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September 23, 24, 26 2O17

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.

Your Investment: Strengthening Community Visit to learn more.



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Week 1 September 23, 24, 26 Leoš Janáček’s The Cunning LIttle Vixen page 30

Season Welcome From Franz Welser-Möst page 7

From Richard Smucker and André Gremillet page 9



We help keep the orchestra feeling sharp. As the official health insurer of The Cleveland Orchestra, Medical Mutual is honored to provide continuous support and applause to one of the world’s most respected musical ensembles.

Ohio’s Health Insurance Choice Since 1934 © 2016 Medical Mutual of Ohio

Music colors their world. That’s why we’re proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives. Drive


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Season Welcome



From the Music Director . . . . . . . . . . . . . . . . . . . . . . . . 7 From the President and Executive Director . . . . . . 9 From the County Executive . . . . . . . . . . . . . . . . . . . . 10 From the Mayor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . From the Start: The Cleveland Orchestra . . . . . . Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . .

13 15 23 26 29 90 93 96


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

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.

1 THE CUNNING LITTLE VIXEN Concert: September 23, 24, 26 . . . . . . . . . . . . . . . Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director’s Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . About the Composer: Leoš Janáček . . . . . . . . . . . . . About the Opera: The Cunning Little Vixen . . . . . Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director: Yuval Sharon . . . . . . . . . . . . . . . . . . . . . . . . . Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WEEK


30 33 34 37 39 45 23 51 60 61 65

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.


Cleveland Orchestra News . . . . . . . . . 71

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

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . . 8 Annual Support Individual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Foundation and Goverment . . . . . . . . . . . . . . . . 87


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

Table of Contents

The Cleveland Orchestra

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No. 62 The Cleveland Orchestra was among the first American orchestras to be heard regularly on the radio.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year tradition of excellence in service to our community. We are proud of our decades-long support of this world-class orchestra, and to celebrate its legacy we have gathered 100 facts about its illustrious history. Visit to read them all.

“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


September 2017 Dear Friends, Looking toward The Cleveland Orchestra’s second century, I am filled with enormous pride in the one-hundred-year collaboration between the Orchestra and this community. The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season — here at home and around the world — and are bolstered by your incredible interest in what we do. Your devotion inspires us each and every day. Your musical curiosity and intellect drive us forward, to study more, to dream beyond the past, and to continue exploring new boundaries in music. Conducting each performance is as exciting an adventure for me as the first time I stepped on the podium at Severance Hall. Our 1OOth season serves as an historic milestone, not only to celebrate our rich history, but to look forward to everything this institution will accomplish in the century to come. All of this is only possible because of you, through the passionate and devoted hometown that supports us, seeks answers, and eagerly attends our concerts. Against the ever-increasing and fractious challenges of 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 deep, meaningful experiences. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the “fight for good,” for what is right and true. Music inspires creativity, engages the imagination, and fosters learning and understanding. I truly believe that The Cleveland Orchestra’s next 1OO years will indeed be exceptional. Together, we are launching a century that will be filled with extraordinary, unexpected, and emotionally-charged musical experiences for everyone. Thank you for joining us on the adventure!

Severance Hall 2017-18

Welcome: From the Music Director


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Second Century Celebration

We are deeply grateful to the visionary philanthropy of the sponsors listed here who have given generously toward The Cleveland Orchestra’s 1OOth season in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors


Ruth McCormick Tankersley Charitable Trust

Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Hahn Loeser & Parks LLP Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Jones Day KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis


