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Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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

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Opera: May 2, 4, 6 DEBUSSY’S PELLÉAS AND MÉLISANDE — page 24 Perspectives from the Executive Director — page 7 Introducing the Concert — page 29 Director’s Note — page 33 Opera Synopsis — pages 33-34 Q&A with Franz Welser-Möst — page 37

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WEEK 19 From the Executive Director . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

19 PELLÉAS AND MÉLISANDE Opera: May 2, 4, 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . The Opera’s Family Tree . . . . . . . . . . . . . . . . . . . . . . . The Opera’s Storybrief . . . . . . . . . . . . . . . . . . . . . . . . . Director’s Note from Yuval Sharon . . . . . . . . . . . . . The Opera: Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . Q&A with Franz Welser-Möst . . . . . . . . . . . . . . . . . . About the Composer: Claude Debussy . . . . . . . . About Pelléas and Mélisande . . . . . . . . . . . . . . . . . . . Opera and The Cleveland Orchestra . . . . . . . . . . . Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Debussy Talks About Opera . . . . . . . . . . . . . . . . . . . Ensemble and Actors . . . . . . . . . . . . . . . . . . . . . . . . . Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800



24 26 29 30 31 33 34 37 39 47 54 57 63 65 69

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.

Cleveland Orchestra News . . . . . . . . . 74


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

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 10 Annual Support Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Foundations and Government . . . . . . . . . . . . . 101 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103


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.

Table of Contents

The Cleveland Orchestra

ac·com·pa·ni·ment noun / uh-kuhm-puh-ni-ment / a musical part in a composition designed to serve as background and support We all rely on others to be there looking out for us even before we know a need arises. BakerHostetler is proud to support The Cleveland Orchestra’s commitment to world-class performances.

“It’s wonderful living next to such a great university.” —Kerstin and Leonard Trawick, Judson residents since 2013

Kerstin Trawick thinks it’s never too late to learn something new. Living at Judson Park, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve have established an exciting partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center. For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and complimentary relocation package. Learn more about all the benefits included in the partnership between Judson and Case Western Reserve University. Call (216) 446-1579 today.

Visit for information about this exciting partnership

Perspectivesfrom the Executive Director May 2017 Welcome to this season’s opera performances, featuring a brand-new production of Debussy’s only opera, Pelléas and Mélisande. For this unique presentation, Franz Welser-Möst has chosen to once again partner with director Yuval Sharon, whose first collaboration with The Cleveland Orchestra was Janáček’s The Cunning Little Vixen three years ago. That imaginative staging of Vixen, which brought together live action with clever and telling animation, focused national and international attention on The Cleveland Orchestra’s operatic achievements and ambitions. Opera has long been a storied and important part of the Orchestra’s history. From early in-concert presentations to an ambitious series of staged productions in the 1930s (just after Severance Hall first opened), operatic music has been featured in many seasons and under every music director’s baton. During his tenure as music director, Franz Welser-Möst has focused renewed attention and energy on opera, making it an essential part of each year’s music-making. As he discusses on page 37, Franz believes that performing opera sharpens and refines the Orchestra’s already extraordinary collaborative skills as an ensemble by calling on musicians to listen and respond to great singers — playing in the moment with both their heads and their hearts. Through works filled with emotional truth, the Orchestra connects powerfully with audiences to create transformational and transcendent performances. As Yuval discusses on page 33, this week’s never-before-seen production of Pelléas and Mélisande promises another stimulating evening of thoughtful, challenging, and eye-opening operatic theater. I hope that you find this deep and searching opera something to contemplate and remember. But, truth be told, opera is not easy. It takes a great deal of planning, time, and effort to create these kinds of unique made-for-Cleveland opera productions. Please join me in giving special recognition to everyone who has worked so tirelessly to create and perform this week’s opera presentation, including the wonderful cast of singers, the ensemble and actors onstage, the production team, the Cleveland Orchestra Chamber Chorus, and the extraordinary musicians of The Cleveland Orchestra — all under the direction of Franz Welser-Möst, Yuval Sharon, and his imaginative creative team. Behind the scenes, the Orchestra staff have worked unceasingly for over a year to make this presentation possible. As an audience, you also play an essential role by infusing the performance with your emotional response and appreciation — with special thanks to those among you who generously stepped forward to support the Orchestra’s ambitious opera presentations. Please see the listing on page 62 of patrons whose enthusiasm and financial contributions help turn our operatic dreams into reality. Looking ahead to next season, we are excited to be presenting two different operas during the Orchestra’s Centennial Season. Our autumn concerts begin in September with encore performances of director Yuval Sharon’s acclaimed production of The Cunning Little Vixen, giving audiences a second opportunity to see this bittersweet tale of life and love with the same creative animation that intrigued so many in 2014. And, at the far end of the season, Franz leads an all-star international cast in a concert presentation of Wagner’s groundbreaking opera Tristan and Isolde.

André Gremillet Severance Hall 2016-17


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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 Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus 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 Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita 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 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 Meg Fulton Mueller 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 Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton 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)

Laurel Blossom (SC) 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 T R U S TE E S E M E R I TI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer 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

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

H O N O RARY T RUS T E E S FOR LIFE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

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

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2016-17

André Gremillet, Executive Director

Musical Arts Association


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 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 THE CLEVELAND legacy commitments, while also securing broad-based and increasing annual ORCHESTRA support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7520. Listing as of January 30, 2017. 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


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 Elizabeth Ring Mather and William Gwinn Mather Fund Medical Mutual


The Andrew W. Mellon Foundation Ms. Beth E. Mooney 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 (4)

Sound for the Centennial Campaign

The Cleveland Orchestra


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 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 Dollar Bank Foundation 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 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 Mr. Donald W. Morrison Margaret Fulton-Mueller

National Endowment for the Arts Roseanne and Gary Oatey William J. and Katherine T. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Roy Smith Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra

Elizabeth B. Juliano Bernie and Nancy Karr Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold 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. and Mrs. David A. Ruckman Mr. Larry J. Santon

Raymond T. and Katherine S. Sawyer SCH Foundation Mrs. David Seidenfeld David Shank The Sherwin-Williams Company Naomi G. and Edwin Z. Singer The Sisler McFawn Foundation 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)

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 Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T. K. and Faye A. Heston Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

Severance Hall 2016-17

Sound for the Centennial Campaign

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its Centennial Season in 2017-18, The Cleveland Orchestra continues refining its mission, praised as one of the very best orchestras in the world and noted for its devotion and service to the community it calls home. The 2016-17 season marks the ensemble’s fifteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, 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 fully focus on serving its hometown community (through outstanding concerts, vibrant musical engagement, and strong music education programs), 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 concert presentations and community partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln CenAS IT APPROACHES

Severance Hall 2016-17

ter Festival, and at Indiana University. 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. 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 touring cities 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” neigh-

About the Orchestra



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


1l1l 11l1 1l1I

The 2016-17 season marks Franz Welser-Möst’s 15th year as music director.

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


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.


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


Likes on Facebook (as of Mar 2017)

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




concerts each year.

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

The Cleveland Orchestra performs over



post-concert entertainment), film scores performed live by the Orchestra, collaborations 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


borhood residency program, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Additionally, a Make Music! initiative championed by Franz Welser-Möst advocates 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 and to develop the youngest audience of any orchestra. 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 Severance Hall 2016-17

explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences anywhere in the world. Hundreds of thousands have learned to love music

About the Orchestra


through its education programs and have celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. 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

brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’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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Your Grounds for Life. 12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 |




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


Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. The New York Times has declared Cleveland under his direction to be the “best American orchestra“ for 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 renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), 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. For the 2016-17 season, he leads the Vienna Philharmonic in performances in Vienna and on tour in the United States, including three concerts at Carnegie Hall in February 2017. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule includes Mozart’s The Marriage of Figaro with La Scala Milan. He also leads Mahler’s Ninth Symphony with the Dresden Staatskapelle, including a performance at the Salzburg Easter Festival. Recent engagements have also featured performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm. 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 Severance Hall 2016-17

Music Director


Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the 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 recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. Brahms’s German Requiem is being released in early 2017. 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.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace. His style may well prove a natural fit with Debussy’s enigmatic masterpiece Pelléas and Mélisande, staged by the imaginative Yuval Sharon. May 2, 4, 6, 2017.” —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

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CELLOS Mark Kosower* Louis D. Beaumont Chair

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Charles Bernard 2 Helen Weil Ross Chair

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Tanya Ell Thomas J. and Judith Fay Gruber Chair

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

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Severance Hall 2016-17

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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

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* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

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Tuesday evening, May 2, 2017, at 7:30 p.m. Thursday evening, May 4, 2017, at 7:30 p.m. Saturday evening, May 6, 2017, at 7:30 p.m.






16 17 2 O 1 6 -1 7


1 5



music by Claude Debussy (1862-1918) libretto adapted by the composer from the play by Maurice Maeterlinck (1862-1949) directed by Yuval Sharon set design by Mimi Lien projection and lighting design by Jason H. Thompson costume design by Ann Closs-Farley choreography by Danielle Agami conducted by Franz Welser-Möst

Sung in French with projected English supertitles. English supertitles by Christopher Bergen


Opera — Week 19

The Cleveland Orchestra

C A S T in order of appearance Mélisande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martina Janková, soprano Golaud, grandson of King Arkel . . . . . Hanno Müller-Brachmann, bass-baritone Arkel, King of Allemonde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Rose, bass Geneviève, mother of Pelléas and Golaud . . . . Nancy Maultsby, mezzo-soprano Pelléas, Golaud’s half-brother . . . . . . . . . . . . . . . . . . . . . . . . . . Elliot Madore, baritone Yniold, Golaud’s young son . . . . . . . . . . . . . . . . . . . . . . . . . . . Julie Mathevet, soprano Doctor and Shepherd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Castillo, baritone Ensemble: Julia Aks Paige Amicon Stephen Beitler Liz Bustle Ariana Daub Raymond Ejiofor Jeremy Hahn Actors: Tom Fitzpatrick Alex Thome and with the Cleveland Orchestra Chamber Chorus (Robert Porco, director)

Place: The Kingdom of Allemonde Time: Legendary

This opera presentation is supported by Hyster-Yale Materials Handling, Inc. and NACCO Industries, Inc. and by a grant to The Cleveland Orchestra from the National Endowment for the Arts. The Thursday evening performance is dedicated to Mr. and Mrs. Dennis W. LaBarre in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Severance Hall 2016-17

Week 19 — Opera


PRODUCTION Franz Welser-Möst, conductor Yuval Sharon, director Mimi Lien, set design Jason H. Thompson, projection and lighting design Ann Closs-Farley, costume design Danielle Agami, choreographer Casey Kringlen, assistant director Michelle Martina, production stage manager Steph Marron, assistant stage manager Mercedes Aponte, assistant stage manager Daniel Overly, supertitle operator Jessie Higgins, production assistant John S. Bukala, technical director Joseph Short, orchestra stage manager Amy Jean Wright, lead hair and makeup artist Libby Rose Goldberg, hair and makeup assistant Miloš Repický, répétiteur and rehearsal pianist Brett Mitchell, associate conductor For The Cleveland Orchestra: Mark Williams, Chief Artistic Officer Julie Kim, Senior Director, Operations and Facilities

Cleveland Orchestra Chamber Chorus Robert Porco, Director Lisa Wong, Assistant Director Joela Jones, Principal Accompanist Debbie Bates Genevieve M. Bettendorf Florence Brodowski David Ciucevich Brianna Clifford Carolyn L. Dessin Christopher Dewald Jeffrey Duber Joshua Jones Peter Kvidera Jason Levy Preston Masters


Karla McMullen Robert Mitchell Tremaine Oatman Francisco X. Prado Ted Rodenborn James Storry Rachel Thibo Martha Cochran Truby Gina L. Ventre Michael J. Ward Maggie Fairman Williams


At a Glance Debussy wrote Pelléas et Mélisande, the only opera he ever completed, between 1893 and 1895. For his text, he worked directly from Maurice Maeterlinck’s stage drama of the same name, removing some lines and scenes. He made revisions to the work in 1900-01, and orchestrated the score in 1901-02; preparing for the premiere, to accommodate the needs for changing scenery onstage during the production, he also extended or wrote orchestral interludes between many of the opera’s scenes. The work was premiered on April 30, 1902, at the Opéra-Comique in Paris, conducted by André Messager. The five acts of the opera run about two and a half hours in performance, excluding intermission(s). Debussy scored it for an orchestra of 3 flutes, 2 oboes, english horn, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, triangle, glockenspiel), 2 harps, and strings. A small chorus sings briefly in Act 1, Scene 3. The Cleveland Orchestra announced a fully-staged production of Pelléas et Mélisande as part of its 1934-35 season at Severance Hall, for January 1935. Casting and stage designs (by Richard Rychtarik) were nearly complete when it was decided to present Rossini’s The Barber of Seville instead. Music from the opera was presented for the first time on Cleveland Orchestra concerts when Erich Leinsdorf led his own arrangement of a suite of orchestral interludes from Pelléas et Mélisande in November 1945. The entire opera was presented in concert at Severance Hall in December 2000, led by Pierre Boulez.

Week 19 — Opera

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Duration times shown for musical pieces (and intermission) are approximate.

