Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015. Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

W I T H M A N Y C O M P O S E R S , one can look back and find the roots of their youthful style in the works of just one or two predecessors. Béla Bartók is different. All his life he composed amid a cloud of influences. Like his early idol Debussy, he was a sponge for musical idioms, eagerly soaking up the new and the old, the local and the exotic, the simple and the arcane, integrating them with his musical personality and following them to the limits of his imagination. In this sense, Bartók was a “derivative” composer — just as Shakespeare was a “derivative” playwright. Their voices derived from everything around them. They worked with the world they saw (and heard) and refashioned it into something of their own. Bartók’s musical voice is filled with detailings that musicians can admire, even when many of us can’t understand the labels put on the methods. Thanks to his study of linear structure in Baroque music, Bartók’s works abound with enough canons, inversions, retrogrades, and flip-flopped tetSeverance Hall 2015-16

Béla Bartók — New Sounds

rachords to satisfy any note-picking analyst. Yet even a nonmusician (who may have no understanding of what those terms mean) can revel in the ever-changing colors with which Bartók paints his often enigmatic sound pictures. Chords, polyphony, drones, and melodic fragments; wide or tight spacing of musical lines; busy rhythms or interstellar calm; every kind of tone a given instrument can produce — all this and more make Bartók’s works an aural feast unsurpassed in the repertory. (Don’t fret about those musical definitions, terms, and types. Just listen! It’s how they work within the music that matters, much more than “what” they are.) B É L A V I K T O R J Á N O S B A R T Ó K was born in Nagyszent-

miklos, Hungary, in 1881, and died sixty-some years later, in 1945, in New York City, of leukemia. The world changed across those years, as it does across any life. The musical world in particular changed — Throughout his life, although, at the time, it was anyone’s guess Bartók composed amid a as to which direction things might skew. cloud of influences. He In hindsight, from more than a centuwas a sponge for musical ry later, the direction that “new” music took seems almost comfortable and obvious, but idioms, eagerly soaking in the divergent pushings forward, of Mahler up the new and the old, and Sibelius, Schoenberg and Stravinsky, Dethe local and the exotic, bussy and Ravel, Bartók and Janáček . . . noththe simple and the arcane, ing was pre-ordained. Living through and making history as you go is quite different integrating them with his from studying it, or listening to it . . . decades musical personality and later. following them to the To begin with, the musical world of limits of his imagination. Bartók’s youth was not exactly seething with innovation. At the turn of the century, of the 19th into the 20th century, Johannes Brahms remained the dominant figure in classical music throughout much of central Europe, including Hungary. Ernö Dohnányi (1877-1960), the young Hungarian composer then thought “most likely to succeed,” would remain an unrepentant Brahmsian all his life. Mahler was best-known as a conductor; his symphonies . . . simply odd and different. For every Hungarian name on a music faculty, there seemed to be two German ones. Newmusic enthusiasts eagerly awaited works by the Germanic Richard Strauss but knew little of the new-French sounds of

Béla Bartók — His Musical Style

The Cleveland Orchestra

Claude Debussy. Even Bartók’s early symphonic poem, Kossuth from 1903, with its nationalistic program, was modeled on Strauss and spoke in the kind of parlor “Hungarianisms” popularized for half a century by Liszt and Brahms. This was classical music dressed up in Hungarian costume, rather than Hungarian music with depth and passion. Characteristically, the success of Kossuth only sharpened Bartók’s contempt for “Hungarian music” of the time. Indeed, it was not until 1905, when he and fellow composer Zoltán Kodály began collecting peasant songs in the field, that he found the true national idiom he was looking for — and ingredients to make what he thought might be real Hungarian music and not just Brahms with an accent. More new sounds reached Bartók in 1907, this time from France. Bartók recognized in the 1 8 81 -1945 music of Debussy and Ravel, for all its exoticism and seeming haziness, a profound sense of musical structure. Clearly, he felt, the European clasBartók was sickly as a child. His father, sical tradition wasn’t exhausted yet; it could still head of the local Agricultural School, point the way to uncharted musical territory! died when was Béla was just seven. Before the year was out, Bartók was already His mother noted Béla’s musical abiliwell into that territory. His Fourteen Bagatelles ties early, and he gave his first public for piano caused the pianist-composer Ferruccio recital at age 11. He studied piano Busoni to comment, “Endlich etwas wirklich neues” with István Thomán, a former student [“At last, something really new”]. And Bartók’s of Franz Liszt, at the Royal Academy First String Quartet, completed the following year, of Music in Budapest. In 1909, he marshows the young composer waging a sometimes ried Márta Ziegler, and together they had a son, Béla III. They were divorced losing battle to get his music’s French, German, in 1923 — and two months later and Hungarian godparents to sit down at the same Bartók married Ditta Pásztory, one of table, while still producing music of notable origihis own piano students. They named nality and vitality — and difficulty for his contemtheir son, born in 1924, Peter. poraries to comprehend. In the decade that followed, we can trace the emergence of a unified Bartók style from work to work. In particular, the pentatonic folk-style melodies (built on scales of five notes instead of the seven “normal” notes of Western music) of Duke Bluebeard’s Castle (1911) no longer sound like transcriptions from Bartók-the-ethnomusicologist’s Edison cylinder collection, but seem quite at home in their Severance Hall 2015-16

Béla Bartók — His Life

Béla Bartók and his second wife, the pianist Ditta Pásztory, circa late 1930s.

operatic context. Meanwhile, new influences continued to pile up. Bartók’s folk music research took him farther afield, to Romania, Slovakia, even North Africa. And in 1912, a student returning from Vienna brought Bartók a copy of Schoenberg’s Three Piano Pieces, Opus 12; the teacher discovered, he said later, “new possibilities of technique and expression resulting from the suspension of the principle of tonality.” The key word there is “suspension.” Bartók never completely abandoned tonality — the styling of keys and harmonies that we might narrowly, in the Western musical tradition, call melodic — in favor of other organizing principles. In fact, his language required tonality to continue, however deeply submerged, as a reference point, a family farm for the prodigal son (the music itself) to come home to. Even the ballet The Miraculous Mandarin (1918-19), with its lurid narrative and determinedly “modern” dissonances, has a home key it longs for — a sense of right and wrong, so to speak, however far the characters (and the music) may stray. Of course, the censor in Budapest didn’t get that, and The Miraculous Mandarin was banned in Hungary for decades for its immorality — even if its musical longing for tonality gives off a whiff of something more “normal.” And, indeed, even setting aside the ballet’s scandalous subject matter, the Bartók musical style can be challenging to penetrate. But the attentive listener is rewarded not only with an impressive display of musical craft, but with the kind of encounter with gritty integrity that is rare in life or art. In 1920, Bartók wrote of Stravinsky: “Under the influence of Schoenberg he did not lose his individuality; on the contrary, in this way he unfolded, as it were, even more freely; the direction indicated by Schoenberg led him in a similar direction, but further, and on a different path.” Those words would do very well for a self-portrait of this great Hungarian musician, who was and became even more clearly himself, but was greatly influenced by the times and sounds he lived in. —David Wright © 2016 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.