Second Century Sponsors

The Cleveland Orchestra


Dear Friends, Welcome to The Cleveland Orchestra’s 1OOth season. This year represents a milestone anniversary, not just for the Orchestra itself but for the community that created it. A hundred years of hard work has created a century of excellence — connecting all of us together through extraordinary musical experiences. As we begin the Orchestra’s Second Century, a handful of shared values and promises are central to serving this great city in the years ahead: Believing in the Value of Excellence: Everything we do is built on a foundation of doing it well. The Cleveland Orchestra’s reputation for excellence is a direct reflection of the values of this community, built on the firm belief that there is a difference between good, better, and best. We employ and expect the best in order to present the the highest quality musical experiences. The Orchestra’s excellence leads by example — for young and old alike. Quality matters. Sharing the Power and Passion of Music: The Cleveland Orchestra’s fundamental mission is to share great musical experiences. We are striving to play more music for more people, because we believe that music enriches lives, augments learning, and inspires creativity and understanding. Music matters. Inspiring Future Generations: Education has been at the forefront of The Cleveland Orchestra’s mission since the very beginning, by teaching music and helping students learn life skills through music. Today, we are redoubling our efforts — to touch the lives of young people throughout the region through powerful performances, free tickets, and compelling education initiatives. Education matters. Celebrating Community: Each and every year, we work to fulfill the promise of those who created The Cleveland Orchestra — through quality, sharing, education, and celebration. Our greatest strength is the people of Northeast Ohio, who created this Orchestra and continue to expect and demand great things from us. We believe in the power of music because you do. Your support and belief in us carries us forward. Music is about sharing and joining together. Community matters. Throughout this season, let us revel in the great music-making onstage, in the enthusiam we share, in the power of music to make the world a better place.

Richard K. Smucker President

Severance Hall 2017-18

André Gremillet Exective Director

Welcome: 1OOth Season


Cuyahoga County

Together We Thrive Office of County Executive Armond Budish

September 2017 Dear Friends, As the world has changed in remarkable ways over the past 100 years, The Cleveland Orchestra has grown in stature to become one of the world’s most-renowned and lauded musical organizations. The Cleveland Orchestra attracts the finest orchestral players from around the globe. Orchestra musicians have made Northeast Ohio their home, where they raise their families, and enjoy the quality of life that Cuyahoga County has to offer. Arts and culture are key to our quality of life in the region. Cuyahoga County is a place bursting at the seams with arts, music, sports, great food, festivals, waterfront recreation, unique neighborhoods, distinctive places — all converging in one vibrant, dynamic, diverse community. Music plays a critical role in achieving a well-balanced life in Northeast Ohio and beyond. The Orchestra’s greatest strength is the community and people of Northeast Ohio, who support and believe in the Orchestra as one of the area’s finest examples of quality, creativity, and inspiration — for students, children, families, and adults. The Cleveland Orchestra enriches lives by creating extraordinary musical experiences for all. We can all proudly support what The Cleveland Orchestra has achieved in its first hundred years — and we look forward to even more memorable music-making in the future. Bravo Cleveland Orchestra!! My best always,

Armond Budish Cuyahoga County Executive


From the County Executive: 1OOth Season

The Cleveland Orchestra

2017-18 100th Season Dear Fellow Citizens: I am pleased and proud to congratulate The Cleveland Orchestra on their 100th Anniversary season. This orchestra was created here in Cleveland 100 years ago by local citizens who insisted on the very best for our city. Quality is one of Cleveland’s trademarks and The Cleveland Orchestra is one of our city’s greatest success stories. Conceived with trust and support, built on ambition and drive, focused on quality and service to the community, The Cleveland Orchestra is a cultural anchor of this great city. Music touches people of all ages, races, lifestyles, and backgrounds. And there are significant developmental, academic, and social benefits for young people who study music, especially from an early age. The Orchestra’s concerts and education programs, which have introduced over 4 million young people to symphonic music, are often the first chapter in a lifelong passion. The Cleveland Orchestra proudly carries the name of Cleveland while touring internationally and domestically, shining a positive light on Cleveland around the world. But no matter where they perform each week, The Cleveland Orchestra is and always will be Cleveland’s Orchestra. Throughout this season, please join me in celebrating The Cleveland Orchestra and all of its accomplishments, today and tomorrow. Sincerely,

Mayor M yor Frank G.. Jackson Ma

Severance Hall 2017-18

From the Mayor: 1OOth Season


Be part of the 100th Anniversary Season right here. Savvy marketer? Business builder? Entrepreneur? There is no better, smarter or more inuential audience in Northeast Ohio. Reach them in this program.