Concert begins: TUES 7:30 THUR 7:30 SAT 7:30

Opera: PELLÉAS AND MÉLISANDE Acts 1-2-3 (90 minutes)

More About . . . begins on page:

I NT E R M I S S I O N (20 minutes)

Acts 4-5 (65 minutes)

Welcome from the Executive Director . . . . . . 7 Cast and Production Team . . . . . . . . . . . . . . . . 24 The Opera’s Family Tree . . . . . . . . . . . . . . . . . . . 30 The Opera’s Storybrief . . . . . . . . . . . . . . . . . . . . 31 Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Conductor’s Q&A . . . . . . . . . . . . . . . . . . . . . . . . . 37 About the Composer . . . . . . . . . . . . . . . . . . . . . 39 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . 47 Opera and The Cleveland Orchestra . . . . . . . 54 Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Debussy Talks About Opera . . . . . . . . . . . . . . . 63 Ensemble and Actors . . . . . . . . . . . . . . . . . . . . . 65 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Concert ends: (approx.)

TUES 10:30 THUR 10:30 SAT 10:30

Severance Restaurant Post-Concert Desserts and Drinks


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Meaning, Mists & Metaphor

C L AU D E D E B U S SY died in 1918, the same year The Cleveland Orchestra was

founded. Death and creation, reality and potentiality. Debussy wrote only one opera, using for his libretto Maurice Maeterlinck’s Symbolist play Pelléas and Mélisande. The Symbolist movement was about a search for truth by omission, of leaving things “half said,” of allowing interpretation to diverge, of one thing meaning simultaneously several (possibly contradictory) things. Symbolism was . . . sort of believing that life is a metaphor, that everything (and everyone) means more than the face-value of what is known. Here, life is merely a stand-in for reality. Such ideas are exhilarating to some — and just plain confusing to others. As you experience this opera, if you’re not sure exactly what’s happening, don’t panic. Go with the moment. Let the music, the singing, the storyline carry you along. Meaning accumulates. Some of this opera’s action can feel a bit too absurd in traditional stagings — Mélisande’s long hair tumbling down like Rapunzel’s, enveloping Pelléas emotionally and quite literally, for instance. Suggestiveness — symbolism — works at a different level, of emotional truth without physical clarity. As director Yuval Sharon discusses on page 33, and Franz Welser-Möst amplifies on page 37, their approach — through a theatrical metaphor of mists — gives you, the viewer, a central role. This production is for you, to watch and hear and experience, to understand in your own way. One of the early challenges for symbolism was how realistic it often appeared to be, onstage or on canvas. A century later, through film and newer forms of writing, we’ve come to expect more mystery than what a plain stage production offers. Indeed, we may be at exactly the right moment to more fully explore this enigmatic opera. This week’s brand-new production, evoking mists and mysteries through technology and sleight of hand (or eye), may provide the kind of insight and illumination that musician Debussy and playwright Maeterlinck could only imagine — their worldview brought to life as never before. Is what we see reality, or is it merely drama within the characters’ minds? Here is . . . love and betrayal, guilty strangers and innocent children, the search for what we cannot find. Here is an eloquent look into life’s illusions and realities. Embrace the possibilities. —Eric Sellen Above: “Pelléas and Mélisande” by British painter Edmund Blair Leighton.

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Introducing the Opera




King of Allemonde

unnamed, probably deceased

Golaud’s Father


Pelléas’s Father P

Geneviève’s first husband, unnamed, presumed dead

King Arkel’s daughter

Geneviève’s second husband, unnamed — he is ailing, and convalescing somewhere in King Arkel’s castle

Wife 1


Golaud’s first wife and Yniold’s mother; unnamed, deceased

Geneviève’s first son, Pelléas’s older brother



Geneviève’s second son, a princess of Golaud’s younger brother unknown origins; playwright Maeterlinck later suggested she was one of Duke Bluebeard’s wives, escaped from his tortuous and terrifying castle

YNIOLD Golaud’s young son

Baby Daughter born after Act 4; unnamed, presumably Golaud’s child

Symbolism and Meaning

The opera’s story is infused with symbolic meaning, layered within its enigmatic dialogue and storyline. The symbolism includes: love found and lost, innocence observed and betrayed, familial love and jealousy, things misplaced or just out of reach, the realities lurking in shadows, blindness (physical, mental, and spiritual), captivity vs. freedom, romantic longing and fate, foreignness vs. the comfort of home, destiny and the certainty of an unknown future.


Characters and Meaning

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THE STORY Storyline

IN BRIEF: Golaud finds Mélisande in the forest. She is alone and in anguish, but refuses to reveal very much about herself. Golaud persuades Mélisande to come with him for shelter. Soon, they are married. Mélisande is increasingly attracted to Golaud’s half-brother, Pelléas, but the two try to ignore their feelings and instead play childlike games without admitting their full desires outloud. Golaud’s jealousy grows, amplified through innocent moments witnessed by his son. Pelléas decides to leave, but in a final meeting Mélisande and Pelléas profess their love for one another. Their fate is sealed. Golaud, watching them, steps out and kills Pelléas. Mélisande gives birth, but finds only sadness reflected in her new baby’s face. Mélisande dies, leaving her new daughter and Golaud to try to understand the world without her. See full synopsis beginning on page 34.

The original illustrative artwork used to promote this production was commissioned by The Cleveland Orchestra from the artist Hardie of Rep: Good Illustration.

Severance Hall 2016-17

Storyline in Brief




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t h e m i s t a m o n g t h e l e ave s E N C O U N T E R I N G D E B U S SY ’ S O PE R A Pelléas and Méli-

sande for the first time can be a mystifying, even a terrifying experience. This dream-like world, resounding with the echoes of fairytales and sprouting unsolvable riddles with each new scene, is quite seductive at first. But the enigmatic landscapes of Maeterlinck’s libretto gradually reveal an opacity that seems directly at odds with the transparency of Debussy’s music. There is somefrom the director thing deeper and darker at play, and just like the swimmer who never suspects the ocean’s surface will transform into a powerful whirlpool, the spectator of Pelléas cannot pinpoint the moment the dream mutates into a nightmare. Yet by the time the unsuspecting audience has noticed the sea change, it’s too late to escape. This is the unsettling and profoundly haunting experience of Pelléas, a piece that asks us to confront the unknown. In rehearsal, I’ve likened it most often to the black monolith in Stanley Kubrick’s movie 2001: A Space Odyssey — an aesthetically perfect communication from some other world that we may never be able to decipher, reminding us of how little we really know. Exploring the murky darkness between the characters’ physical presence and their inner, spiritual reality; between their conscious awareness and their subconscious stirrings; between dream and reality — this is the drama of the opera. To get to the bottom of the piece’s watery depths, I turned to Pierre Boulez’s essay, “Reflections on Pelléas,” which, like so much of that great conductor’s writings, illuminated the work for me with poetic images. “If Parsifal is a mighty tree,” he wrote, “then Pelléas is the mist among the leaves.” Mist as an atmosphere and a metaphor became the central element for this Cleveland Orchestra production — not a fog loosely distributed over the stage but mysteriously contained in a hermetic glass box. Within this box, the fog is sometimes thick and ominously opaque; sometimes it is thin, revealing a tableau vivant related to the fantastical images in the drama. But just as the music always arises and vanishes toward an unknown destination — Franz told the orchestra in a rehearsal that there is no work where diminuendo is so frequently called for — the images in the box are always revealed and dissolve in an enveloping fog. The singers wander through the orchestra on their own journeys, their mythological doppelgängers appearing inside the box. The separation between voice and actor becomes a way to explore the conflict of the material and the spiritual that is the crisis of this work — but do the actors represent the body and the singers the soul, or is it the other way around? Since it would be wrong for me to provide “answers” for a piece like Pelléas and Mélisande, offering audiences an open riddle allows me instead to envelop them into its mystery. —Yuval Sharon, May 2017 Severance Hall 2016-17

About the Production



Act Two

Scene 1 In a forest: Golaud has lost his way while hunting. He discovers Mélisande crying, alone and confused. She has lost her crown in the waters of a well, but implores him not to recover it for her. As darkness approaches, he persuades her to come with him out of the forest. She is a stranger without a past.

Scene 1 In a garden: Pelléas and Mélisande talk in a garden by a fountain well. She accidentally drops her wedding ring into the deep water. What will we tell Golaud, Mélisande asks. “The truth,” says Pelléas.

Scene 2 At the castle: It is many months later. Golaud has written to his half-brother Pelléas, telling him about finding and marrying Mélisande. Their mother, Geneviève, reads the letter aloud to their grandfather, King Arkel of Allemonde. In it, Golaud asks for a sign — a lighted signal in the tower — that the King will accept Mélisande as Golaud’s new wife. Pelléas enters, distraught over news of a sick friend. The King suggests that Pelléas must stay home at the castle, where his father is closer to death than his friend. Pelléas goes to light the signal of welcome for the ship carrying Golaud and Mélisande home. Scene 3 Outside: The ship that brought Mélisande to Allemonde is departing, leaving Mélisande to her new life. Geneviève, mother of Golaud and Pelléas, entrusts Pelléas to escort Mélisande back inside.


Scene 2 In the castle: As the bells struck noon, just at the very same moment that Mélisande’s ring was lost into the waters, her husband Golaud in the nearby forest was thrown from his horse and injured. He is convalescing back at the castle. He asks where Mélisande’s ring is, and sends her — with Pelléas — to find it by the seashore, where she says she lost it. Scene 3 By the seashore: The two search an ocean grotto, knowing that they will not be able to find what they are looking for there. In the darkness, they see beggars seeking shelter from famine.

Act Three Scene 1 In the castle: Pelléas sees Mélisande at her window and is entranced. They are mesmerized by one another, and are drawn nearer and closer together. Pelléas becomes entangled in Mélisande’s hair. Golaud enters and reproaches them for playing like children.


The Cleveland Orchestra

Scene 2 Beneath the castle: Golaud takes Pelléas to visit a large underground vault, and dares him to look into the watery abyss below, to lean toward the darkness in search of the light. Pelléas is disoriented and finds it difficult to breathe. Scene 3 On a castle terrace: The two men have returned to the air above ground. Golaud tells Pelléas that Mélisande is expecting a child. Scene 4 Outside the castle: Golaud is playing with his young son Yniold, but keeps asking the boy about Pelléas and Mélisande. He lifts Yniold up to a window to spy on the two. Golaud questions the boy, who says his uncle and Mélisande are silently staring at a light. INTERMISSION

Act Four Scene 1 In the castle: Pelléas tells Mélisande that he is leaving the next day. They agree to meet at the fountain that evening.

Scene 3 In the garden: At twilight, Yniold tries unsuccessfully to retrieve a ball that has rolled behind heavy stones. Sheep are led by on their way to be slaughtered. Scene 4 Pelléas arrives, and then Mélisande. They confess their love for one another. They hear the gates of the castle closing for the night, and realize that they cannot return home. They kiss. Golaud, watching from the shadows, steps out and kills Pelléas.

Act Five Scene 1 In the castle: Mélisande has given birth prematurely. She awakens, but does not remember the violence between Golaud and Pelléas. Golaud is remorseful, but jealousy still gnaws within him. Mélisande admits no guilt in her love for Pelléas. The baby is brought to her, but finding only sadness in her new daughter’s face, Mélisande dies. Arkel leads Golaud away, observing that the baby must now take its turn in life.

Scene 2 King Arkel and Mélisande are talking together. Mélisande says she is unhappy. Golaud storms in, jealous and enraged. Vaguely, without facts, he accuses Mélisande of betrayal.

Severance Hall 2016-17



In Rehearsal



Franz Welser-Möst talks about opera, Cleveland, and Debussy Q: How does opera fit into The Cleveland Orchestra’s offerings each year? Franz: “The Cleveland Orchestra has a long tradition with opera, going almost back to the Orchestra’s founding. In the 1930s, under Artur Rodzinski, several operas were presented each season here at Severance Hall — staged operas, with sets and costumes. Lotte Lehmann, who was perhaps the most famous soprano of her time, sang Wagner here at Severance Hall. But the productions were expensive and were discontinued after several years, even though everyone loved them. More recently, in my time here, I have advocated that we make opera a focus again. Because it makes the Orchestra better, and because, again, audiences respond to it. From the time I started here, I thought that opera would be a fantastic addition to the schedule, and would help train this Orchestra to be even better. Just by listening to great singers, musicians of an orchestra learn to breathe and be more flexible, to respond to a given moment not just in your head but also with your heart.” Q: Talk about this opera in particular — about Debussy’s Pelléas and Mélisande. Franz: “I have wanted to do this impressionistic opera with The Cleveland Orchestra for a number of years. I had been waiting for the right time, to have the right singers and the right creative team, so that we could together tackle the psychological depths of the action onstage and within this piece. On one level, there is very little dramatic about this work. The characters are passing time, day to day, being part of a family, looking for love — maybe they don’t even realize they are looking for something missing in their lives. This opera is about dreams, it is very dreamlike. The real action is inside the characters, inside the music. Debussy takes the romantic feelings of the characters and weaves them into a mesmerizing and fascinating musical continuum. He identified their desires in an almost Sigmund Freudian subconscious way, and he wrote that into the music. From a variety of perspectives, the different characters represent ideas, and are searching for meaning. The director, Yuval Sharon, who created The Cunning Little Vixen for us in 2014, is exactly the right kind of person to tackle this opera. The production he has created is about showing us memorable pictures from within the opera’s uncertainty. And I think that these images will stay with you and make you wonder and think about what really was happening at that moment? what was that character wishing for? did what we see actually happen? did we see everything that happened? These are the kind of questions that should come to your mind as you watch and listen to this opera, because it really is about different realities and different possibilities. As the symbolists liked to say, this is about things ‘half said.’ You, the audience, the viewer, must fill in the rest of the meaning. Your role is not just important, it is central to the experience.”