Béla Bartók — His Musical Style

The Cleveland Orchestra

THE

“. . . an Old Man, a Shy Man, and a Mandarin walk into a ballet . . .”

music by Béla Bartók composed 1918-24 “ W H O K N O W S W H E N my pantomime, The Miraculous Mandarin, will

achieve performance?” wrote Bartók to a friend. The answer, in Budapest at least, was not for more than a quarter of a century after the work was completed in 1919, a performance Bartók did not live to see. The first miracle of The Miraculous Mandarin was that it was composed at all. During a period of intense political upheaval in Hungary, the conditions hardly favored any new theatrical production, much less one as controversial as this piece. Bartók hoped for a repetition of the success in previous seasons of The Wooden Prince (1917) and Duke Bluebeard’s Castle (1918), but his choice of a lurid, ultra-violent libretto by Menyhért Lengyel proved unacceptable to the government censors. The Miraculous Mandarin had to wait seven years for its first performance, in Cologne in 1926. The composer’s concert suite of excerpts from the pantomime — still the form in which this music is best known — was introduced, without stage action, in Budapest in 1928. The action is still enough to give any presenter pause. A character known only as the Girl (or Young Woman) lures men with a sexy come-on into her room, where her three male accomplices beat and rob them. Two men, an old roué and a callow youth, get this treatment, only to be thrown out because they have no money. The third, an enigmatic Mandarin, seems impassive at first, but becomes aroused by the Girl’s attentions. Frightened by his glowing eyes, she tries to flee, and he pursues her. In the ensuing struggle, the robbers intervene and take the Mandarin’s money. They try to smother Severance Hall 2015-16

About: Miraculous Mandarin

Design for a post-World War II production of The Miraculous Mandarin at La Scala, Milan.

him and to stab him to death, but instead of dying, he continues to pursue the Girl. They hang him from a chandelier, which comes crashing down, and then, according to the stage directions in the score, the only light in the room is a strange green glow coming from the Mandarin. The Girl takes pity on him and embraces him, freeing the Mandarin at last to bleed and die. As in Bluebeard, Bartók and his librettist were working with ancient archetypes of Woman as temptress and destroyer, and ultimately rescuer, of Man. The primordial force with which Bartók expressed this idea musically is similar to, and no doubt informed on some level by, Stravinsky’s The Rite of Spring, composed (and premiered amid a famous audience riot) six years earlier. However, the resourceful use of just a few characteristic chords and scales, and their transformation into clear characterizations of the different persons in the drama, are vintage Bartók, and a sign of how he might have enriched the opera and ballet repertories, had these works received the welcome they deserved — which could have encouraged him to write more stage works. Instead, Bartók turned for the rest of his life to songs, piano music, folk music transcriptions, and concertos for his concert tours, composing large orchestral works only on commission, and no more for the stage at all. Nevertheless, the mark he left on those other genres — and on the imaginations of composers who came after him — has secured his reputation as one of the twentieth century’s greatest masters. —David Wright © 2016

About: Miraculous Mandarin

The Cleveland Orchestra

Illustration of the tale of Bluebeard, by Gustave Doré, 1862

DUKE

Man & Wife . . . Darkness & Light . . . music by Béla Bartók libretto by Béla Balázs composed 1911-17 A L T H O U G H H E I S R E V E R E D T O D AY as the composer who put the real Hungary on the musical map, Béla Bartók was a prophet without honor in his own country in 1911, when he undertook his first (and, it turned out, his last) opera, a setting of Béla Balázs’s symbolist drama, Duke Bluebeard’s Castle. As in centuries past, it was still true at that time that the road to public recognition for many composers led through the opera house. And so we find Bartók writing to the English composer Frederick Delius in March of that year that he had begun “a difficult job — that is to say a one-acter.” That laconic reference stood for a host of difficulties, beginning with the ambitious goal, as Balázs put it, to “delineate modern souls with the plain primitive colors of folksongs.” Bartók had spent countless hours in the villages of Hungary and neighboring countries capturing the songs of country people on paper and with a wax-cylinder recording machine, both for musicological purposes and to enliven his own composing style. The difficulty with that was that neither the public nor the musical authorities of Budapest had shown much interest either in the latest musical ideas from abroad or the ancient musical heritage of the Hungarian people. Bartók, with his profound devotion to both, could only hope that the occasion-

Severance Hall 2015-16

About: Bluebeard’s Castle

al success of a work such as his First String Quartet (1909) in a western European capital would echo in his uncomprehending home city. With the additional burdens of his son Béla’s birth and the serious illnesses of his wife Márta and himself, Bartók depended more than ever on his teaching job at the Budapest Academy of Music to hold his life together. His technique at the piano suffered, temporarily closing off another avenue of musical activity. (Fortunately, he later rekindled his playing and went on to be one of the most admired pianists of his time — including performances with The Cleveland Orchestra here at Severance Hall.) Continuing with Bluebeard, he persevered with the “difficult job” and completed the opera later that year before submitting it to a competition for a Hungarian opera. The jury, however, whose conception of opera was apparently shaped by the foreign works in translation that were then virtually the entire operatic diet of Budapest, failed to recognize just how very Hungarian this new “one-acter” by Bartók was, and rejected it. The Bluebeard story, (Ironically, a sort of mirror-image difficulin which an innocent ty has impeded this opera’s progress abroad. young woman enters Bartók’s musical setting is so imbued with the world of a mysterious the characteristic stresses of the Hungarian language — especially the “trochaic foot,” older man and only graduor persistent emphasis on the first syllable of ally learns of his history every word — that translations of its libretto of imprisoning and/or into other European languages tend to sound murdering women, is a forced and monotonous. Happily, most often anymore performances are in the original psychological archetype Hungarian.) that runs through innuDuke Bluebeard’s Castle sat unproduced merable folk traditions for seven years, until at last the musically-proand fairytale collections. gressive conductor Egisto Tango, having had success in Budapest with Bartók’s fairy-tale ballet The Wooden Prince in 1917, performed the opera to almost equal acclaim the following year. The composer revised the score for that production and returned to it for touch-ups in 1921, producing the version now heard at most performances. The Bluebeard story, in which an innocent young woman enters the world of a mysterious older man and only gradually learns of his history of imprisoning and/or murdering women, is a psychological archetype that runs through innumerable folk traditions and fairytale collections, including Charles Perrault’s Tales of Mother Goose. Grétry, Offenbach, and Dukas are a few of the composers who had composed

About: Bluebeard’s Castle

The Cleveland Orchestra

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of music that expresses

absolutely nothing.

—Béla Bartók

Portrait of Bartók by Geoffrey Landesman, Cleveland, December 1940 — Cleveland Orchestra Archives

I cannot conceive

operas on it before Bartók did so. Assuming the audience’s familiarity with the story’s basic outline, Balázs (and consequently Bartók) felt free to play with their expectations, so that what the curious woman finds behind the seven locked doors in Bluebeard’s castle is not the corpses of his previous wives but scenes that illuminate the barrenness of his — and, the poet strongly implies, the audience’s — existence. The poet also gave the woman the name of another archetypal figure, the biblical Judith, who saved her people from destruction by the Assyrian general Holofernes by giving herself to him, then slaying him by decapitation, a kind of symbolic castration. (In fact, in some versions of the folktale, Bluebeard suffers the same fate.) And in fact, Balázs’s and Bartók’s Judith is very much the active figure in this two-character drama, overcoming the Duke’s reluctance with her determination to bring light into the dark corners of his life, embodying the concept of the civilizing Eternal Feminine then much in vogue in the plays of George Bernard Shaw and others. Debussy, particularly in his only opera Pelléas and Mélisande 1 (1902), is the godfather to Bluebeard’s floating harmonies, which refuse to resolve into major or minor tonality — and to the work’s focus on psychological states evoked in the listener rather than on character and action onstage. In addition, Bartók’s immersion in Hungarian language and folkways imbues the score with ancient modal harmonies, as well as two characteristic melodic patterns from folk music: parlando rubato, meaning speechlike and rhythmically free; and tempo giusto (“exact tempo”), a sort of suit of rhythmic clothes for the free parlando, in which phrases of irregular length are driven by a regular beat. This interplay of surprise with regularity is built into the opera’s simple, ballad-style “stanza” structure, in which the seven doors are unlocked one by one, musically reflected by the recurring “blood motif” in various guises and tonalities. Bartók builds the arc of the drama to a point of almost unbearable tension leading up to the opening of the seventh door. Just as artfully, he shifts the focus of the drama from Judith’s uncertain fate at the beginning, to the tragedy of Bluebeard himself by the end. —David Wright © 2016

Béla Balázs, who wrote the libretto for the opera Duke Bluebeard’s Castle.

Hungarian postage stamp commemorating Duke Bluebeard’s Castle.

1 The Cleveland Orchestra and Franz Welser-Möst present Debussy’s Pelléas and Mélisande

next spring as the Orchestra’s annual opera production during the 2016-17 season.

Severance Hall 2015-16

About: Bluebeard’s Castle

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 an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm 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 the Orchestra’s Philanthropy & Advancement Office at 216-231-7558. Listing as of March 10, 2016. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City 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 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 Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson George* and Becky Dunn 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 Elizabeth B. Juliano 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 Roseanne and Gary Oatey William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Quality Electrodynamics (QED) 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 Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP 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. Bernie and Nancy Karr

Severance Hall 2015-16

Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra and George Rose RPM International Inc. Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer

Sound for the Centennial Campaign

Mrs. David Seidenfeld David Shank Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis 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

Victoria Jaiani

Yoshihisa Arai

Victoria Jaiani joined The Joffrey Ballet in August 2003. Born and raised in Tbilisi, in the Republic of Georgia, Ms. Jaiani began her training at the age of ten at V. Chabukiani Ballet School. She continued her studies in New York and in June 2003 was awarded a Bronze Medal at the New York International Ballet Competition. Since joining the Joffrey, she has danced leading roles in many ballets, including Christopher Wheeldon’s Swan Lake (Odette-Odile), Stanton Welch’s La Bayadère (Nikia, Gamzati), Frederick Ashton’s Cinderella (Cinderella), Giselle (Giselle), John Cranko’s Romeo and Juliet (Juliet), Yuri Possokhov’s Don Quixote (Kitri), Ronald Hynd’s The Merry Widow (Henna Glawari), Lar Lubovitch’s Othello (Desdemona), and the Sugar Plum Fairy in Robert Joffrey’s The Nutcracker. Ms. Jaiani has originated the lead pas de deux in a number of acclaimed new ballets. Her honors include being named by Today’s Chicago Woman as one of Chicago’s top women in the arts, and as “best dancer” by Chicago Magazine in 2013. Ms. Jaiani is married to Joffrey dancer Temur Suluashvili.

Born in Yamaguchi, Japan, Yoshihisa Arai joined The Joffrey Ballet in 2012. He began his ballet training at age ten with the International Ballet Academy under Mika Tamaru. In 2005, he went on to train with the Royal Ballet School in London, where he danced roles in Coppélia, Le Corsaire, La Sylphide, Gallantries by David Bintley, and Unwritten by Natalie Wei. He graduated with honors and received the school’s Achievement Award, and performed with the Royal Ballet for The Rite of Spring and Balanchine’s Jewels, among other roles. In 2008, Mr. Arai joined Northern Ballet under the direction of David Nixon. During his time there, he danced in many acclaimed roles in ballets including The Nutcracker, Peter Pan, Dracula, A Midsummer Night’s Dream, Swan Lake, Romeo and Juliet, and Cleopatra. Mr. Arai was a demisoloist with Tulsa Ballet 2011-12. Yoshihisa Arai’s honors include placing second in the Kobe International Ballet Competition in 2002, and third at the Fukouoka Ballet Competition in 2004. He was a Prix de Lausanne finalist in 2007. Mr. Arai also performs in Japan as a guest dancer and teaches at Japanese ballet schools as a guest teacher.

as YOUNG WOMAN (Mandarin) and FORMER WIFE (Bluebeard)

as THE MANDARIN

Joffrey Dancers Onstage

The Cleveland Orchestra

Miguel Angel Blanco

Temur Suluashvili

as OLD MAN (Mandarin)

as SHY MAN (Mandarin)

Born: Havana, Cuba With Joffrey: since 2009

Born: Tbilisi, Republic of Georgia With Joffrey: since 2003

Raúl Casasola

Paulo Rodrigues

as THUG (Mandarin)

Born: Madrid, Spain With Joffrey: since 2008

Born: São Paulo, Brazil With Joffrey: since 2015

Amanda Assucena

Joan Sebastián Zamora as THUG (Mandarin)

Born: Cali, Columbia With Joffrey: since 2015

April Daly

as FORMER WIFE (Bluebeard)

Born: Rio de Janerio, Brazil With Joffrey: since 2013

Born: Rockford, Illinois With Joffrey: since 2003

For additional biographical information, please visit www.joffrey.org/1516dancers Severance Hall 2015-16

Joffrey Dancers Onstage

think forum 2015 â&#x20AC;&#x201C; 2016 Lecture Series Continuing the legacy of Town Hall of Cleveland

NEW HOME. NOW FREE. Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel at Case Western Reserve University All lectures begin at 6:00 p.m.

ABRAHAM VERGHESE Author, Teacher, Medical Advocate Monday, April 18, 2016 Topic: Delivering Humanistic Care in the Era of Lean

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

The Cleveland Chapter of the American Guild of Organists and

Plymouth Church, Shaker Heights present

F. Joseph Callahan Distinguished Lecture

Reserve tickets online by calling 216.368.6062 or going to case.edu/events/thinkforum Maltz Performing Arts Center 1855 Ansel Road

MEDIA PARTNER

Christian Lane

Grand Prize winner, Canadian International Organ Competition

performing at Plymouth Church, UCC 2860 Coventry Rd, Shaker Heights

Tuesday, April 12 at 7:30 p.m. â&#x20AC;˘ 216-921-3510

Visit our website to learn of other organ performances in Cleveland agocleveland.org

The Cleveland Orchestra

Mikhail Petrenko

Katarina Dalayman

Russian bass Mikhail Petrenko is among the most sought-after singers in the world today, appearing at Europe’s most prestigious opera houses and festivals. He is making his Cleveland Orchestra debut with this weekend’s performances. Born in St. Petersburg, Mikhail Petrenko graduated from the St. Petersburg State Rimsky-Korsakov Conservatory. He was awarded diplomas at the III International Rimsky-Korsakov Competition in 1998 and the first Elena Obraztsova Competition for Young Opera Singers. In 2000, he was a finalist and diploma-winner at the Maria Callas New Verdi Voices Competition. Recent seasons have included creating the title roles in two new productions with New York’s Metropolitan Opera, in Bartók’s Bluebeard’s Castle and Borodin’s Prince Igor. Mr. Petrenko just completed a run at the Met as the Count in Mozart’s The Marriage of Figaro, and was also recently featured in Gounod’s Faust with the Netherlands Opera and as the Grand Inquisitor in Verdi’s Don Carlo for the Verbier Festival. Upcoming engagements include Berlioz’s The Damnation of Faust in Tokyo and Shostakovich’s Symphony No. 13 with the Berlin Philharmonic.

Swedish soprano Katarina Dalayman is renowned for her dramatically intense stage performances in premier opera houses and acclaimed festivals across Europe and in the United States. She is making her Cleveland Orchestra debut with this weekend’s performances. Born in Stockholm, Katarina Dalayman studied at the Stockholm Opera Conservatory. She made her professional debut in 1991 at Royal Opera Stockholm. In the years since, she has become known for her intense portrayals of operatic heroines including Marie in Berg’s Wozzeck, the title role in Richard Strauss’s Elektra, Katarina in Shostakovich’s Lady Macbeth of Mtsensk, and Lisa in Tchaikovsky’s Queen of Spades, as well as the Wagnerian roles of Brünnhilde in Wagner’s Ring of the Nibelung, Brangäne in Tristan and Isolde, Ortrud in Lohengrin, and Kundry in Parsifal. Ms. Dalayman has performed with all the great opera houses of Europe, including Berlin, Paris, London, Munich, Barcelona, Dresden, Milan, and Vienna, and at the Salzburg and Tanglewood Festivals. Also in demand as a concert artist, she has appeared with major orchestras across Europe.