Severance Hall 2016-17

Q&A: About Pelléas and Mélisande



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Foe of All Isms — Including Debussyism by David Wright


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H E I S T O T H E M U S I C I A N S of the 20th century everywhere what Beethoven was to those of the 19th, our blinding light, our sun, our central luminary.” When the composer and critic Virgil Thomson, an enthusiastic contrarian on many things, wrote those words about Claude Debussy in 1950, the French master’s stock was way down from those heady heights just after 1902, when the quiet revolution of his opera Pelléas et Mélisande made it seem as though he held the future of music in his hands. By mid-century, the spotlight in new music had turned elsewhere, to the twelve-tone method of Arnold Schoenberg (and his followers), to the ever-evolving personality of Igor Stravinsky, to electronic music (just getting started), or toward random order (even noises) as musical components. Today, now that we’re in the 21st century, and such giants

About the Composer: Claude Debussy


as Schoenberg and Stravinsky are as historical — dead and in the past — as Palestrina or Mozart, composers are free to claim them or a hundred other people and places as influences on their art, or to set out on paths that are theirs alone. In such a “new” environment, Debussy, with Young Claude grew up his curiosity about what we now call “world mupoor and was raised sic” and his determination to compose without with the help of various set forms and rules, is once again looking like a relatives and friends. composer for our time.

Yet musical gifts were recognized and fostered early on, and in 1872, at the age of ten, he was admitted to Antoine Marmontel’s piano class at the Paris Conservatoire.

M U S I C A L G I F T S , WA G N E R I A N D R E A M S

The freedom that present-day composers enjoy, and the respect that is expected for their most radical experiments, was bought in the past at considerable social cost. The typical pattern for the avant-garde poets, playwrights, painters, and musicians who congregated in Paris in the 1880s, as Debussy was entering adulthood, was rebellion against a stifling middle-class upbringing. It is no accident that we refer to things in art that shock and appall respectable people by a French phrase, épater les bourgeois [“to shock the middle class”]. Debussy had no such upbringing to rebel against. The son of a man with no stable occupation and a mother who was apparently depressed and emotionally distant, young Claude grew up poor and was raised with the help of various relatives and friends. Fortunately, his musical gifts were recognized and fostered early, and in 1872, at age ten, he was admitted to the piano class of Antoine Marmontel at the Paris Conservatory. Later, while still in his teens, Debussy traveled to Russia as the pianist in the “house trio” of a wealthy patroness of the arts,


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Nadezhda von Meck, who is remembered today chiefly as the “beloved friend” and confidante of Tchaikovsky. The encounter with Russian folk music, and with the concert works of Tchaikovsky, Borodin, and especially Mussorgsky, opened the young Frenchman’s eyes (and ears) to the possibilities of music outside his Franco-German conservatory experience. He was, in fact, to spend a lifetime exploring alternatives — from around the world or of his own making — to the harmonic language of the European classical canon. Back in Paris, Debussy soon aligned himself with the avantgarde, the symbolist poets and impressionist painters who dealt in sensation and suggestion rather than realism and traditional forms. He, like they, was irresistibly attracted to the “music of the future” in Wagner’s music dramas, with their sensuous scoring, harmonic daring, and plots and settings as far removed from everyday life as one could imagine. But unlike many of his artistic friends, Debussy soon concluded that Wagner hadn’t gone far enough to liberate music from the old forms and rules. “Il faut noyer le ton,” he told Ernest Guiraud, his former composition teacher at the Conservatoire. “We must drown tonality. In music one can travel where one wishes, and leave by any door. . . . There is no theory. You have only to listen. Pleasure is the law.”

Claude Debussy (left to right): with Emma Bardac, who became his second wife; asleep in 1900; playing piano in 1893; at his desk circa 1912, and smoking a cigarette.


Yet there was a paradox, of how and when to listen, and where to find the pleasure. This man, who was so self-assured about his artistic goals, tended to be awkward and inscrutable in his relations with anybody besides his closest friends. A former pupil, the pianist E. Robert Schmidt, described him as “often anxious and possessed by a curious sense of guilt . . . habitually silent, solitary, taciturn and tormented.” A friend, the poet Henri de Regnier, Severance Hall 2016-17

About the Composer


who helped Debussy to meet the playwright Maurice Maeterlinck, author of the stage drama Pelléas et Mélisande, described the composer more charitably as “passionate and turned in upon himself,” while another friend wrote admiringly of his “ironic and sensual” nature, observing that “in his reclusion there was something feline.” Needless to say, such a man did not make an ideal husband. Debussy married a fashion model, Rosalie Texier, in 1899, when he was 37 years old, then proceeded to neglect her needs for the next five years, finally running off for an extended “vacation” in Brittany with a married woman, Emma Bardac. There is little doubt that Rosalie’s attempted suicide, his divorce, and the marriage of Debussy and Bardac were all a product of the composer’s self-absorption. Yet that inward-lookingness drove him forward, more than any conscious wish to flout convention. Debussy’s personal life nevertheless caused conMAURICE 1862-1949 sternation among the composer’s friends and the general public at just the moment when the success of his opera Pelléas et Mélisande was propelling him Maeterlinck, consito international fame. dered among the


most important exponents of the Symbolist movement, was born in Ghent, Belgium, in 1862 and died at Orlamonde (near Nice) in 1949. From 1896 onward, he lived in Paris — although he was in exile in the United States during World War II. Maeterlinck’s most famous play is The Blue Bird, published in 1909. In 1911, he was awarded the Nobel Prize for Literature.


Nowadays, it is early Debussy works, such as Prelude to the Afternoon of a Faun, that are taught in music history classes as having “drowned tonality” and substituted floating harmonies in its place. But if tonality falls in a forest and nobody hears it, is there a sound? Until the premiere of Pelléas in 1902, only a handful of music connoisseurs in Paris knew just how radical Debussy’s music was. After that, he found himself lionized (and demonized) and placed on a pedestal as the founder of a new school of composition called Debussyism. Nothing could have appalled the reclusive composer more. “Heureusement nous ne sommes pas modernes,” he once wrote a friend. [“Happily, we are not modern.” ] And yet, after a lifetime resisting forms, rules, and especially “isms” of every sort, Debussy found himself obliged to defend one that was named after himself. The obnoxious behavior of some of his supporters deeply embarrassed him. When a friend confided to him, “Claude, the Debussyists annoy me,” he replied: “They’re killing me.”


About the Composer

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Chronically in debt and married to a new wife whose inheritance had just been cut off, Debussy was financially obliged to go on tour as a pianist and conductor of his own now-famous works. Although he was a proficient, if shy, pianist, orchestras learned to prepare well in advance of his conducting engagements — because his abilities in that area were limited, to put it mildly. And he detested the road. “My nerves are on edge,” he wrote to his wife Emma from Vienna in 1910, “and I find that a composer of music is required to excel in those qualities of toughness possessed by a traveling salesman.” This from a composer most celebrated for his sensitivity to nuance, the Chronically in debt and very opposite of toughness. married to a new wife Somehow he soldiered through, staying whose inheritance had at home in his head long enough to produce just been cut off, Demany of the mature masterworks on which his reputation rests, such as La Mer, his enigmatically bussy was financially perfect musical depiction of the sea, and his sly obliged to go on tour as ballet Jeux (or “Games”), as well as the masterful a pianist and conductor Images and Préludes for piano. He also found an unexpected vocation, under the pseudonym M. of his own now-famous Croche, as a perspicacious observer in print of the works. Although he was musical scene, joining a distinguished handful of a proficient, if shy, piacomposer-critics whose writings about everyone nist, his conducting abiliaround them is as important a history lesson, in some significant ways, as the music they creatties were . . . limited. ed within, or despite, that very context. (Other great writer-observers in that club include Hector Berlioz, Robert Schumann, and the above-mentioned Mr. Thomson.) WA R , D E AT H , A N D A N E W A G E

Never in robust health, Debussy was diagnosed in 1909 with the rectal cancer that would trouble and debilitate him until it ended his life in 1918. The onset of World War I was another stunning blow: “All this brings about an intense, agitated state of mind,” he wrote to his publisher on August 8, 1914, “and I feel I am nothing but a mere atom crushed to pieces in this terrible cataclysm.” In spite of it all, he continued to produce a small number of high-quality compositions, many of which, such as the instrumental sonatas and the Études for piano, showed an unexpected interest in traditional forms and in codifying the musical advances he had made over his composing lifetime. The war pushed him hard — the shortages of food, the carSeverance Hall 2016-17

About the Composer


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nage and death, his failing health. “When will hate be exhausted?” Debussy wrote. “Or is it hate that’s the issue in all this? When will the practice cease of entrusting the destiny of nations to people who see humanity as a way of furthering their careers?” Following the composer’s death — and the end of the war — the iconoclast-turned-icon and his music went on the shelf for a while, as Debussyism gave way to a new flurry of competing isms: expressionism, dodecaphonism, neo-classicism, and later minimalism and the New Romanticism. We are left, in 2017, with eclecticism, which isn’t really a school at all. It is mostly an attitude: There is no theory. You have only to listen. Pleasure is the law. Not surprisingly, what’s old is new. What was groundbreaking once still leads us forward. Debussy is “in” again. —David Wright © 2017

Debussy died in 1918, seven months before the First World War ended.

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About the Composer


Through August 6



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Brand-New & Terrific: Alex Katz in the 1950s is organized by the Colby College Museum of Art, Waterville, Maine, and curated by Diana Tuite, Katz Curator at Colby. Bather (detail), 1959. Alex Katz (American, b. 1927). Oil on linen; 121.9 x 182.9 cm. Colby College Museum of Art, Museum purchase made possible by Peter and Paula Lunder through the Lunder Foundation, Michael Gordon ’66, Barbara and Theodore Alfond through the Acorn Foundation, and the Jere Abbott Acquisitions Fund, 2016.189. Art © Alex Katz / Licensed by VAGA, New York, NY.

by D David avid av id Wright Wri r gh ht


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T O DAY, W I T H I N T H E D I V E R S E , media-saturated, alwayson environment we find ourselves living, it is hard to imagine a single individual dominating the entire world of the arts — indeed, the whole world’s view of classical art — as Richard Wagner did in the 1880s and ’90s. Among the avant-garde in Paris, as seemingly everywhere else, not only musicians but poets, painters, and dramatists flocked to Wagner’s operas in search of the long-awaited Gesamtkunstwerk, literally the “total work of art” in which all their disciplines had been “united.” Claude Debussy’s friends included many symbolist writers, with their ineffable poetry of veiled emotions and sensation, and impressionist painters, who sought to capture light and mood (but without too much specificity) on their canvases. Even those who knew little about music embraced Wagner’s music drama for its sensual scoring, open-ended melody, exotic settings, and transcendental ambition. Between 1887 and 1893 Debussy attended eight complete performances of Wagner operas in Paris and Bayreuth,

About the Music


Wagner’s last opera, Parsifal, was premiered at the composer’s own theater in Bayreuth in 1882. Debussy was among those who experienced it there — and he was mesmerized by the opera’s shimmering music and its exploration of the characters’ fate and destinies.


participated in a ninth as a pianist, and heard many Wagner excerpts in concert. In his circle, Wagner figured in nearly every conversation about the arts and its future direction, with the focus placed often on the yearning harmonies of Tristan and Isolde. For his part, Debussy was most moved by the spiritual aspirations of Wagner’s final opera, Parsifal, with its orchestration that, as he said, “glowed as if lit from behind.” Recalling those days, Debussy wrote, “For a long time I had been striving to write music for the theater.” He did not say “to write an opera,” because what he had in mind was radically different from most people’s idea of what an opera is, then and now. In conversation with his former composition teacher Ernest Guiraud in 1890, Debussy approved of Wagner’s elimination of talking “recitatives in the Italian manner” and also of the “lyrical arias,” but said he wanted to go further. Guiraud asked what kind of poet he wanted to set to music. Debussy replied: “One who deals in things half-said. The ideal would be two associated dreams. No place, nor time. No big scenes. . . . Music in opera is far too predominant. Too much singing and the musical settings are too cumbersome. The blossoming of the voice into true singing should occur only when required. A painting executed in gray is the ideal. No developments merely for the sake of developments. . . . No discussion or arguments between the characters, who would simply be at the mercy of life and submit to destiny.” A N E N I G M AT I C P L AY, M E E T I N G T H E P L AY W R I G H T

“Things half-said” were the stock in trade of the symbolist writers, who abhorred anything literal or realistic, instead striving to take the reader into realms of fantasy and emotional suggestion. Among them was Maurice Maeterlinck, whose elusive plays exemplified the symbolist ethos. In 1891, Debussy requested the rights to set one of them, La princesse Maleine, but learned they had already gone to another composer. He read another Maeterlinck play, Pelléas et Mélisande, attended its first About the Opera