as DUKE BLUEBEARD

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as JUDITH

Guest Artists — Bluebeard’s Castle

Yuri Possokhov CHOREOGRAPHY / STAGE DIRECTION

Russian-born Yuri Possokhov is among the most active and imaginative choreographers working in ballet today. After receiving his early training at the Moscow Ballet School, he danced with the Bolshoi Ballet for ten years, working primarily with ballet master Yuri Grigorovich. During that decade, he was promoted through the ranks to principal dancer. In 1992, he joined the Royal Danish Ballet as a principal dancer, at the invitation of ballet master Frank Andersen. The following December, Mr. Possokhov was cast as Prince Desiré in Helgi Tomasson’s The Sleeping Beauty and, after being invited to perform in San Francisco Ballet’s opening night gala, he decided to move west. In 1994, Yuri Possokhov joined San Francisco Ballet as a principal dancer, and spent the next twelve years as a dancer with the Company. In 1999, he organized and performed in a Russian tour entitled “Ballet Beyond Borders,” with sixteen dancers from San Francisco Ballet performing on the tour, which traveled to five cities throughout Russia. Following his retirement as a principal dancer from

San Francisco Ballet, Mr. Possokhov was named choreographer-in-residence in May 2006. His final engagement with the Company as a principal dancer took place in tour performances at New York’s Lincoln Center Festival in summer 2006. As a choreographer, Yuri Possokhov’s early credits include Songs of Spain, choreographed in 1997 for dancer Muriel Maffre; A Duet for Two, created the same year for Joanna Berman; and Impromptu Scriabin, for Felipe Diaz. In 2000, he completed a new work for a dancer at the Mariinsky Ballet, as well as 5 Mazurkas for the Marin Dance Theatre. Possokhov’s Magrittomania was commissioned for San Francisco Ballet’s Discovery Program in 2000, receiving an Isadora Duncan Dance Award for Outstanding choreography for this work the following year. Works for the San Francisco Ballet include: Damned, Don Quixote, Study in Motion, Reflections, Ballet Mori, Firebird, Fusion, Diving into the Lilacs, Classical Symphony, RAkU, Francesca da Rimini, The Rite of Spring, and Swimmer. Mr. Possokhov has also created works for Oregon Ballet Theatre and the Bolshoi Ballet, and his work has also been presented by the Georgia State Ballet, in Ukraine and on tour in the United States For The Joffrey Ballet, Yuri Possokhov has choreographed Bells, Adagio, and Don Quixote. For more information, please visit www.yuripossokhov.com.

Production Team

The Cleveland Orchestra

Alexander V. Nichols SET, LIGHTING, AND PROJECTION DESIGN

California native Alexander Nichols’s design work extends from lighting, video, projections, scenery, and costumes — and spans artforms from dance and theater to opera, concert presentations, and architectural lighting. His Broadway theater credits include Wishful Drinking, Hugh Jackman – Back On Broadway, and Nice Work If You Can Get It. Off-Broadway productions have included In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge and Tunnel, Taking Over, Through the Night, and In the Wake. He has worked extensively in scenery and lighting for ballet, including productions for Pennsylvania Ballet, Hartford Ballet, American Repertory Ballet, San Francisco Ballet, Alvin Ailey American Dance Theatre, Hubbard Street Dance Chicago, Hong Kong Ballet, and the Royal Winnepeg Ballet, among other companies. Recent projects include the museum installation Circle of Memory, a collaboration with Eleanor Coppola, recently presented in Stockholm, and video and visual design for Life: A Journey Through Time, a collaboration with photographer Frans Lanting and composer Philip Glass, presented at Amseterdam’s Concertgebouw.

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Production Team

Mark Zappone COSTUME DESIGN

Mark Zappone served Pacific Northwest Ballet (PNB) for five seasons as costume designer, shop supervisor, and wardrobe master (1983-1988). He then moved to Monte Carlo, where he managed costume shops for Les Ballets de Monte-Carlo and Le Cabaret de Monte-Carlo, and subsquently continued on to Switzerland and Amsterdam with Holiday on Ice, and then back to Seattle to work with a variety of companies, including PNB. Mr. Zappone has collaborated with many well-known choreographers and designers, including Lucinda Childs, Maurice Sendak, Christopher Wheeldon, Kent Stowell, Twyla Tharp, George Balanchine Trust, Helgi Tomasson, Molissa Fenley, Dominique Dumais, Kevin O’Day, Martin Pakledinez, Christopher Stowell, Yuri Possokhov, Paul Tazewell, Paul Gibson, and Nuno Corte-Real, among others. In addition to his many designs for PNB, he has designed for San Francisco Ballet, New York City Ballet, Pennsylvania Ballet, Les Ballets de Monte-Carlo, Pittsburgh Ballet Theatre, Oregon Ballet Theatre, Spectrum Dance Theatre, Peter Boal Solos, and Wear Moi Dancewear of London.

T H E J O F F R E Y B A L L E T celebrates its 60th company anniversary with the

2015-16 season. Classically-trained to the highest standards, The Joffrey Ballet expresses a unique, inclusive perspective on dance, proudly reflecting the diversity of America with its company, audiences, and repertoire, which includes major story ballets, reconstructions of masterpieces, and contemporary works. The Company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly-effective education program including the much-lauded Academy of Dance: Official School of The Joffrey Ballet, community engagement programs, and collaborations with many other visual and performing arts organizations. Founded by visionary teacher Robert Joffrey in 1956 and guided by celebrated choreographer Gerald Arpino 1988-2007, The Joffrey Ballet continues to thrive under internationally-renowned artistic director Ashley Wheater and executive director Greg Cameron. A S H L E Y W H E A T E R was appointed artistic director of The Joffrey Ballet in 2007. New work is the life blood of a company, and he has introduced many premieres to the repertoire. Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School in London. Mr. Wheater began his professional career with the Royal Ballet, and danced at the London Festival Ballet, Australian Ballet, The Joffrey Ballet, and San Francisco Ballet. In 1997, he became ballet master at San Francisco Ballet, and in 2002, assistant to the artistic director. Since coming to The Joffrey Ballet, Mr. Wheater’s artistic and cultural dedication has been recognized through a series of awards. In 2008, the Boeing Corporation recognized his commitment to community engagement and diversity in the world of dance, presenting Mr. Wheater the “Game-Changer” award. In 2010, Mr. Wheater, representing The Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented by the State of Illinois. The Chicago Tribune selected him as 2013 “Chicagoan of the Year” for his contributions to dance. In 2014, Mr. Wheater accepted the Chicago Spirit of Innovation Award for The Joffrey Ballet. He received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts in 2015.

The Joffrey Ballet

The Cleveland Orchestra

ASHLEY WHEATER Artistic Director GREG CAMERON Executive Director ROBERT JOFFREY Founder

GERALD ARPINO Founder

Artists of The Company Matthew Adamczyk Derrick Agnoletti Yoshihisa Arai Amanda Assucena Artur Babajanyan Edson Barbosa Miguel Angel Blanco Anais Bueno Fabrice Calmels Raúl Casasola Valeriia Chaykina Nicole Ciapponi April Daly Fernando Duarte Camila Ferrera Cara Marie Gary Anna Gerberich Stefan Goncalvez Luis Eduardo Gonzalez Dylan Gutierrez Rory Hohenstein Anastacia Holden Dara Holmes Victoria Jaiani Hansol Jeong Gayeon Jung Brooke Linford Graham Maverick Caitlin Meighan Jeraldine Mendoza Jacqueline Moscicke Amber Neumann Christine Rocas Paulo Rodrigues Lucas Segovia Temur Suluashvili Elivelton Tomazi Alberto Velazquez Mahallia Ward Joanna Wozniak Joan Sebastián Zamora GERARD CHARLES Director of Artistic Operations | Ballet Master NICOLAS BLANC Principal Coach | Ballet Master SUZANNE LOPEA Ballet Master SCOTT SPECK Music Director

Severance Hall 2015-16

The Joffrey Ballet

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians. For a complete schedule of events, visit cim.edu/events

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The Cleveland Orchestra

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. Severance Hall 2015-16

Cleveland Orchestra Chorus

Illustration by Emily Linville

Illustration by Melissa Luddy

VISUA LIZING W H AT D O E S M U S I C LO O K LI K E ?