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performance on May 17, 1893, and decided, according to his later account, that this one would be even better: “The drama of Pelléas which, despite its dream-like atmosphere, contains far more humanity than those so-called ‘real-life documents’ seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity could be extended into music and into the orchestral backdrop.” Through a mutual friend, the poet Henri Régnier, Debussy approached Maeterlinck and this time obtained permission to set Pelléas. (In fact, he was already writing some of the music, before permission was granted.) Debussy began composing his opera in September 1893. Two months later, he went to Belgium to visit the playwright at his home in Ghent, and to work through some final unstated details. At first, Maeterlinck seemed to Debussy as shy as “a girl meeting an eligible young man,” but the two soon relaxed and talked terms. No doubt to Maeterlinck’s satisfaction, Debussy proposed setting the playwright’s original words to music, instead of the more common practice of using a libretto “Things half-said” adapted from the play by another writer. were the stock in trade Professing ignorance of music, Maeterlinck of the symbolist writauthorized the composer to make cuts in the play ers, who abhorred as necessary. Eventually Debussy did just that, cutting four scenes entirely and reducing the anything literal or reroles of the servant-women to one silent appearalistic, instead striving ance at the end. He finished the work in all but to take the reader into the full orchestration in August 1895. (His score realms of fantasy and included jottings about the eventual orchestration, but that he would flesh out only once it was emotional suggestion. actually needed.) Among them was MauThen began the work of finding a comrice Maeterlinck, whose pany that would produce it. The deeply-shy elusive plays exemplified Debussy was no genius at self-promotion, and, as the years passed, his friends, sensing a pothe symbolist ethos. tential breakthrough work for the still-obscure composer, began to despair of ever seeing his opera onstage. Finally, André Messager, a composer and conductor — and admirer of Debussy — who had heard Debussy play portions of the opera on the piano, was appointed chief conductor of Paris’s Opéra-Comique in 1898. That year, Messager persuaded the head of that theater to meet with Debussy and hear the music. Another such session took place in 1901, and at last the work’s premiere was scheduled for the Opéra-Comique for the spring of 1902. Severance Hall 2016-17

About the Opera


Scottish soprano Mary Garden made the cover of Time Mag-


azine in 1932 — as

Accounts of casting the role of Mélisande differ, but it appears Debussy had all but promised the part to Maeterlinck’s mistress, Georgette Leblanc, when the theater’s management insisted on casting the Scottish soprano Mary Garden, then a hot new property on the Paris stage. Not enthusiastic about Leblanc, Debussy found a soul-mate in Garden: “That was the gentle voice that I had heard in my inmost being, with its hesitantly tender and captivating charm, such that I had barely dared to hope for.” Maeterlinck was incensed, sued the theater to stop the production, and at one point physically threatened the sickly, diminutive composer with his cane. In a letter to Le Figaro two weeks before the opera opened, Maeterlinck declared the work “strange and hostile to me” and wished “for its immediate and decided failure.” (Biographers have speculated that Maeterlinck sensed, on some level, that Pelléas and Mélisande would subsequently become famous as a work by Debussy, not by Maeterlinck.) The playwright finally relented in 1920, two years after Debussy’s death — attending a performance of the opera and later declaring: “In this affair I was entirely wrong and he was a thousand times right.”

much for the offstage controversies in her life as for her years as an operatic star. (Left to right above): the death of Mélisande in the opera’s original production; on the cover of La Théatre magazine, as Mélisande in 1902; gazing into the fountain well in the original production.


On opening night, Debussy gathered the cast together and begged them one last time to forget that they were singers. The music he had written for them followed the precepts, rarely


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if ever realized before, of the philosopher and sometime composer Jean-Jacques Rousseau, who wrote more than a century earlier about an idealized and new form of French opera: “The best recitative is the one where one sings the least. It must move by very small intervals, not raising or lowering the Debussy found a voice very much. Few sustained sounds, never an exclamation, even less a cry, nothing that resemsoulmate and perfect bles singing, not much inequality in the duration singing-actress to play or value of the notes, or in their degrees.” Mélisande in the young This might be a recipe for musical monotScottish soprano Mary ony, and so it seemed to Richard Strauss, who first heard Pelléas in 1907 and pronounced the Garden: “Hers was the music “nothing, nothing at all. You might as well kind of gentle voice be listening to the play by Maeterlinck, without that I had heard in my music.” (Strauss was quick to find Wagnerian inmost being, with its touches in the orchestral interludes between scenes: “But all that is Parsifal!”) hesitantly tender and To ears more attuned to Debussy’s idiom, captivating charm, such however, the miracle of Debussy’s setting is the that I had barely avoidance of monotony — through ever-changdared to hope for.” ing orchestration, and through the occasional “blossoming” of the vocal line into impassioned melody as emotions intensify. CONTROVE RSY AND APPL AU SE

The work had sparked controversy even before its first performance. At the dress rehearsal, someone handed out a Severance Hall 2016-17

About the Opera


crude parody of the opera’s plot, and there was laughter and mockery at Garden’s Scottish accent and bewilderment at the unfamiliar music. On opening night, the pro-Debussy faction, not exactly regular attendees at the Opéra-Comique, was out in force to counter the hissing with cheers. On subsequent nights, as conductor Messager recalled, “the public remained calm and above all curious to hear this work everyone was talking about.” Celebrity overcame all. Pelléas et Mélisande became a must-see, turning a profit in the 14 performances of its initial run, and logging its one-hundredth performance at the Opéra-Comique by January 1913. By that time, productions had also been mounted in Brussels, Frankfurt, New York, Milan, London, and many other cities. And the name of Claude Debussy, so recently known to so few, suddenly figured in every conversation about the future of music. —David Wright © 2017 David Wright formerly served as program annotator for the New York Philharmonic. He writes program notes for orchestras and festivals around the world.

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But music, don’t you know, is a dream from which the veils have been lifted. It’s not even the expression of a feeling, it is the feeling itself. —Claude Debussy


Operatic Tradition, Renaissance, and Innovation The Cleveland Orchestra has a long and storied history of operatic performances. In the mid1930s, after the opening of Severance Hall, music director Artur Rodzinski led several fully-staged opera productions each year (including the United States premiere of Shostakovich’s Lady Macbeth of Mtzensk). But economic constraints of the Depression ended the series after a few years. The Orchestra’s season featured occasional inconcert presentations in the ensuing decades, as well as several summer seasons of Lake Erie Opera’s staged productions at Severance Hall in the mid-1960s and a staging of Mozart’s The Magic Flute at Blossom in 1985. During Franz WelserMöst’s tenure, opera has become a regular and welcome part of the Orchestra’s annual schedule, now boasting over a dozen operas featuring international stars and up-and-coming talent, and mixing in-concert presentations alongside innovatively-staged productions.


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Opposite page, top to bottom: Wagner’s Die Walküre in 1934 and Shostakovich’s Lady Macbeth of Mtzensk in 1935 were among fully-staged operas in Severance Hall’s early years. More recently, Mozart’s Così fan tutte in 2010 was featured as part of a three-year cycle of Mozart’s Da Ponte operas in productions from Zurich Opera. At left: Nina Stemme starred in the title role in a concert presentation of Strauss’s Salome.

Franz Welser-Möst led The Cleveland Orchestra and an international cast of singers in a unique production of Leoš Janáček’s The Cunning Little Vixen in 2014, directed by Yuval Sharon and blending together live action with projected animation. Encore performances of this acclaimed production are September 23-26. COLOR PHOTOGRAPHY BY ROGER MASTROIANNI

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Opera and The Cleveland Orchestra


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Elliot Madore

Martina Janková

A winner of the Metropolitan Opera National Council Auditions, Canadian baritone Elliot Madore is quickly gaining international acclaim for his voice and artistry. He is making his Cleveland Orchestra debut in this week’s production. Recent and upcoming engagements include performances of Debussy’s Pelléas et Mélisande at OpéraThéâtre de Limoges and with the Sydney Symphony Orchestra, the role of Mercutio in a new production of Gounod’s Roméo et Juliette with New York’s Metropolitan Opera, as well as concerts with the Baltimore Symphony Orchestra, Houston Symphony, and the Orchestre de la Suisse Romande. He has sung widely in North America and Europe, including appearances with the Bavarian State Opera, Croatian National Opera, Dutch National Opera, Lyric Opera of Kansas City, Opera Philadelphia, San Francisco Opera, and Santa Fe Opera, as well as at the Glyndebourne, Saito Kinen, Salzburg, and Tanglewood festivals. Mr. Madore was a member of the Metropolitan Opera’s Lindemann Young Artist Development Program and an ensemble member at the Zurich Opera. He is a graduate of the Curtis School of Music and a recipient of a 2010 George London Award.

Martina Janková, a Swiss soprano with Czech roots, is an internationally famous interpreter of Mozart and Baroque music. Recent engagements included her role as Bellezza in Handel’s Il Trionfo del tempo e del disinganno at Milan’s Teatro alla Scala and performances across Europe and at the Lucerne Festival with Les Arts Florissants under William Christie’s direction in the title role of Mozart’s Il re pastore, as well as appearances at the Prague Spring Festival and with the Leipzig Gewandhaus Orchestra. She is a regular guest at the Salzburg Festival, and has sung at the festivals of Geneva, Graz, Lucerne, and Vienna, and at the Janáček Spring Festival, Martinů Festival, and the Rheingau Festival. She made her Cleveland Orchestra debut in March 2009 in Mozart’s The Marriage of Figaro, returning for Così fan tutte in 2010, Don Giovanni in 2011, and The Cunning Little Vixen in 2014. Her recordings include a DVD of Johann Strauss Jr.’s Simplicius for EMI along with albums for DGG Archiv, Philips/Universal, and Supraphon. Ms. Janková began her musical training in the Czech Republic, and later was a prizewinner at Germany’s Neue Stimmen International Singing Competition.


Severance Hall 2016-17


Guest Artists — Pelléas & Mélisande


Hanno Müller-Brachmann as GOLAUD

Illustrations for Maeterlinck’s Pelléas and Mélisande, created in 1892 by the Swiss Symbolist artist Carlos Schwabe (1866-1926).


German bass-baritone Hanno Müller-Brachmann is increasingly in demand across Europe and North America, on both the operatic and concert stage. He began his musical studies in Basel and Freiburg, attended Dietrich Fischer-Dieskau’s art song classes, and worked with Rudolf Piernay. Mr. Müller-Brachmann was a member of the ensemble of the Berlin State Opera, 1998-2011. Since that time, he has performed with the opera companies of Madrid, Modena, San Francisco, and Seville, as well as with the state operas of Hamburg, Munich, and Vienna, in roles by Mozart, Richard Strauss, Telemann, and Wagner. In concert, he has appeared with the orchestras of Berlin, Boston, Chicago, Cleveland, Leipzig, London, Los Angeles, New York, Madrid, Munich, Paris, San Francisco, and Vienna. In recital, Mr. Müller-Brachmann works with pianists Daniel Barenboim, Burkhard Kehring, Philippe Jordan, Malcolm Martineau, and András Schiff, and has appeared in Berlin, London, Vienna, and Zurich, and at many prestigious European festivals. His discography includes recital albums for Harmonia Mundi, Hyperion, and Naxos Records as well as Mozart’s The Magic Flute for Deutsche Grammophone and Bach’s Saint Matthew Passion for Decca. He made his Cleveland Orchestra debut in October 2014.

Guest Artists — Pelléas & Mélisande

The Cleveland Orchestra


Peter Rose

Nancy Maultsby

A regular guest at the world’s leading opera houses, British bass Peter Rose sings a broad repertoire. He studied music at the University of East Anglia and singing at the Guildhall School of Music and Drama and the National Opera Studio. He was a member of the Glyndebourne Chorus in 1986, and made his professional debut for Glyndebourne on Tour. Since then, his operatic engagements have featured him on the stages of Barcelona, Berlin, Dresden, Hamburg, London, Melbourne, Milan, Munich, New York, Paris, Rome, Sydney, and Vienna. In concert, he has appeared with major ensembles across North America and Europe. Mr. Rose’s recordings include operas ranging from Mozart’s The Marriage of Figaro to Puccini’s Tosca. Mr. Rose made his Cleveland Orchestra debut in an operatic doublebill in April 1999 under the direction of Pierre Boulez.

American mezzo-soprano Nancy Maultsby sings with opera companies and orchestras throughout the world, in repertoire from Monteverdi to John Adams. She regularly performs heroines of 19th-century French, Italian, and German opera, singing with opera companies including the Boston Lyric Opera, London’s Royal Opera House, San Francisco Opera, Santa Fe Opera, Seattle Opera, and Teatro Colón. She regularly appears across North America, and has recorded for BIS, Naxos, and Telarc. Ms. Maultsby made her Cleveland Orchestra debut in March 1998 and most recently sang here in July 2015. After graduating from Westminster Choir College, she studied with Margaret Harshaw at the Indiana University School of Music. Ms. Maultsby is an alumna of the Lyric Opera of Chicago’s Center for American Artists and is currently a member of the voice faculty at Baldwin Wallace University.



THE CLEVELAND ORCHESTRA welcomes the trustees of The Louise H. and David S. Ingalls Foundation to Thursday’s concert, with special thanks for their longtime support.

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Guest Artists — Pelléas & Mélisande


Julie Mathevet

David Castello

French soprano Julie Mathevet made her professional debut at the Opéra National de Lyon and subsequently joined the Atelier Lyrique of the Opéra National de Paris. She has sung widely across Europe, especially in France and Italy, and with La Monnaie in Brussels. She is making her Cleveland Orchestra debut with this week’s production. Ms. Mathevet’s operatic repertoire features Mozart and many French roles, alongside a strong interest in new works and new productions. She was the cover singer for the world premiere production of Bruno Mantovani’s opera Akhmatova. She has sung the role of Yniold in Debussy’s Pelléas and Mélisande at Paris Opéra Bastille, Opéra Éclaté, Opera Malmö, and the Verbier Festival, and will sing it again in Sydney this coming summer. Beyond the opera stage, she is a regular recitalist.

American baritone David Castillo is making his Cleveland Orchestra debut. He sings a wide range of repertoire, from early to contemporary music. He has performed with the Los Angeles Master Chorale, LA Opera, and the Los Angeles Philharmonic. He has appeared in recital in Los Angeles, New Orleans, and Paris. On screen, he has been on America’s Got Talent and been featured in several commercials. Mr. Castillo earned a master of music degree at the University of Southern California and a bachelor of music degree from Loyola University. He has served as a faculty member of the Hawaii Performing Arts Festival. As a producer, David Castillo is the founder and creative director of Jukebox Castle, a New Orleans arts company that fuses food, music, dance, visual arts, and mixology into immersive sensory events.

as Yniold


as a SHEPHERD and the DOCTOR

Guest Artists — Pelléas & Mélisande

The Cleveland Orchestra

CONNECT TO CLEVELAND ARTS... WE DO. CONSERVATORY of MUSIC BW is proud to have eight members of The Cleveland Orchestra on our faculty. Internationally acclaimed mezzo-soprano and BW voice professor Nancy Maultsby performs as Genevieve in this Cleveland Orchestra production. Baldwin Wallace University Conservatory of Music, Berea, Ohio 44017

Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

With Extra Special Thanks . . . The Cleveland Orchestra applauds the generous donors listed below, who are making possible presentations of artistically ambitious programming of opera and ballet every year, including this week’s performances of Debussy’s Pelléas and Mélisande:

George* and Becky Dunn Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Mrs. Emma S. Lincoln Judith and George W. Diehl T. K. and Faye A. Heston Mr. and Mrs. Michael J. Horvitz Rachel R. Schneider Mr. Brian L. Ewart and Mr. William McHenry Mr. and Mrs. Dennis W. LaBarre Larry J. Santon and Lorraine S. Szabo Drs. Daniel and Ximena Sessler William I.* and Marjorie B. Shorrock

Add your name to the community of donors supporting these unique artistic endeavors. Call Emily Thome in our Philanthropy & Advancement Office at 216-231-7521, or make a donation online by visiting Your donation will help The Cleveland Orchestra in presenting two operas during the ensemble’s Centennial Season in 2017-18: Janáček’s The Cunning Little Vixen in September 2017 and Wagner’s Tristan and Isolde in April 2018.

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Mr. and Mrs. Charles Abookire, Jr. Mr. William P. Blair III Mr. and Mrs. Ralph Daugstrup Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Elisabeth Hugh Mr. Clayton R. Koppes Anthony T. and Patricia A. Lauria Mr. and Mrs.* Thomas A. Liederbach James and Virginia Meil Mr. J. William and Dr. Suzanne Palmer Ms. MacGregor W. Peck

Listing as of April 2017

With Special Appreciation Solo Artist

The Cleveland Orchestra


Opera and Debussy, in his own words . . . “I imagine a kind of drama quite different from Wagner’s, in which music would begin where the words are powerless as an expressive force. Music is made for the inexpressible; I would like it to seem to emerge from the shadows and go back into them from time to time, and it should always be discreet.” —Claude Debussy, circa 1889 “For a long time I had been striving to write music for the theater, but the form in which I wanted it to be was so unusual that after several attempts I had given up on the idea. The traditional forms were totally at odds with all that I envisioned, demanding a type of music that is alien to me. . . . To do what my mind has dreamed of, I would need to work with . . . a poet who half speaks things. The ideal would be two related dreams. No time, no place, no big scenes. . . . Music in opera is too often far too predominant. Too much singing and the musical settings are too cumbersome. The blossoming of the voice into true singing should occur only when required. A painting executed in gray is the ideal. No developments merely for the sake of developments. . . . For my ideal, the libretto would be short, with mobile scenes — scenes with different locations and of different types. No discussion or arguments between the characters, who would simply be at the mercy of life and submit to destiny.” —Claude Debussy, 1890 “It is my intention that the characters of this opera try to sing like real people, and not in an old-fashioned arbitrary language made up of worn-out clichés. . . . I imagine something different, something new, which can release dramatic music from the heavy yoke under which it has lived for so long. The drama of Pelléas and Mélisande, despite its dream-like atmosphere, contains so much more humanity than those so-called “real-life documents. It seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity could be extended into music and into the orchestral backcloth.” —Claude Debussy, circa 1900

Severance Hall 2016-17

Debussy Talks About Opera


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The Cleveland Orchestra

Julia Aks ENSEMBLE Julia Aks is recognized among Los Angeles’s versatile performers, working in projects across opera, television, film, theater, aerial, and dance. She frequently sings with LA Opera, with recent roles including Helen in Wonderful Town and covering the role of Nicklausse/Muse in The Tales of Hoffmann. She has also sung and performed with The Industry and the Independent Shakespeare Company, as well as in new cross-disciplinary works with Fugitive Kind Theatre. Her onscreen credits include Marvel’s Agents of S.H.I.E.L.D., the horror comedy feature Clinger, and on the transmedia series Personal Space. This summer, Ms. Aks will play the role of Laurey in 3D Theatrical’s Oklahoma! For more information, visit

Paige Amicon ENSEMBLE Paige Amicon is a Los Angeles-based dance artist and teacher originally from Glenmoore, Pennsylvania. She recently graduated from the University of North Carolina School of the Arts in Winston-Salem, earning a BFA in contemporary dance. She also holds a high school degree from UNCSA with a concentration in ballet. Her performance experience includes works by Twyla Tharp, José Limón, Trisha Brown, Lucinda Childs, Merce Cunningham, and Helen Simoneau. She has also had the opportunity to teach and choreograph young dancers in the Winston-Salem, Philadelphia, and Los Angeles areas.

Stephen Beitler ENSEMBLE Stephen Beitler teaches mindful artistry in Los Angeles and is the founder of the online community FreeYogaTV and cofounder of the L.A.-based arts collective WeAreEfflorescence. He previously worked with Yuval Sharon in The Industry’s production of Hopscotch: A Mobile Opera for 24 Cars, playing Jameson on a motorcycle. His work has been called “virtuosic” by The New Yorker and “showstopping” by LA Weekly, and a couple of other choice words.

Severance Hall 2016-17

Guest Artists — Pelléas & Mélisande


Liz Bustle ENSEMBLE Liz Bustle grew up in Ohio studying a myriad of dance styles. She attended Ohio State University and subsequently earned a BFA in dance theatre from the American Musical and Dramatic Academy in Los Angeles. After graduating, she’s gone on to perform commercially, on the musical theater stage, and within the concert scene. Her choreography has been featured on red carpets, award shows, and on film. Ms. Bustle is also a co-creator of The Wild We, a physical theater dance company.

Ariana Daub ENSEMBLE Originally from New York City, Ariana Daub relocated to Los Angeles and received her BFA in dance from CalArts in 2012. That same year, she joined Danielle Agami of Ate9 dANCEcOMPANY as a founding member. Her most recent premiere with Ate9 dANCEcOMPANY was Calling Glenn, a collaboration between Danielle Agami and Glenn Kotch in October 2017. Ms. Daub has had the pleasure of performing and creating with fellow Los Angeles artists and organizations, including HomeLA and Niners, as well as a current series of collaborations with choreographer Jordan Saenz. She was also part of The Industry’s Hopscotch: A Mobile Opera for 24 Cars in 2015.

Raymond Ejiofor ENSEMBLE Raymond Ejiofor is a professional dancer, teaching artist, and choreographer based in Los Angeles. He has danced and created works with Daniel Ezralow, Lula Washington, Cindy Salgado, Bryan Arias, Sarah Elgart, Ryan Heffington, Sidra Bell, Kyle Abraham, and Robert Battle. His credits include the 59th Grammy Awards, Audi/Shanghai, Toshiba, Samsung, Apple, Beijing Dance Festival, Springboard Danse Montreal, Israeli Opera House, SummerStage NYC, and Lincoln Center. He has performed with many artists, including Pharrell, Katy Perry, Little Boots, Fitz and the Tantrums, Pittsburgh Opera, and Daft Punk. For more information, visit


Guest Artists — Pelléas & Mélisande

The Cleveland Orchestra

Jeremy Hahn ENSEMBLE Interdisciplinary movement artist Jeremy Hahn is an active choreographer, performer, and educator of dance and movement improvisation based in Los Angeles. He holds an MFA in dance from California State University Long Beach and is currently a faculty member teaching dance at Cal Poly Pomona. As a choreographer and performer, he creates works of contemporary dance theater, site-specific interactive performance, and performance art. He has performed in works by Bill T. Jones, Doug Varone, and David Dorfman, in addition to working with Loretta Livingston and Dancers, Lucent Dossier Experience, The Industry, and many others. He is a founding member of Efflorescence, a Los Angeles-based performance collective.

Tom Fitzpatrick ACTOR Tom Fitzpatrick may be familiar to fans of television comedy for his recurring role as Coleman, Kevin Hart’s long-suffering butler on the BET series Real Husbands Of Hollywood. Horror movie fans may also note that they’re watching the actor who played the deadly, undead, serial-killing drag-queen ghost the Bride In Black, seen in two installments of the Insidious franchise. Long a fixture on Los Angeles’s stages, Mr. Fitzpatrick is proud to have worked for ten years with the late Iranian-American theater visionary Reza Abdoh as a member of his performance troupe, Dar A Luz.

Alex Thome ACTOR Alex Thome has had a lifelong passion for performing. He began breakdancing at age five, leading to an opportunity to join the Cleveland Cavalier’s Junior Scream Team. The experience of dancing for a packed arena of fans only deepened Alex’s interest — and he has been seeking out opportunities to perform ever since. He currently dances at CityBreaks Studios in the Gordon Square Arts District of Cleveland. In the rare moments when he is not dancing, Alex can be found at home in Shaker Heights with his older brother Elliot and attending the third grade at Boulevard Elementary School.

Severance Hall 2016-17

Guest Artists — Pelléas & Mélisande



Fill your Summer with Music at the Cleveland Institute of Music!

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Yuval Sharon DIRECTOR

Proclaimed “LA’s avant-garde opera darling” by Hollywood Reporter, Yuval Sharon has been creating an unconventional body of work exploring the interdisciplinary potential of opera. His productions have been described as “thrilling” (New York Times), “virtuosic” (Opernwelt), “dizzyingly spectacular” (New York Magazine), “ingenious” (San Francisco Chronicle), and “staggering” (Opera News). Last year, he made his Vienna State Opera debut with a new production of Eötvös’s Tri Sestri. He is the recipient of the 2014 Götz Friedrich Prize in Germany for his production of John Adams’s Doctor Atomic, originally produced at the Staatstheater Karlsruhe. In addition to Mr. Sharon’s ongoing work as artistic director of The Industry, an experimental opera company in Los Angeles, Yuval Sharon has embarked this season on a three-year residency as artistcollaborator with the Los Angeles Philharmonic. His work there includes Night and Dreams: A Schubert & Beckett Recital, exploring the relationship between the 20th-century writer Samuel Beckett and Franz Schubert’s art songs. He also returns to Staatstheater Karlsruhe for a new production of Wagner’s Die Walküre, and Severance Hall 2016-17

to The Cleveland Orchestra for this week’s presentation of Debussy’s Pelléas and Mélisande. Yuval Sharon founded The Industry, where his inaugural production of Anne LeBaron’s hyperopera Crescent City was praised by the Los Angeles Times as “groundbreaking” and “reshaping LA opera.” His second production with The Industry, Christopher Cerrone’s Invisible Cities, took place among the everyday life of Union Station, with audiences hearing the live performance on wireless headphones. The production, a finalist for the 2014 Pulitzer Prize in Music and hailed as “the opera of the future” by Wired Magazine, was so successful that nine performances were added to the run and an international tour is currently in development. His production of Hopscotch: Mobile Opera for 24 Cars was a hit in Los Angeles in 2015. Mr. Sharon previously served for four years as project director of New York City Opera’s VOX, an annual workshop of new American opera. He also served as assistant director to Achim Freyer on the LA Opera’s production of Wagner’s Ring of the Nibelung and as associate director of the world premiere of Stockhausen’s Mittwoch aus Licht with Graham Vick for the London 2012 Cultural Olympics.

For Franz Welser Möst’s biography, please see pages 19-20.

Creative Team — Pelléas & Mélisande


Mimi Lien

Jason H. Thompson

Mimi Lien is a designer of sets/environments for theater, dance, and opera. Arriving at set design from a background in architecture, her work often focuses on the interaction between audience/environment and object/performer. She was recently named a 2015 MacArthur Fellow, and is the first set designer ever to achieve this distinction. Ms. Lien is a company member of Pig Iron Theatre Company, resident designer at BalletTech, and co-founder of JACK, a performance/art space in Brooklyn. Selected work includes Natasha, Pierre, & The Great Comet of 1812 (Broadway, Lortel Award, 2013 Hewes Design Award), John (Signature Theatre, 2016 Hewes Design Award), Appropriate (Mark Taper Forum, LA Drama Critics Circle Award), An Octoroon (Soho Rep/TFANA, Drama Desk, and Lortel nominations), and Black Mountain Songs (BAM Next Wave). Her stage designs were exhibited in the Prague Quadrennial in 2011 and 2015, and her sculptures were featured in the exhibition Landscapes of Quarantine at the Storefront for Art and Architecture.