That was the question The Cleveland Orchestra’s education director Joan Katz Napoli posed to students at the Cleveland Institute of Art (CIA), in connection with The Cleveland Orchestra’s presentation of Bartók’s Bluebeard’s Castle. Students in Jeff Harter’s illustration class took up the challenge. As part of a course assignment, they were tasked with designing illustrations for this dark and enigmatic opera to give them a sense of how their CIA studies have application in the real world. Over the past several weeks, the students researched and immersed them-

selves in the music and story of Bluebeard’s Castle, and attended a rehearsal in Severance Hall (some had never been inside Severance Hall). In addition, Dave Szekeres, the Orchestra’s publications manager, and Mark Williams, director of artistic planning, met with the CIA Illustrations class on consecutive weeks, offering them insights into: 1.) the use and development of illustration in a wide variety of promotional and collateral materials for operas and concerts, and 2.) the complicated artistic and creative challenge of weaving together aspects of the musical, dance, and visual elements that were be-

Illustrating Bluebeard’s Castle

The Cleveland Orchestra

Illustration by Marissa Krekeler

Illustration by Junce Lu

MUSIC ing created for this week’s performances. Nine of the resulting student illustrations are being displayed at Severance Hall this week, in the Founder’s Gallery overlooking the Bogomolny-Kozerefski Grand Foyer. Five of those are reproduced here. Taking the project a step further, Cleveland Orchestra staff members have taken two of these and applied text to them on the following two pages to create what a potential poster might look like. This collaborative education project was supported in part by a grant to The Cleveland Orchestra from the National Endowment for the Arts. Copyright © by the individual artists.

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Illustration by Megan McCollum

Illustrating Bluebeard’s Castle

See pages 66-67

the cleveland orchestra presents

Duke Bluebeard’s Castle A One-act tragic opera by BÉ BÉla BartÓ BartÓk

April 7-10 Severance Hall

Severance Hall 2015-16

See pages 66-67

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THE THEORY OF RELATIVITY is a seemingly unrelated collection of songs, scenes and monologues, seen through a compelling array of characters. Music and Lyrics by Neil Bartram Book by Brian Hill Directed by Victoria Bussert* Choreography by Gregory Daniels* DƵƐŝĐ ŝƌĞĐƟŽŶ ďǇ ĂǀŝĚ WĞƉŝŶΎ *Members of the Baldwin Wallace University Music Theatre Faculty

INFORMATION: www.bw.edu/events/ 2016/04-29-theory-of-relativity TICKETS: playhousesquare.org, 216-241-6000 or 866-546-1353

Helen Theatre, Playhouse Square Friday, April 29, 7:30 p.m. Saturday, April 30, 5:00 and 8:30 p.m. Sunday, May 1, 7:00 p.m. Join the millions of people who enjoy all the sounds of life! Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, ĞǀĂůƵĂƟŽŶƐ͕ ĂŶĚ ĚĞǀŝĐĞ ĮƫŶŐƐ͕ ƚŽ ĨŽůůŽǁ ƵƉ ĂŶĚ ƐƵƉƉŽƌƚ͕ ,^ ǁŝůů ĞŶƐƵƌĞ ǇŽƵ ŶĞǀĞƌ ŵŝƐƐ Ă ŶŽƚĞ͊

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LAKE ERIE COLLEGE

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The Cleveland Orchestra

THE

CLEVELAND ORCHESTRA

Endowed Funds

funds established as of November 2015

The generous donors listed here have made endowment gifts to support specific artistic initiatives, education and community programming and performances, facilities maintenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gifts of $250,000 or more. For information about making your own endowment gift to The Clevelamd Orchestra, please call 216-231-7558.

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus. Artistic Excellence

Guest Artists Fund

George Gund III Fund

Artistic Collaboration Joseph P. and Nancy F. Keithley

Artist-in-Residence Malcolm E. Kenney

Young Composers Jan R. and Daniel R. Lewis

Friday Morning Concerts Mary E. and F. Joseph Callahan Foundation

Radio Broadcasts Robert and Jean Conrad Dr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus Jerome and Shirley Grover Meacham Hitchcock and Family

American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside

Eleanore T. and Joseph E. Adams Mrs. Warren H. Corning The Gerhard Foundation, Inc. Margaret R. Griffiths Trust Virginia M. and Newman T. Halvorson The Hershey Foundation The Humel Hovorka Fund Kulas Foundation The Payne Fund Elizabeth Dorothy Robson Dr. and Mrs. Sam I. Sato The Julia Severance Millikin Fund The Sherwick Fund Mr. and Mrs. Michael Sherwin Sterling A. and Verdabelle Spaulding Mr. and Mrs. James P. Storer Mrs. Paul D. Wurzburger

Concert Previews Dorothy Humel Hovorka

International Touring Frances Elizabeth Wilkinson

Unrestricted

Severance Hall Guest Conductors Roger and Anne Clapp James and Donna Reid

Cleveland Orchestra Soloists Julia and Larry Pollock Family

Art of Beauty Company, Inc. William P. Blair III Fund for Orchestral Excellence John P. Bergren and Sarah S. Evans Nancy McCann Margaret Fulton-Mueller Virginia M. and Jon A. Lindseth

CENTER FOR FUTURE AUDIENCES â&#x20AC;&#x201D; The Cleveland Orchestraâ&#x20AC;&#x2122;s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, is working to develop new generations of audiences for The Cleveland Orchestra. Center for Future Audiences Maltz Family Foundation

Student Audiences Alexander and Sarah Cutler

Endowed Funds listing continues

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Endowed Funds

THE

CLEVELAND ORCHESTRA

Endowed Funds continued from previous page EDUCATION AND COMMUNITY endowed funds help support programs that deepen connections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year. Education Programs Anonymous, in memory of Georg Solti Hope and Stanley I. Adelstein Kathleen L. Barber Isabelle and Ronald Brown Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Alice H. Cull Memorial Frank and Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. and Mrs. David T. Morgenthaler John and Sally Morley The Eric & Jane Nord Family Fund The William N. Skirball Endowment

Education Concerts Week

In-School Performances Alfred M. Lerner Fund

Classroom Resources Charles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling Jules and Ruth Vinney Touring Fund

Musical Rainbows Pysht Fund

Community Programming Alex and Carol Machaskee

The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestraâ&#x20AC;&#x2122;s concert home, Severance Hall. Keyboard Maintenance William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. and Mrs. Richard A. Manuel Vincent K. and Edith H. Smith Memorial Trust

Organ D. Robert and Kathleen L. Barber Arlene and Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation

Severance Hall Preservation Severance family and friends

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestraâ&#x20AC;&#x2122;s summer performances and maintenance of Blossom Music Center. Blossom Festival Guest Artist Dr. and Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. and Mrs. William C. Zekan

Landscaping and Maintenance The Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation

Blossom Festival Family Concerts David E. and Jane J. Griffiths

Endowed Funds

The Cleveland Orchestra

A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fundraising eﬀort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing financial strength for the Orchestra’s second century. The campaign is building the Orchestra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

THE

CLEVELAND ORCHESTRA

You too can play a cri cal part in securing The Cleveland Orchestra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

clevelandorchestra.com/100campaign

orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, first in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The following excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also offered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great orchestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.” —New York Times, January 18, 2016 “Both works require utmost precision and high-level solo contributions, abundantly provided by the magnificent Clevelanders.” —Wall Street Journal, January 19, 2016 “The mighty Clevelanders turned their formidable attention to the often grotesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.” —Financial Times, January 19, 2016 “Less than a month after bringing an astonishing, hair-trigger program to Carnegie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely different . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the lower strings offer subtle depth to the higher ones.” —New York Times, February 16, 2016