Jason H. Thompson has worked as a lighting and projection designer for opera, dance, theater, theme parks, commercial, architecture, and corporate events around the world. His credits include: The Cunning Little Vixen (The Cleveland Orchestra), Die Walküre (Karlsruhe, Germany), Tri Sestri (Vienna State Opera), Hopscotch: Mobile Opera for 24 Cars (live-streaming multimedia opera around Los Angeles), Grey Gardens (Ahmanson, Los Angeles), Tarzan: Call of the Wild and Frozen A Sing-Along (Disney Shanghai Resort), Cage Songbooks (Carnegie Hall, San Francisco Symphony, and New World Symphony), Crescent City Opera and Invisible Cities (directed by Yuval Sharon), Re:Union (Vancouver and Ottawa), Tales from Hollywood (Guthrie Theatre), The Steward of Christendom (Mark Taper Forum), Great Immensity and Venice (Public Theatre), Remember Me (Parsons Dance Company), Chavez Ravine (Kirk Douglas Theatre), and Scott Hamilton Cares charity events in Cleveland. He’s also created two videos for the Petersen Auto Museum in Los Angeles. For more information, visit




Creative Team — Pelléas & Mélisande

The Cleveland Orchestra


Ann Closs-Farley

Danielle Agami

Ann Closs-Farley is a Los Angeles-based costume designer. Her recent credits include Zoot Suit, Shanghai Disneyland, Hopscotch: A Mobile Opera for 24 Cars, The Pee-Wee Herman Show (Broadway), Disney’s Toy Story: The Musical, Eric Idle’s What About Dick?, Pride and Prejudice: The Musical, Billy Elliot, Women Eating and Laughing Alone With Salad, Discord, The Cunning Little Vixen, Carnage, Rabbit Hole, Broadway Bound, Coney Island Christmas, and Around The World in Eighty Days. Ms. Closs-Farley is currently designing a line of gender neutral clothing to be introduced on the market later this year. For more information, visit

Israeli-born Danielle Agami was a member of the Batsheva Dance Company (20022010) and served as artistic director of Batsheva Dancers Create (2007-2009), and as the company’s rehearsal director (20082010). In 2009, Ms. Agami received the Yair Shapira Prize for Excellence in Dance. Relocating to New York, she brought the Gaga movement to the United States and remains one of the few masters of the language, teaching workshops throughout the world — helping thousands of dancers to experience the movement language and adopt Gaga into their lives. Ms. Agami currently lives in Los Angeles and serves as artistic director of Ate9 dANCEcOMPANY, working to discover and uncover her artistic identity as a dancer, choreographer, and teacher.



With Special Thanks for assistance in creating this production . . . Cleveland Museum of Art Glass Apps® NPi Audio Visual Solutions Vincent Lighting Systems M·A·C Apple Video Group LLC

Severance Hall 2016-17

Creative Team — Pelléas & Mélisande


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 has led many Cleveland Orchestra concerts at both Severance Hall and as part of the summertime Blossom Music Festival. 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 there. 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, helping to prepare 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 an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.


Cleveland Orchestra Chorus

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Severance Hall 2016-17


orchestra news


2017-18 Centennial Season announced; Orchestra’s Second Century begins with special season featuring two operas and Beethoven Prometheus Project The Cleveland Orchestra and Franz Welser-Möst have announced details of the Orchestra’s 2017-18 calendar. The season will be the ensemble’s 100th year of concerts and marks the launch of its Second Century. 2017-18 is also the 16th year of the Orchestra’s acclaimed partnership with Franz Welser-Möst. With the 2017-18 season, The Cleveland Orchestra pushes forward with a series of ambitious goals across all areas of the institution: artistic, community, education, service, and financial. These goals include building upon the ensemble’s legendary musical excellence, continuing to grow the youngest audience of any orchestra, deepening relationships in the community through unique collaborations, customized engagement, and music education for all ages. “Looking toward The Cleveland Orchestra’s future, I am filled with enormous pride in the one hundred year collaboration between the Orchestra and community,” said the Orchestra’s music director, Franz Welser-Möst. “The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season, here at home and around the world. Our audiences’ musical curiosity and intellect drives all of us onstage forward, to dream beyond the past, and to continue exploring new boundaries in music.” Going on, he said, “Our 100th season serves as an historic moment, not only to celebrate our rich history, but to look


forward to everything this institution will accomplish in the century to come. Against the ever-increasing and fractious challenges of the world today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create thrilling adventures in music. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the ‘fight for good,’ for what is right and true.” André Gremillet, Cleveland Orchestra executive director, added: “The year marks an important milestone, both in celebrating the remarkable first 100 years and in launching a second century that will further build on the great legacy of the Orchestra. I believe that our Second Century can be even more exhilarating than our first as we continue to elevate the extraordinary artistry of the Orchestra, develop new audiences, and deepen our relationship with our exceptional community.” 2017-18 Season Sponsors Underwriting for the season features two Presenting Sponsors in support of The Cleveland Orchestra’s Second Century Season: The J.M. Smucker Company and KeyBank. “The Cleveland Orchestra is a source of civic pride because of its artistic excellence, and the community involvement of its musicians, music director, staff, and volunteers. We are so fortunate to have this great institution in our backyard,” said Richard Smucker, The Cleveland Orchestra’s board president and executive

Cleveland Orchestra News

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orchestra news



At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced. Franz Welser-Möst addressed the audience of over a thousand subscribers, donors, and Orchestra friends, talking about the power of music to change lives and the Orchestra’s special relationship with the Northeast Ohio community.

chairman of The J.M. Smucker Company. “The Orchestra is truly making a difference in our community, and we are excited to celebrate the 100th anniversary of this cultural jewel of Northeast Ohio.” “A world-class institution, The Cleveland Orchestra has long been a cornerstone in the city’s rich history,” stated Beth Mooney, chairman and chief executive officer of KeyBank. “As Cleveland’s hometown bank, we are extremely pleased to support The Cleveland Orchestra’s Second Century season.” In addition to the season’s two Presenting Sponsors, sponsors for 201718 include: voestalpine AG, Hyster-Yale Materials Handling and NACCO Industries, Inc., Ruth McCormick Tankersley Charitable Trust, and Swagelok Company, along with The Sherwin-Williams Company, Westfield Insurance, and KPMG LLP. Severance Hall 2016-17

2O17-18 SEASON Complete details of the 2017-18 Centennial Season can be viewed at Series subscription renewals have been mailed to all current subscribers, with a renewal deadline of April 28. New series packages are now available for purchase. Individual tickets for the season will go on sale in August.

Cleveland Orchestra News


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A C E N T U R Y O F E XC E L L E N C E .

At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced along with plans for the Orchestra’s Second Century.

The past year has been incredible for Northeast Ohio. The excitement of professional sports championships, a political convention, an extraordinary boom in construction. The list goes on: More people moving into downtown. Award-winning chefs opening new restaurants and creating a thriving food scene. The growth of leading biomedical facilities. A diverse, dynamic, and expanding cultural epicenter with theater, museums, music, and art. And it all leads to the broad and rapidly-expanding recognition that Cleveland truly is a world-class city on the rise. It is no longer our little secret. Northeast Ohio truly is a great place to live, work, and raise a family. Tonight, as we launch plans for our Centennial Season and the Orchestra’s Second Century, it is our turn to add another building block to Cleveland’s renaissance, to show the Orchestra’s gratefulness to this wonderful community for 100 years of support, and for the Orchestra to begin celebrating an historic moment for one of the finest institutions that has always been here for this community, always performed at the top of its game, and always proudly wears the name of Cleveland everywhere it travels across and around the world. The next 18 months will be very exciting, and we invite you to join us as we venture into an extraordinary Second Century. Thank you, each and every one of you, for coming tonight, and for your continued support of The Cleveland Orchestra. In the end, however, such success cannot come without hard work all around. It truly takes a village to produce an orchestra this good for one hundred years. And we, on this stage, are very fortunate to call our village, our home . . . Cleveland!” —Richard K. Smucker President, The Cleveland Orchestra


100th Season 2017-18

The Cleveland Orchestra

A N E X T R AO R D I N A R Y F U T U R E .

Three members of The Cleveland Orchestra spoke about what Cleveland and the Orchestra mean to them: Massimo La Rosa, Martha Baldwin, and Joshua Smith.

The first time in my life that I came to the United States was to play my audition to be principal trombone in The Cleveland Orchestra. I am from Sicily, but before Cleveland I spent twelve years of my life playing opera in Venice, one of the most beautiful cities in the world. I never thought to leave my wonderful country to go anywhere else, but when the opportunity to join the incredible, special, historical Cleveland Orchestra was presented to me, I never had second thoughts. Playing in The Cleveland Orchestra was what I wanted and where I wanted to be. There are many aspects that make me feel privileged to be a member of this Great Orchestra. What I find most inspiring and unique is the fact that

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everything here converges toward the most important point that any musician can ask for, The Music. I have always believed that Music should not be played to show; Music should be played to share, and that’s what I can say happens here . . . on this stage, with audiences who listen and care. I am privileged to be part of this great ensemble of incredible, talented musicians, who are eager to share the best we have with our community week after week, without reservation, without ego. This is The Cleveland Orchestra to me. Thank you for allowing me to share with you.” —Massimo La Rosa

Centennial Season 2017-18

Principal Trombone The Cleveland Orchestra


A C E N T U R Y O F E XC E L L E N C E .

In 2013 Nobel Laureate for Medicine, Dr. Thomas Sudhof, was interviewed in the medical journal The Lancet. He was asked who his most influential teacher had been. His answer? His childhood bassoon teacher. This may, at first hearing, sound like a disconnect. But to those of us deeply involved in teaching music, it makes perfect sense. Because, you see, music education isn’t just about music. It is about character. Through the study of music, students learn how to think analytically, how to set and achieve multi-faceted goals, to practice self-governance and discipline, to develop impulse control, and innumerable other intellectual and social skills that serve them wherever life takes them. Learning an instrument is an educational experience that can seem somewhat old world. It is an internship that can begin as early as preschool. You work one-on-one with your teacher for years as they teach and guide you, just as they were taught by their teacher. The traditions of our craft are passed from generation to generation this way. I was lucky enough to have two Cleveland Orchestra principal cellists as teachers. The vast majority of Cleveland Orchestra members teach — through the Orchestra’s education programs as well as in private studios, at local institutions such as the Cleveland Institute of Music, Music Settlement, or local universities, and of course as coaches for the Cleveland Orchestra Youth Orchestra and that


ensemble’s Advanced Performance program. Several of those young musicians played alongside their Cleveland Orchestra mentors as everyone arrived for this evening’s event. While many of our students have gone on to careers in music, other former students have, we know, taken some of what we have taught them and are now scattered across the globe doing all kinds of things. There are science and engineering majors at Case, Carnegie Mellon, and MIT, history and arts majors at Yale and Cambridge, physicians at the Cleveland Clinic, and a recipient of the MacArthur Genius Grant. Many current members of The Cleveland Orchestra are among the many local kids touched by music education provided by Cleveland Orchestra members or their peers across the country and around the world. Here in Cleveland, it is our passion, our joy, our pride to have the honor of being a part of the lives of so many children in this city. On behalf of all the teaching members of The Cleveland Orchestra — thank you for trusting us with your children. Thank you for allowing us the pleasure of being part of your families. Thank you for believing in The Cleveland Orchestra. Thank you for embracing the power of music. Thank you.”

100th Season 2017-18

—Martha Baldwin Cello, The Cleveland Orchestra

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A N E X T R AO R D I N A R Y F U T U R E .

We have this societal standard of regarding childhood and early adulthood as a sheltered fantasy realm. And only after leaving high school and going off to find a job or get a degree (or two or three) do we enter the “real world.” My experience was different. I dove into the Real World at the age of twenty-one. It was here in Cleveland. It was Cleveland. The first time I got into a Cleveland taxicab, the driver asked me what I was doing here, and I said, “moving here to join the orchestra.” And he said, “The Cleveland Orchestra?” And started to tell me about how he had been raised going to Children’s Concerts at Severance every year. “So I’m taking you to Severance Hall?!” “Yes.” And I immediately understood that I was joining a community that gets it. That understands what we do and loves us for it. And in the sense that the “real world” turns you into an adult, I’ve grown into a person in this family onstage, who understands what I do, and supports me while I do it, so that I can return the gift to them, and also to you, this equally wonderful and supportive community family. This is what we do together — this is an orchestra applauded for blend, for transparency, for flexibility, and, recently, for sincere and vulnerable communication. And we wouldn’t succeed at any of these goals (which we do!) unless we were willing to support each other (which we are!). Because, as Massimo said, we’re all here for the music. And music is a big part of my real world, onstage and off, and a big part of the real Cleveland. Thank you.” —Joshua Smith Principal Flute The Cleveland Orchestra

Members of The Cleveland Orchestra played as “The Cleveland Bluegrass Orchestra” for the celebration reception following the presentation on March 17. For more about the 2017-18 season, please turn to news on page 74.