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news The Cleveland Orchestra’s “At the Movies” series announced for 2016-17 The Cleveland Orchestra has announced a three-concert “At the Movies” series sponsored by PNC Bank for the 2016-17 season. Building on the popularity of film screenings with live music presented over the past five seasons, the Orchestra continues the tradition with Nosferatu in October, It’s a Wonderful Life in December, and Breakfast at Tiffany’s on Valentine’s Day. All three movies will be projected on a giant screen above the Severance Hall stage, with music performed live. “At the Movies” series subscriptions are available now through the Severance Hall Ticket Office, online at clevelandorchestra.com, or by calling 216-231-1111. Series subscribers will also be given an opportunity to purchase tickets to a fourth movie, West Side Story, at a discounted price, before tickets go on sale to the general public. The film score to West Side Story will be performed live by The Cleveland Orchestra in June 2017 as part of the regular weekly classical subscription concerts. The 2016-17 “At the Movies” series features: On Tuesday, October 25, the classic 1922 silent horror film Nosferatu will be presented. This film is acclaimed as an influential cinematic masterpiece, starring Max Schreck as the vampire Count Orlok. Organist Todd Wilson will accompany the film with improvised live music on Severance Hall’s Norton Memorial Organ. On Thursday, December 8, Frank Capra’s holiday classic It’s a Wonderful Life starring James Stewart and Donna Reed will be shown with the music of the soundtrack performed live by The Cleveland Orchestra and the Cleveland Orchestra Youth Chorus, conducted by Brett Mitchell. To close the series, on Valentine’s Day, Tuesday, February 14, guest conductor Justin Freer will lead The Cleveland Orchestra in the live musical score to the romantic comedy Breakfast at Tiffany’s, starring Audrey Hepburn.

Severance Hall 2015-16

THE CLEVELAND ORCHESTRA

.W.E.L.C.O.M.E. New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who began playing as a member of the Orchestra for the subscription concerts on March 3-6. Johansen was cellist with the Escher String Quartet for five years, during which he and his colleagues were BBC Radio 3 New Generation Artists, and also recipients of an Avery Fisher Career Grant and the Martin Segal Award from Lincoln Center. He has performed as a soloist and chamber musician around the world. He made his Lincoln Center debut in a performance of Elliott Carter’s Cello Concerto under the direction of James Levine in celebration of the composer’s centennial. He made his Carnegie Hall debut as first winner of the Juilliard Leo Ruiz Memorial Award. For many years, Dane has dedicated much energy and time exploring Johann Sebastian Bach’s Six Suites for Solo Cello. He performed them at New York’s Alice Tully Hall in 2010 and also throughout his 580-mile pilgrimage on the “Walk to Fistera” along the Camino de Santiago in Northern Spain in 2014 — the story of his adventure on the Camino with Bach is being made into a documentary film and accompanying recording, scheduled for release in 2016. A native of Fairbanks, Alaska, Johansen studied at the Cleveland Institute of Music, Conservatoire National Supérieur de Paris, and at the Juilliard School, where he earned his artist diploma. He studied privately with Bernard Greenhouse.

Comings and goings As a courtesy to the performers onstage and the entire audience, latearriving patrons cannot be seated until the first break in the musical program.

Cleveland Orchestra News

Musicians Emeritus of

T H E

C L E V E L A N D

O R C H E S T R A

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOON Ronald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE Edwin Anderson 1985 — 21 years Allen Kofsky 2000 — 39 years James De Sano * 2003 — 33 years PERCUSSION Joseph Adato 2006 — 44 years Richard Weiner * 2011 — 48 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

listing as of February 2016

Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

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

New DVD Brahms cycle released and available at Severance Hall Following their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orchestra have released an all-Brahms DVD box set. The set features all four symphonies, Piano Concertos Nos. 1 and 2 with Yefim Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and is now in general release worldwide. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein. The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

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.

Severance Hall 2015-16

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 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume 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

Cleveland Orchestra News

Michael Miller Sonja Braaten Molloy Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Robert Vernon Carolyn Gadiel Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

orchestra news

THE CLEVELAND ORCHESTRA

March was “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Through Music” tying music to core curriculum March was “Music In Our Schools” Month — but The Cleveland Orchestra is teaching and helping with learning all year ’round. For nearly a century, education has remained a central part of the Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach. Among many offerings both at Severance Hall and beyond, Learning Through Music is The Cleveland Orchestra’s K-5 program that brings core curriculum to life through classical music. Currently in its 19th season, LTM works with teachers in Cleveland and East Cleveland classrooms to help them integrate music into daily instructional time. Individual Orchestra musicians teach lessons linking music to math, science, social studies, and language arts — and even lead students in composing and performing their own original pieces. Year after year, LTM continues to be a classroom favorite. As one 4th grader commented, “I had so much fun. I even got to play an instrument. That was the best time ever.” This spring, musicians from the Orchestra will make over 170 classroom visits, collaborate with 70 teachers, and bring over 1,200 students to Severance Hall for a live performance. (Over 18,000 additional students attend Education Concerts annually from the community at-large.) In November 2015, Mayfair Elementary in the East Cleveland School District (LTM pilot school) was selected to present at the Student Achievement Fair at the Ohio School Board Association (OSBA) Conference and Trade Show, featuring their collaboration with The Cleveland Orchestra through LTM. The OSBA Capital Conference is Ohio’s premier continuing education program. Part of this conference is the Student Achievement Fair, which showcases innovative projects and

programs that boost student achievement and engage youngsters in learning and growth. Fourth-grade Mayfair Elementary teacher Irene Spraggins and three of her students created a vibrant display of the books, CDs, and instruments provided to them as well as samples of student work created through LTM lessons (photo above). In addition to Learning Through Music, The Cleveland Orchestra also partners with schools through PNC Grow Up Great for Cleveland Metropolitan Pre-K classrooms, and In-School Performances (ISPs), bringing The Cleveland Orchestra itself into area schools. This year’s ISP took place on February 23 at Patrick Henry School in Glenville. In-School Performances are made possible in part through the Alfred M. Lerner In-School Performance Fund, generously endowed in her husband’s memory by Norma Lerner. For more information about The Cleveland Orchestra’s education programs, visit www.clevelandorchestra.com/education-and-community.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Retired Cleveland Orchestra member Franklin Cohen (principal clarinet emeritus, 1975-2015), who is co-founder of ChamberFest Cleveland, joins together with pianist Szolt Bognár to present an evening of music on Saturday, April 9, at 7 p.m. The evening’s performance at Near West Theatre (6702 Detroit Ave in Cleveland) includes late works of several composers, including Mozart and Schubert, taking audiences on a musical journey exploring creative expressions of destiny and mortality. Tickets are $60 concert only, or $75 with reception. To order tickets or for more information, call 216-229-5959 or write to dmorsecpc@sbcglobal.net. The bassoon quartet Men Who Don’t Bite presents a benefit concert for Family Promise of Lorain County on Sunday afternoon, April 10, at 3 p.m. The quartet includes Cleveland Orchestra bassoonists Jonathan Sherwin and Barrick Stees. Admission is free to the event at the Meeting House of First Church Oberlin (Main and Lorain Streets in Oberlin), but contributions toward the organization’s work will be gratefully accepted. The Women’s Committee of The Cleveland Orchestra presents a special Meet the Artist luncheon on Friday, April 15, with a program featuring the Orchestra’s principal viola Robert Vernon. Vernon retires at the end of the current season in August, as the longest-serving string principal in the Orchestra’s history. For the April program, he will be interviewed by The Cleveland Orchestra’s artistic administrator, Ilya Gidalevich, about his years and memories onstage. The event begins at 11:30 with a patron reception with Vernon, continues with lunch at noon, and then the program itself at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members; $100 premium ticket includes the pre-lunch reception. Reservations are required; the event occurs at Westwood Country Club in Rocky River. For information or reservations, call 440-338-3369 or send email to pk4sommer@roadrunner.com. Severance Hall 2015-16

THE CLEVELAND ORCHESTRA

Auditions announced for Cleveland Orchestra Choruses for 2016-17 season and 2016 Blossom Music Festival The Cleveland Orchestra Choruses have announced spring audition dates for membership in adult, youth, and children’s ensembles for the 2016-17 season. The Cleveland Orchestra has a long-standing commitment to and tradition of choral music in which community members of all ages have the opportunity to participate. Adult singers can audition for the Cleveland Orchestra Chorus and/or Blossom Festival Chorus on Thursday evenings, April 28 and May 5, or on Saturday afternoon, May 7. Students in grades 9-12 (and boys in grade 8 whose voice has changed) can audition for the Cleveland Orchestra Youth Chorus. Audition dates are Sunday, May 22, or Saturday mornings, June 4 and 11. Children in grades 5-9 can audition for the Cleveland Orchestra Children’s Chorus or Children’s Preparatory Chorus. Audition dates are Monday evening, May 23, or Saturday afternoons, June 4 and June 11. A scheduled audition time is required for all ensembles. All auditions are by appointment only and can be arranged by visiting clevelandorchestra.com/chorus-auditions.

B LOSSOM 2O16 Blossom season announced Dates and programming for the 2016 Blossom Music Festival were announced on February 7. Look for details online at clevelandorchestra.com. Individual tickets to on sale on May 9.

Cleveland Orchestra News

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THE CLEVELAN D 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

JOHN L. SEVERANCE SOCIETY

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.

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation 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 support. Listing as of March 2016.

gifts of $2,500 or more during the past year, as of March 5, 2016

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Forest City The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

Dollar Bank Foundation Parker Hannifin Foundation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Buyers Products Company FirstMerit Bank Adam Foslid / Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Severance Hall 2015-16

Corporate Annual Support

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

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

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

gifts of $2,500 or more during the past year, as of March 5, 2016

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

The George Gund Foundation Ohio Arts Council Timken Foundation of Canton $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund

$5 MILLION TO $10 MILLION

$100,000 TO $249,999

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

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 support. Listing as of March 2016.

Severance Hall 2015-16

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation James G. Robertson Fund of Akron Community Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family 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 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

THE CLEVELAN D ORCHESTRA

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

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of March 5, 2016

$10 MILLION AND MORE

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.

Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $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 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 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 Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker 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 March 2016.

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

Leadership Council 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:

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr. and Mrs. Jerome Kowal Toby Devan Lewis Mr.* and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra Anonymous (2)

George Szell Society Elisabeth DeWitt Severance Society gifts of $50,000 and more gifts of $25,000 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. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

Severance Hall 2015-16

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 Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock

Individual Annual Support

listings continue

THE CLEVELAN D ORCHESTRA listings continued

Barbara Robinson, chair Robert Gudbranson, vice chair Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;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.

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

Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake Anonymous

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

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. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Jim and Karen Dakin Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

LEADERSHIP PATRON PROGRAM

William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss

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

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) Mr. and Mrs. Richard A. Manuel* Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe) Margaret and Eric* Wayne Sandy and Ted Wiese

Individual Annual Support

listings continue

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 Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Henry and Mary* Doll Mr. and Mrs. Paul Doman 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) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Kathleen E. Hancock Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr.* and Mrs. Arch J. McCartney Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mrs. Milly Nyman (Miami) Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs. Martin I. Saltzman Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Mr. and Mrs. Joseph H. Serota (Miami) Seven Five Fund Dr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Mrs. Jean H. Taber Bruce and Virginia Taylor Mr. Joseph F. Tetlak Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami) 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 Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet Fritz Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Richard and Michelle Jeschelnig Joela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family Trust Mrs. Florence Brewster Rutter

Patricia J. Sawvel Dr. and Mrs. James L. Sechler Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann Williams Anonymous (3)

Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston Mary and Oliver Emerson* Ms. Karen Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. Albert C. Goldsmith

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 Alfredo and Luz Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland

INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Jennifer Barlament and Ken Potsic Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman

Individual Annual Support

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The Cleveland Orchestra guide to

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Severance Hall 2015-16

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus David and Gloria Kahan Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. John and Mrs. Linda Kelly Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Ivonete Leite (Miami) Irvin and Elin Leonard Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. Liederbach Ms. Grace Lim Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil

Dr. and Mrs. Eberhard Meinecke Ms. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. and Mrs. John S. Piety Mr. Robert Pinkert (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Mrs. Frances G. Shoolroy*

Naomi G. and Edwin Z. Singer Family Fund Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Charles and Lucy Weller Mr. and Mrs. Ronald E. Weinberg Tom and Betsy Wheeler Dr. Edward L. and Mrs. Suzanne Westbrook Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Anonymous (2)

Nancy and James Grunzweig Lilli and Seth Harris Mr. Robert D. Hart Mary S. Hastings In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman Mrs. Idarose S. Luntz 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 David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Mr. Carl Podwoski Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Ms. Ellen J. Skinner Mr. Richard C. Stair Mr. Taras G. Szmagala, Jr. Kathy* and Sidney Taurel (Miami) Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Richard Wiedemer, Jr. Mrs. Henietta Zabner (Miami) Marcia and Fred* Zakrajsek Max and Beverly Zupon

Mr. and Mrs. James B. Aronoff Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin

Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Mr. and Mrs. Robert R. Broadbent Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert John Carleton (Cleveland, Miami) Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Mr. Owen Colligan Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould The Thomas J. and Judith Fay Gruber Charitable Foundation INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMay Stanley I.* and Hope S. Adelstein Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja

Individual Annual Support

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The Cleveland Orchestra

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Severance Hall 2015-16

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

Jaime A. Bianchi and Paige A. Harper (Miami) Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum and Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Lisa and Ron Boyko Mr. and Mrs. David Briggs Laurie Burman Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr.* and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Mrs. Robert A. Clark Dr. John and Mrs. Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Mr. George and Mrs. Beth Downes Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Drs. Heidi Elliot and Yuri Novitsky Harry and Ann Farmer Mr. Paul C. Forsgren Michael Frank & Patricia A. Snyder Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr. and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. Agnes Mr. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Bob* and Edith Hudson (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Mr. Norman E. Jackson (Miami) Ms. LaVerne Jacobson Robert and Linda Jenkins Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson 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 Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Michael Lederman Judy and Donald Lefton (Miami) Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall William C. McCoy Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. Michael and Mrs. Lynn Miller Drs. Terry E. and Sara S. Miller Jim and Laura Moll Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. Guilherme Oliveira Mr. Robert D. Paddock George Parras Mr. Thomas and Mrs. Tommie Patton Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Miss Marjorie A. Rott* Michael and Chandra Rudd (Miami) Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Rev. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Ms. Jeanne Shatten

Individual Annual Support

Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert Sieck Laura and Alvin A. Siegal Lois H. Siegel (Miami) David* and Harriet Simon Dr. and Mrs. Conrad Simpfendorfer The Shari Bierman Singer Family Grace Katherine Sipusic Robert and Barbara Slanina Roy Smith Sandra and Richey Smith Ms. Barbara Snyder Lucy and Dan Sondles Mr. Louis Stellato Mr. and Mrs. Joseph D. Sullivan Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Alice & Leslie T. Webster, Jr. Mr. and Mrs.* Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Richard and Mary Lynn Wills Mr. Martin Wiseman Michael H. Wolf and Antonia Rivas-Wolf Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (6)

member of the Leadership Council (see first page of Annual Support listings)

* deceased

THE

CLEVELAND ORCHESTRA

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

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Severance Hall 2015-16

Located one block north of Historic Shaker Square, Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. www.Larchmere.com

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

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 online by visiting clevelandorchestra.com/opentable. Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com.

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 info@clevelandorchestra.com.

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orches-

Severance Hall 2015-16

Guest Information

tra, 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 216-2317420 or email to hallrental@clevelandorchestra.com

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 prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up and only ticket holders with prepaid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The roundtrip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.

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 AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall. And, 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 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 make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. 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 as you buy 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 AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.