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Centennial Season 2017-18


orchestra news


Richard K. Smucker elected as new President of The Cleveland Orchestra’s Board of Trustees At its regular meeting on Friday, March 3, Franz Welser-Möst and André Gremillet — and 2017, The Cleveland Orchestra‘s Board of Trustall my colleagues on the Board of Trustees, most ees elected long-time board member Richard especially the untiring efforts and far-sighted work K. Smucker to be the organization’s thirteenth that Richard Bogomolny and Dennis LaBarre have Board President. In this role, he will oversee brought in their leadership roles.” direction and governance for The Cleveland Or“It has been and will always be a privilege and chestra, working with the Board’s officers, Exan honor to serve this extraordinary institution,” said Dennis W. LaBarre. “As I hand the presidency ecutive Committee, and Trustees, alongside the to Richard K. Smucker, I remain fully committed Orchestra’s executive director, André Gremillet, to The Cleveland Orchestra and its success, and and music director, Franz Welser-Möst. Smucker will be actively involved as chairman as we move was first elected to the Board of Trustees in 1989. Smucker succeeds Dennis W. LaBarre, forward into a Second Century of great music and who has led the group as Board great pride for our community — here President since 2009. LaBarre has at home and across the globe. Our work served on the board for 29 years. together is truly a team effort, and I am As part of the planned succession thankful to all my teammates, past, and leadership transition, LaBarre present, and future.” was elected as board chairman. “There is no institution or organRichard J. Bogomolny, who ization dearer to my heart than The served as President for eight years Cleveland Orchestra,” said Richard J. and most recently as Chairman for Bogomolny. “I will continue to do evthe past fifteen years, was honored erything I can to support The Cleveland with the title chairman emeritus, Orchestra’s unrivalled success, for future a first in the Orchestra’s history. generations and for the greater good RICHARD K. SMUCKER Both LaBarre and Bogomolny will and enrichment of this community.” remain actively involved in the Almost alone among America’s Board’s ongoing work for the Orchestra. top symphony orchestras, The Cleveland The Cleveland Orchestra is in final stages of Orchestra has a long tradition of leadership planning to celebrate its centennial and launch continuity across all three institutional arenas into its Second Century. Smucker has chaired — artistic, board, and staff. In 99 years, the the group’s Centennial Planning Committee, Orchestra has been led by only seven music with the Orchestra announcing details of its directors, thirteen board presidents, and eight executive directors. Such long tenures and con100th season for 2017-18 on March 17. tinuity, coupled with well-planned and orderly “I am first and foremost indebted to everyone who has come before me,” commented Richard K. transitions at each level, have helped deliver Smucker, upon his election as president. “There a remarkable cohesion and stable platform of is no better or finer orchestra in the world than The planning and support for the Orchestra as it rose Cleveland Orchestra, and that is due not just to to national and international fame to become, the extraordinary talent and dedication onstage, and continue as, one of the world’s greatest and but to the ongoing support and generosity of this most-acclaimed music ensembles. Franz Welsercommunity, and to the incredible hard work of Möst became the Orchestra’s seventh music staff members, Board members, and volunteers director in 2002, with his contract now extendacross a century of excellence. I am appreciative ing beyond 2020. André Gremillet joined the to have been chosen to help lead this great instituOrchestra as executive director in January 2016, tion forward into what I know will be an extraorsucceeding Gary Hanson, who had served as the dinary future. I am also so very thankful to have Orchestra’s eighth staff executive from 2004 to such great partners for the years ahead, including the end of 2015. Severance Hall 2016-17

Cleveland Orchestra News


orchestra news Women’s Committee welcomes men and women as members for its work supporting the Orchestra As it approaches its own centennial in 2021, the Women’s Committee of The Cleveland Orchestra is preparing for the Orchestra’s exciting 100th Season in 2017-18. Membership in the volunteer group is open to both men and women, who work each year on a series of initiatives to help support the Orchestra’s community service activities and music education programs, and to promote and recognize the ensemble’s traditions of musical excellence. The group was created in 1921 by Adella Prentiss Hughes — the trailblazing woman who founded The Cleveland Orchestra and acted as the Orchestra’s first executive director. While preparing for this spring’s events, the volunteers are looking at new ways to extend the group’s success and support as the Orchestra enters its Second Century. The Committee’s initiatives include: Meet the Artist Series — an annual series of luncheons featuring short performances by and conversations with Cleveland Orchestra members and guest artists. Musician Recognition — hosting an annual recognition reception for Cleveland Orchestra musicians who reach a 25-year milestone as members, co-sponsored with the board of Trustees. Friday Matinee Buses — support for bus transportation options to the Orchestra’s Friday Morning Concert series, to help make attending these daytime performances accessible for residents from Akron, Beachwood, Brecksville, and Westlake. Alice B. Weeks Scholarship Program — given since 1967 in honor of an avid music-lover and supporter whose husband founded the firm that designed Severance Hall, this scholarship is today awarded annually to a Cleveland Orchestra Youth Orchestra member pursuing a career in music. For more information about joining the Women’s Committee, please contact Barbara Wolfort by email at



A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by current and former members of The Cleveland Orchestra include: The Women’s Committee of The Cleveland Orchestra presents a special evening featuring the musicians of the Amici String Quartet on Friday, May 19. The benefit event is to raise money toward the Committee’s work in supporting the Orchestra. The Amici Quartet was founded in 1985, and all four musicians ns are members of The Cleveland Orchestra: stra: Takako Masame and Miho Hashizume (violin), Lynne Ramsey (viola), and Ralph ph Curry (cello). The evening will feature a performance by the group, as well ass a conversation with them moderated by Ilya Gidalevich, the Orchestra’s artistic administrator. Honorary hosts for the evening, to be held at Shaker Heights Country Club, are André and Ginette Gremillet. Benefit co-chairs are Patricia Moore Smith, Pat Sommer, and Barbara Davis. For more information, email to

Silence is golden As a courtesy to the performers onstage and the audience around you, patrons are reminded to turn off cell phones and to disengage electronic alarms prior to the concert.

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

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.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Read about the music on your cellphone before coming to the concert by visiting The Cleveland Orchestra has launched a new website specifically for reading about the music ahead of the concert, easily and conveniently on your mobile phone. The new service, available online at, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simpleto-read format. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with the type at a size that makes reading on a phone or other mobile device easy.” The service has been tested for several months, and is now fully available, with information posted a few days prior to each concert. The site features only the core musical content of each book. The complete program book is available online in a “flipbook” format, for viewing on

Severance Hall 2016-17



a desktop computer or tablet. But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones. Flipbooks are available from the Orchestra’s main website at going back several years. The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts. Feedback and suggestions are welcome and encouraged, and can be sent by emailing to

Cleveland Orchestra News


orchestra news


Cleveland Orchestra video release features Brahms’s “German Requiem” on DVD The Cleveland Orchestra’s newest DVD recording was released earlier this spring. Featuring Brahms’s A German Requiem in a live performance, it complements the release last year of all the Brahms symphonies and concertos. The recording was made this past autumn at Austria’s Abbey of St. Florian, and features the Vienna Singverein chorus along with soprano THE CLE VEL AND ORC HES Hanna-Elisabeth Müller FRANZ WELSER-M TRA ÖST and baritone Simon Keenlyside, conducted by Franz Welser-Möst. The recording became available in December in Europe and was recently released in the United States. The JOHANNES BRAH MS EIN DVD is available through DEUTSCHES the Cleveland Orchestra REQUIEM Store or through online retailers. HANNA-ELISABE



Recorde d live at the Stiftsbas ilika

St. Florian

Cleveland Orchestra musicians play National Anthem for opening Cleveland home game Seven members of The Cleveland Orchestra played the National Anthem at Progressive Field for the opening home game of Cleveland’s major league baseball team on Tuesday, April 11. The musicians were: violinists Takako Masame, Chul-In Park, Jeanne Preucil Rose, Stephen Rose, and Stephen Warner (retired 2016), cellist David Alan Harrell, and bass player Scott Dixon.


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Cleveland Orchestra News

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orchestra news Cleveland Orchestra Bruckner recordings released as a DVD box set — featuring five symphonies conducted by Franz Welser-Möst The Cleveland Orchestra’s acclaimed Bruckner recordings under Franz Welser-Möst’s direction have been released as a 5-DVD box set. The previously issued recordings are of Bruckner Symphonies Nos. 4, 5, 7, 8, and 9, recorded live in three acclaimed concert spaces: Severance Hall, Vienna’s Musikverein, and the Abbey of Saint Florian in Linz, Austria. A preview of the DVD set is available on The Cleveland Orchestra’s YouTube channel online. This new DVD Set is currently available in the Cleveland Orchestra Store, located at Severance Hall, and online through Amazon. The set is among a series of live recordings of The Cleveland Orchestra conducted by music director Franz Welser-Möst, made in partnership with Clasart. The Severance Hall recordings were made with assistance from the Orchestra’s local media partner ideastream. Known for his special understanding of Bruckner’s music, Franz Welser-Möst led these performances from 2006 to 2012. Bonus content featured as part of the newly-boxed set includes an interview with Welser-Möst about Symphony No. 5, an introduction by Welser-Möst about Symphony No. 7, and a pre-performance discussion by Cleveland radio host Dee Perry talking with Welser-Möst and DVD director William Cosel about Symphony No. 8. The set is a production of Clasart Film and Fernsehproduktions GmbH, in cooperation with ATV (DVD 1), NHK and ORF (DVD 3), WVIZ/PBS IDEASTREAM (DVD 4), and Felix Breisach Medienwerkstatt GmbH (DVD 2 & 5).

Severance Hall 2016-17


Summers@Severance concerts set for July and August 2017 Following three successful seasons of Summers@Severance concerts, The Cleveland Orchestra’s annual series of summer performances at Severance Hall continues in 2017 with three Friday nights in July and August. The series is sponsored by Thompson Hine LLP, who have helped underwrite the series since its inauguration in 2014. Complete details of the concerts are available online at the Orchestra’s website. The concerts include a night of Beethoven on July 14, Schumann’s Third Symphony on July 28, and Mozart’s Requiem on August 18. Summers@Severance was created to expand The Cleveland Orchestra’s summertime offerings and showcase the ensemble as an integral part of its home neighborhood all year round. The series presents concerts of popular classical works, with an early start time surrounded by convenient pre- and post-concert opportunities to socialize with friends or family in the outdoor beauty of University Circle. The Front Terrace of Severance Hall is open before and after each concert, with beverage service and seating areas. Special “happy hour” drink prices are offered in the hour prior to each concert, with attendees encouraged to arrive early and enjoy the outdoors. Series tickets (all three concerts as a package) for Summers@Severance are now on sale through the Severance Hall Ticket Office or online at Individual concert tickets go on sale for all of the Orchestra’s summer concerts (at Severance Hall and Blossom) beginning Monday, May 1.

Cleveland Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 48 musicians collectively completed a total of 1701 years of playing in The Cleveland Orchestra — representing the ensemble’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 Yoko Moore 2 2016 — 34 years

FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 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

CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years

VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 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

OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 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 § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus listing as of September 2016



The Cleveland Orchestra

orchestra news


M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who 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 Maximilian Dimoff 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 Shachar Israel Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller Sonja Braaten Molloy

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

Severance Hall 2016-17

Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

Cleveland Orchestra News


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Concert Previews


The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) 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.

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. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka. Upcoming Previews: April 20, 21, 22 “Rhapsodies and Dreams” (Musical works by Delius, Vaughan Williams, Strauss) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

May 11, 13, 14 “Musical Magic Onstage” (Musical works by Henze and Mendelssohn) with guest speaker Francesca Brittan, assistant professor of musicology, Case Western Reserve University

May 18, 20 “Meet the Composer: Anthony Cheung” (Musical works by Haydn, Cheung, and Ligeti) with composer Anthony Cheung in conversation with Rabbi Roger C. Klein of The Temple–Tifereth Israel

May 19 (Friday Morning) “Disruptions — Classical and Modern” (Musical works by Haydn and Ligeti) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

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Severance Hall 2016-17

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Concert Previews



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.

Giving Societies


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) 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 2017.


gifts during the past year, as of March 15, 2017

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.

Individual Annual Support

The Cleveland Orchestra

Leadership Council

Adella Prentiss Hughes Society

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:

gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III Mrs. Norma Lerner and The Lerner Foundation Milton and Tamar Maltz Sue Miller* (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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

Mr. William P. Blair III David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

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

Dr. and Mrs. Wolfgang Berndt (Europe) Mary Alice Cannon Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad George* and Becky Dunn Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Julia and Larry Pollock Larry J. Santon and Lorraine S. Szabo Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

Severance Hall 2016-17

Individual Annual Support


THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey 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. James A. Saks Marc and Rennie Saltzberg Rick, Margarita, and Steven Tonkinson (Miami) Anonymous (3)

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

Gay Cull Addicott Randall and Virginia Barbato Laurel Blossom Mr. Yuval Brisker Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Cherie and Michael Joblove (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 William I.* and Marjorie B. Shorrock Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe)

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

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, Director, Leadership Giving, by calling 216-231-7522.

Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) 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 Dr. Anne and Mr. Peter Neff Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

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

Mr. and Mrs. Dean Barry Mrs. Barbara Ann Davis Mr. Brian L. Ewart and Mr. William McHenry Eeva and Harri Kulovaara (Miami) James and Virginia Meil Joseph and Gail Serota (Miami) Seven Five Fund Gary L. Wasserman and Charles A. Kashner (Miami) Margaret and Eric* Wayne Sandy and Ted Wiese listings continue


Individual Annual Support

The Cleveland Orchestra

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Located one block north of Shaker Square and on the EÄ&#x201A;Ć&#x;ŽŜÄ&#x201A;ĹŻZÄ&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ä&#x17E;Ć&#x152;ŽĨ,Ĺ?Ć?Ć&#x161;Ĺ˝Ć&#x152;Ĺ?Ä?WĹŻÄ&#x201A;Ä?Ä&#x17E;Ć?Í&#x2022;>Ä&#x201A;Ć&#x152;Ä?Ĺ&#x161;ĹľÄ&#x17E;Ć&#x152;Ä&#x17E;ŽƾůÄ&#x17E;Ç&#x20AC;Ä&#x201A;Ć&#x152;Ä&#x161; Ĺ?Ć?ĹŻÄ&#x17E;Ç&#x20AC;Ä&#x17E;ĹŻÄ&#x201A;ĹśÄ&#x161;Í&#x203A;Ć?Ć&#x2030;Ć&#x152;Ä&#x17E;ĹľĹ?Ä&#x17E;Ć&#x152;Ä&#x201A;Ć&#x152;Ć&#x161;Ć?Í&#x2022;Ä&#x201A;ĹśĆ&#x;Ć&#x2039;ĆľÄ&#x17E;Ć?Ä&#x201A;ĹśÄ&#x161;Ä&#x161;Ä&#x17E;Ć?Ĺ?Ĺ?ĹśÄ&#x161;Ĺ?Ć?Ć&#x161;Ć&#x152;Ĺ?Ä?Ć&#x161;Í&#x2DC; Severance Hall 2016-17


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

Sheldon and Florence Anderson (Miami) Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Ms. Lucy Chamberlain Richard J. and Joanne Clark Jim and Karen Dakin Do Unto Others Trust (Miami) Henry and Mary* Doll Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Linda and Lawrence D. Goodman (Miami) Patti Gordon (Miami) Mary Jane Hartwell*

Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Mrs. Milly Nyman (Miami) Mr.* and Mrs. William M. Osborne, Jr. Mr. J. William and Dr. Suzanne Palmer AndrĂŠs Rivero (Miami) Audra* and George Rose Paul A. and Anastacia L. Rose

Mr. Peter Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer David M. and Betty Schneider Carol* and Albert Schupp David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin and Mimi Sobel* The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen 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 Ellen E. and Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Mr. John Mueller Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer Douglas and Noreen Powers Dr. and Mrs. Michael Rosenberg (Miami)

Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Elizabeth Swenson Dr. Gregory Videtic Dr. and Mr. Ann Williams Anonymous (2)

Jaime A. Bianchi and Paige A. Harper (Miami) 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 Drs. Wuu-Shung and Amy Chuang Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami)

Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Carl Falb Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic


Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Robert and Dalia Baker Montserrat Balseiro (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Erol Beytas Mr. David Bialosky and Ms. Carolyn Christian

listings continue


Individual Annual Support

The Cleveland Orchestra

home theaters - automation lighting control - security conference rooms - monitoring

e h maesos of Cleveland home audio/video since 1954.