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 clevelandorchestra.com 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 two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

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.

clevelandorchestra.com

Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was 46 years ago at a Cleveland Orchestra performance in Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”

THE

CLEVELAND ORCHESTRA

To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Office by calling 216-231-7522.

clevelandorchestra.com/cga 98

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2015. For more information, please contact the Orchestra’s Legacy Giving Office by calling Liz Arnett at 216-231-7522. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley* and Hope Adelstein Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan Rita W. Buchanan*

Severance Hall 2015-16

Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R.* Cohen Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook* The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D.* Corry Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Howard Cutson Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew* Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary Doll Gerald and Ruth Dombcik Barbara Sterk Domski

Leagcy Givimg

Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving B. Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr.* and Mrs. Ralph E. Fountain Gil and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* Dr. Saul Genuth John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* LISTING CONTINUES

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths* Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein David and Nancy Hooker Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Milton* and Jodith Janes

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Alyce M. Jarr* Jerry and Martha Jarrett* Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Bernie and Nancy Karr Drs. Julian* and Aileen Kassen Milton and Donna* Katz Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Elizabeth Davis Kondorossy* Mr. Clayton Koppes Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Marjorie M. Lamport Louis Lane Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin and Leda Linderman Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig

Legacy Giving

Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C.* and Elizabeth F. Marsh Duane and Joan Marsh* Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Dr.* and Mrs. S. Thomas Niccolls Steve Norris and Emily Gonzales Russell H. Nyland* Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Mrs. John G. Pegg* Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan Mrs. Robert E. Price*

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Margaret B. Babyak* and Phillip J. Roscoe Audra and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro*

Severance Hall 2015-16

Helen and Fred D. Shapiro Norine W. Sharp Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D. Smith* Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Sandra and Richey Smith Nathan Snader* Sterling A. and Verdabelle Spaulding* Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Saundra K. Stemen Merle Stern Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan and Andrew Talton* Frank E. Taplin, Jr.* Charles H. Teare* and Clifford K. Kern* Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Marlene and Joe Toot Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. and Mrs. Robert A. Urban* Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (106)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

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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 www.csuohio.edu/concertseries/kc

Proudly supporting The Cleveland Orchestra. Nicola, Gudbranson & Cooper, LLC ATTORNEYS AT LAW

2015-16 SE ASON

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Concert Program: March 24 and 26

WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH

— page 29

Concert Program: March 31, April 1 and 2 WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director

— page 7

2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: info@livepub.com web: livepub.com

The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

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 clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2015-16

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 in part by a generous endowment gift from Dorothy Humel Hovorka. April 7, 8, 9, 10 “Folksongs and Freud’” (Musical works by Bartók) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

April 14, 16 “From Dawn to Dusk” (Musical works by Mozart and Haydn) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

April 21, 23, 24 “Heroic Beethoven, Fashionable Chopin” (Musical works by Wagner, Chopin, Beethoven) with Donna Lee, professor of piano Kent State University

April 28, 29, 30 “Of Love and Life” (Musical works by Wagner, Chausson, Strauss) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 5, 6, 7 “First Attempts: Concerto and Ballet” (Musical works by Kodaly, Rachmaninoff, Stravinsky)

Concert Previews

with Jerry Wong, associate professor of piano, Kent State University

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THE CLEVELAN C O N C E R T

C A L E N D A R

SPRING SEASON Welser-Möst Conducts Bruckner March 24 — Thursday at 7:30 p.m. March 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Truls Mørk, cello

KURTÁG Petite musique solennelle — Homage to Pierre Boulez at 90 SCHUMANN Cello Concerto BRUCKNER Symphony No. 6

Wagner’s Götterdämmerung March 31 — Thursday at 7:30 p.m. April 1 — Friday at 11:00 a.m. <18s April 2 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Leila Josefowicz, violin

CHEUNG Lyra * ADÈS Violin Concerto: Concentric Paths WAGNER Excerpts from Götterdämmerung * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m. April 8 — Friday at 8:00 p.m. <18s April 9 — Saturday at 8:00 p.m. April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLET Ashley Wheater, artistic director and featuring choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols costume design by Mark Zappone Mikhail Petrenko, bass Katarina Dalayman, soprano and members of the Cleveland Orchestra Chorus THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst The opera event of the season, with two of Bartók’s masterful stage works as a doublebill — exploring desire and deception, secrets and death. Two fantastical tales about love . . . and murder! A world premiere collaboration with Chicago’s renowned Joffrey Ballet. Supported with funding from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

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PNC MUSICAL RAINBOW

The Terrific Trumpet April 8 — Friday at 10:00 a.m. <18s April 9 — Saturday at 10:00 & 11:00 a.m. <18s with Jack Sutte, trumpet

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

Mozart (and Haydn) April 14 — Thursday at 7:30 p.m. April 15 — Friday at 7:00 p.m. <18s April 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Jane Glover, conductor Joshua Smith, flute Yolanda Kondonassis, harp

HAYDN Symphony No. 6 (“Le Matin”)* MOZART Concerto for Flute and Harp MOZART Symphony No. 39 * not part of Fridays@7 concert.

Sponsors: Squire Patton Boggs (US) LLP KeyBank

FAMILY CONCERT

Green Eggs and Hamadeus April 16 — Saturday at 2:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Rob Kapilow, conductor Sherry Boone, soprano Joshua Turchin, boy soprano with stage direction by Daniel Pelzig This concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for children. The Boston Globe called Green Eggs and Hamadeus “the most popular family music since Prokofiev’s Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra.” You will like it, Sam-I-am! Free pre-concert activities begin one hour before start time. Supported by The Giant Eagle Foundation

Under 18s Free FOR FAMILIES

<18s

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).

Concert Calendar

The Cleveland Orchestra

D ORCHESTRA 2015-16 SE A SON

Beethoven’s Heroic Symphony

I N

T H E

S P O T L I G H T

April 21 — Thursday at 7:30 p.m. April 23 — Saturday at 8:00 p.m. April 24 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Antoni Wit, conductor Jan Lisiecki, piano

WAGNER Polonia Overture CHOPIN Piano Concerto No. 2 BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: KeyBank

AT THE MOVIES

Bride of Frankenstein April 26 — Tuesday at 7:30 p.m. THE CLEVELAND ORCHESTRA Richard Kaufman, conductor She’s alive — and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff). Sponsor: PNC Bank

A Hero’s LIfe April 28 — Thursday at 7:30 p.m. April 29 — Friday at 11:00 a.m. <18s April 30 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Antonio Pappano, conductor Marie-Nicole Lemieux, mezzo-soprano *

WAGNER Prelude and Love-Death from Tristan and Isolde CHAUSSON Poem of Love and the Sea* STRAUSS Ein Heldenleben [A Hero’s Life] * not part of Friday Morning Concert

Sponsor: PNC Bank

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

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle

Thursday April 7 at 7:30 p.m. Friday April 8 at 8:00 p.m. <18s Saturday April 9 at 8:00 p.m. Sunday April 10 at 3:00 p.m. <18s

THE JOFFREY BALLET Ashley Wheater, artistic director choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols costume design by Mark Zappone THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

The opera event of the season! With two of Bartók’s masterful stage works presented as a doublebill — exploring desire and deception, secrets and murder, life and death! A world premiere new production in collaboration with Chicago’s renowned Joffrey Ballet. Supported with funding from The Andrew W. Mellon Foundation and a grant from the National Endowment for the Arts.

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2015-16

Concert Calendar

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THE CLEVELAND ORCHESTRA U P C O M I N G

2015-16 SE A SON

C O N C E R T S

AT SEVERANCE HALL . . .

AT THE MOVIES

BRIDE OF FRANKENSTEIN Tuesday April 26 at 7:30 p.m. THE CLEVELAND ORCHESTRA Richard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff ). Sponsored by PNC Bank

STRAVINSKY’S THE FIREBIRD Thursday May 5 at 7:30 p.m. Friday May 6 at 11:00 a.m. Friday May 6 at 7:00 p.m. Saturday May 7 at 8:00 p.m. THE CLEVELAND ORCHESTRA Andrés Orozco-Estrada, conductor Kirill Gerstein, piano

Stravinsky’s ground-breaking ballet was an instant sensation when it was premiered — and remains an audience favorite. Based on a Russian folk legend, it features mesmerizing melodies, fierce rhythmic drive, and one of music’s most breathtaking finales. This weekend of concerts also features Rachmaninoff’s First Piano Concerto, filled with lyricism and passion. Plus Zoltán Kodály’s delightful musical postcard about a village he had lived in, Dances from Galánta. Friday night sponsor: KeyBank

See also the concert calendar listing on previous pages, 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.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra

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