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Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg Mr. David J. Golden* Mr. Albert C. Goldsmith Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart 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 Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mrs. Natalie D. Kittredge Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Jacqueline and Irwin* Kott (Miami) Mr. and Mrs. Peter A. Kuhn Dr. and Mrs.* Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. 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. Stephen B. and Mrs. Lillian S. Levine Dr. Alan and Mrs. Joni Lichtin Ms. Grace Lim Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Mr. David Mann Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Dr. and Mrs. Eberhard Meinecke Dr. Susan M. Merzweiler Ms. Betteann Meyerson Lynn and Mike Miller Mr. Robert Miller Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Mr. and Mrs. Roger F. Rankin Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Carol Rolf and Steven Adler Robert and Margo Roth Dr. and Mrs. Robert C. Ruhl Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman

Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Roy 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 Mr. Joseph Stroud Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. Joseph F. Tetlak Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner* Robert and Marti Vagi Robert A. Valente and Joan A. Morgensten Teresa Galang-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Mrs. Henrietta de Zabner (Miami) Anonymous (2)

Lilli and Seth Harris 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 Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Richard and Michelle Jeschelnig Barbara and Michael J. Kaplan Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy Ronald and Barbara Leirvik Dr. Edith Lerner Mrs. Idarose S. Luntz Herbert L. and Ronda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Bert and Marjorie Moyar Susan B. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash

Mr. and Mrs. Peter R. Osenar Mr. John D. Papp Dr. Lewis E. and Janice B. Patterson Dr. and Mrs. Gosta Pettersson Maribel A. Piza (Miami) Dr. Marc A. and Mrs. Carol Pohl Mrs. Charles Ritchie Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard and Mary Lynn Wills Max and Beverly Zupon Anonymous (2)


Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Agnes Armstrong Howard R. and Barbara Kaye Besser Lisa and Ronald Boyko Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Erich Eichhorn and Ursel Dougherty Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy A. Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Angela and Jeffrey Gotthardt Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Stephen Griebling The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson

listings continue


Individual Annual Support

The Cleveland Orchestra

Ben and Martha Lavin

Dr. Arthur Lavin Subscriber and Annual Fund donor


“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.” Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!” “Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The CleveTHE land Orchestra’s future with your friends and community, by CLEVELAND ORCHESTRA supporting the Annual Fund. Call Elizabeth Arnett, Director of Leadership and Individual Giving, at 216-231-7522 today.

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs.* Norman Adler Mr. and Mrs. James B. Aronoff Art of Beauty Company, Inc. Mark and Maria Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Dr. William and Dottie Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Mr.* and Mrs. Gerald A. Conway Mr. and Mrs. Mark Corrado John and Lianne Cunningham (Miami) Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Dr. Eleanor Davidson Jeffrey and Eileen Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Carl Dodge 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. Harry and Ann Farmer Scott A. Foerster Mr. Paul C. Forsgren Mr. and Ms. Dale Freygang 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 Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Dr. and Mrs. Franklin W. Griff Dr. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Ms. Gretchen Hyland Ruth F. Ihde Mr. Norman E. Jackson


Pamela Jacobson Mr. and Mrs. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt 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 Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Alfred and Carol Lambo Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois Lemr Robert G. Levy Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee 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 Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. and Mrs. Trent Meyerhoefer Drs. Terry E. and Sara S. Miller Jim and Laura Moll Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr George Parras Mr. David Pavlich Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Brian and Patricia Ratner Ms. C. A. Reagan Dr. Robert W. Reynolds David and Gloria Richards Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose

Individual Annual Support

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 Fr. Robert J. Sanson Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte 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 Mr. Kenneth and Mrs. Jill Shafer Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. and Mrs. Martin Striegl Frederick and Elizabeth Stueber Dr. and Mrs. Thomas A. Timko Erik Trimble Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Walt and Karen Walburn Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Rad and Patty Yates Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

member of the Leadership Council (see information box earlier in this section)

* deceased The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.


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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual Parker Hannifin Foundation PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2017.

gifts of $2,500 or more during the past year, as of March 15, 2017


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 Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

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


Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) DLR Group | Westlake Reed Leskosky Dominion Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp. PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance Company (Miami) University Hospitals Ver Ploeg & Lumpkin (Miami) Margaret W. Wong & Associates LLC Anonymous (2)

The Cleveland 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




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

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

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2017.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of March 15, 2017

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

The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) 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 Frederick and Julia Nonneman Foundation 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 Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community 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 Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers 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







Experience this classic film on the big screen with the original score performed live!


1 — Thursday at 7:00 p.m. 2 — Friday at 7:00 p.m. 3 — Saturday at 7:00 p.m. 4 — Sunday at 3:00 p.m.

at Severance Hall The Cleveland Orchestra Brett Mitchell, conductor Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi-def on the big screen with the original vocals and dialog. Winner of ten Academy Awards®. music by Leonard Bernstein and Irwin Kostal screenplay by Ernest Lehman based on “West Side Story” by Jerome Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurents directed by Robert Wise and Jerome Robbins presented by arrangement with MGM © all rights reserved




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 November 2016. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. 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* 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. Dale and Susan Cowan 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 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 Carl Falb Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving* 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* Harry and Joyce Graham LISTING CONTINUES

Severance Hall 2016-17

Legacy Giving



H E R I TAGE S O C I ET Y 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 Henry and Komal* Gulich 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 Barbara L. Hawley and David S. Goodman 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 Pamela Jacobson


Milton* and Jodith Janes 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. James Krohngold 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 Samuel and Marjorie 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 and Edward Mortimer* 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* Lois S. and Stanley M. Proctor*

The Cleveland Orchestra


H E R I TAGE S O C I ET Y 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 Andrea E. Senich Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro

Severance Hall 2016-17

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 Roy 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. Jack Ulman 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 Zempolich and Beth Meany William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (108)

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.


11001 Euclid Avenue Cleveland, Ohio 44106



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



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 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 5 p.m. Call 216-231-7478 for more information, or visit the Store online at

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

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

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

Severance Hall 2016-17

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

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 available 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.


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. 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

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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



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.





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Live Publishing provides comprehensive communications and d marketing services to o a who’s who roster of clients, including the world-renowned Cleveland Orchestra.. We know how to deliver iver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. FRANZ WELSER-MÖST

Concert: March 30, 31, April 1 HANDEL’S ROYAL FIREWORKS — page 31 Concert: April 6, 7, 8 MITSUKO UCHIDA’S MOZART — page 67

PERSPECTIVES from the Executive Director — page 7 The Orchestra’s 2017-18 Season Launch — page 8-11

34300 Solon Road | Solon, OH | 440-248-2424 | 800-260-2949 9-9 Mon, Tues & Thurs | 9-5:30 Wed, Fri & Sat


2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: web:

Guest Information

The Cleveland Orchestra

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 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 is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit for details.

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.


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Severance Hall 2016-17

Guest Information




SPRING SEASON Handel’s Royal Fireworks

Don Quixote

Mar 30 — Thursday at 7:30 p.m. Mar 31 — Friday at 11:00 a.m. <18s Apr 1 — Saturday at 8:00 p.m.

Apr 20 — Thursday at 7:30 p.m. Apr 21 — Friday at 11:00 a.m. <18s Apr 22 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Harry Bicket, conductor

THE CLEVELAND ORCHESTRA Andrew Davis, conductor Frank Rosenwein, oboe * Mark Kosower, cello Wesley Collins, viola

HANDEL Concerto Grosso, Opus 6 No. 11 RAMEAU Suite from Les Boréades PURCELL Suite from King Arthur * HANDEL Music for the Royal Fireworks * Not performed on Friday Morning concert. Sponsor: Hyster-Yale Materials Handling Inc. AMERICAN GREETINGS FAMILY CONCERT

Sponsor: Squire Patton Boggs (US) LLP

Peter and the Wolf

Apr 2 — Sunday at 3:00 p.m. <18s

Pelléas and Mélisande

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Magic Circle Mime Co Prokofiev’s beloved tale, in which characters are portrayed by various instruments of the orchestra, returns to Severance Hall! Peter (strings), the Bird (flute), the Cat (clarinet), Grandpa (bassoon), the Duck (oboe), the Wolf (horns), and the Hunters (timpani) are assisted in this “re-telling with a twist” by Magic Circle Mime Company. Free pre-concert activities begin one hour before start time. Sponsored by American Greetings Corporation

Mitsuko Uchida’s Mozart Apr 6 — Thursday at 7:30 p.m. Apr 7 — Friday at 8:00 p.m. <18s Apr 8 — Saturday at 8:00 p.m.

May 2 — Tuesday at 7:30 p.m. May 4 — Thursday at 7:30 p.m. May 6 — Saturday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Cleveland Orchestra Chamber Chorus in a new production directed by Yuval Sharon

DEBUSSY Pelléas and Mélisande Sung in French with projected English supertitles.

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster and leader

A Midsummer Night’s Dream

MOZART Piano Concerto No. 12 MENDELSSOHN String Symphony No. 2 MOZART Piano Concerto No. 20 Sponsor: Quality Electrodynamics (QED) PNC MUSICAL RAINBOW

The Cheerful Cello Apr 7 — Friday at 10:00 a.m. <18s Apr 8 — Saturday at 11:00 a.m. <18s with Martha Baldwin, cello Sponsor: PNC Bank

Under 18s Free FOR FAMILIES

DELIUS Brigg Fair VAUGHAN WILLIAMS Concerto for Oboe and Strings* STRAUSS Don Quixote * not part of Friday concert


May 11 — Thursday at 7:30 p.m. May 13 — Saturday at 8:00 p.m. May 14 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Julia Fischer, violin with Itay Tiran, actor Anya Matanovic, soprano Emily Fons, mezzo-soprano Members of the Cleveland Orchestra Youth Chorus

HENZE Il Vitalino raddoppiato: Chaconne for Violin and Chamber Orchestra MENDELSSOHN Incidental Music to A Midsummer Night’s Dream Sponsor: KeyBank

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


Concert Calendar

The Cleveland Orchestra


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The Dynamic Duo May 12 — Friday at 10:00 a.m. <18s May 13 — Saturday at 11:00 a.m. <18s

with Carolyn Gadiel Warner, piano and violin and Stephen Warner, violin Sponsor: PNC Bank

Youth Orchestra May 12 — Friday at 8:00 p.m.


CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor Catharine Baek, piano

TOWER Made in America RAVEL Piano Concerto in G major PROKOFIEV Symphony No. 5 This concert features a recent work by American composer Joan Tower, along with the winner of the Youth Orchestra’s annual concerto competition playing Ravel’s brilliant Piano &RQFHUWR7KHQLJKWHQGVZLWK3URNRÀHY·V)LIWK6\PSKRQ\

Haydn’s Miracle Symphony May 18 — Thursday at 7:30 p.m. May 19 — Friday at 11:00 a.m. <18s May 20 — Saturday at 8:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Pierre-Laurent Aimard, piano

HAYDN Symphony No. 39 LIGETI Piano Concerto CHEUNG Topos [World Premiere] * HAYDN Symphony No. 96 (“Miracle”) * Not performed on Friday Morning concert. Sponsor: BakerHostetler

Murray Perahia Plays Beethoven May 25 — Thursday at 7:30 p.m. May 26 — Friday at 8:00 p.m. <18s May 27 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Murray Perahia, piano

BEETHOVEN Piano Concerto No. 4 SCHOENBERG 7UDQVÀJXUHG1LJKW VARÈSE Amériques Sponsor: Litigation Management Inc.

Thursday June 1 at 7:00 p.m. Friday June 2 at 7:00 p.m. Saturday June 3 at 7:00 p.m. Sunday June 4 at 3:00 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

Fall in love again with the magic of West Side Story. Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi-def on the big screen with the original vocals and dialog. Winner of ten Academy Awards, including Best Picture. Presented by arrangement with MGM Studios Inc.


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

Severance Hall 2016-17


Concert Calendar


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2O17-18 SEASON

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The Cleveland Orchestra, May 2, 4, 6 Concerts  
The Cleveland Orchestra, May 2, 4, 6 Concerts  

Debussy's Pelleas & Melisande