2O17-18 SEASON

Program Book advertising:

LIVE Publishing Company 216-721-1800 |


as of June 2017

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 U S T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (CA) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

T RU S TE E S E X- O F F I C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra T RU 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 CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Severance Hall 2017-18

André Gremillet, Executive Director

Musical Arts Association



December 1919, Grays Armory

From the Start

A Mission for Greatness in Community, Education, & Music by E R I C S E L L E N


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cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season. Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents.

The Early Decades: Creation, Growth, and the Construction of Severance Hall At the time the ensemble was created, in 1918, Cleveland was a rising industrial metropolis heavily involved in the steel industry and rivalling Detroit in car manufacturing. Rich magnates put the money together for the Orchestra’s early seasons, including John L. Severance, an acquaintance of John D. Rockefeller. Unusually for the era, a woman, Adella Prentiss Hughes, was the Severance Hall 2017-18

About the Orchestra


guiding light behind the efforts to create a hometown band — and she worked tirelessly and with great political finesse to launch it on a trajectory toward being “as good as any orchestra in America.” Nikolai Sokoloff, the Orchestra’s first music director (1918-33), is often overlooked in light of his better-known suc-


cessors. He was, however, certainly good enough to pull the group together and guide them forward for more than a decade. Those years saw the start of many education programs that continue today — the Orchestra has introduced more than 4 million young people to classical music across its first century — as well as extensive touring across the United States and to Cuba, and its first concerts at New York’s famed Carnegie Hall. Perhaps the biggest push in the early years came from John L. Severance when he donated money toward the ensemble’s permanent home concert hall, named to honor both Severance and his wife when it opened in 1931. Severance Hall was among the very first such buildings designed with radio broadcasting capability in its original schematics and quickly gave the musical ensemble a new sense of permanence, style, and purpose. Artur Rodzinski came next as music director (1933-43), injecting a new level of energy into the Orchestra’s music making. A gifted if mercurial leader, who may (or may not) have had a pistol strapped to him onstage when he conducted, Rodzinski had big ambitions and started out strong. For four seasons in the mid-1930s, the Orchestra’s season featured fully-staged opera productions at Severance Hall, with some of the day’s most-renowned stars, including Lotte Lehmann and Friedrich Schorr. However, the cost of presenting four or five operas each year, in the midst of the Depression, eventually forced their discontinuation. Rodzinski moved forward nevertheless, with recordings alongside new and rediscovered works. Finally, he left CleveThe Cleveland Orchestra

land to pursue his own career in the bigger cities of New York and, later, Chicago. For Erich Leinsdorf, the next music director (1943-46), timing was everything — and World War II largely precluded him from making much impact in Cleveland. Many of the ensemble’s musicians were on leave for military duty, and Leinsdorf himself was away part of the time for military service. Evenso, he made some solid recordings, led a variety of radio broadcasts, and re-affirmed his own bona fides for the high-powered international career he enjoyed in the ensuing decades. The Szell Era: Rise to International Fame George Szell, music director from 1946 until his death in 1970, took a credibly good orchestra and made it great. It’s not that he put The Cleveland Orchestra on the map, for it had been touring around the U.S. for years. It was more that he took the stage and insisted that Cleveland could be — in real fact, would become — as good

as any orchestra anywhere. His legendary standards focused 100 musicians toward a kind of peerless perfection that dazzled many ears. Just as a great restaurant grows its reputation through delivering consistent excellence, Szell was concerned with repeatability. Day in and day out, critics and audiences around the world could more and more count on The Cleveland Orchestra to deliver a great performance, everytime, anywhere. That predictability, coupled with the rise of audiophile home listening equipment (and stereo sound) turned Cleveland into a powerhouse in the recording studio, creating an outstanding catalog across the standard repertoire, many selections from which still hold their own as much as half a century later. The Orchestra’s ambitions also grew along with Szell’s tenure, touring internationally to amaze Europeans unaccustomed to such constant perfection in live performance. A ten-week tour in 1965 included a month in the Soviet Union, which became legendary among Cleveland’s musicians,

Education has long been a fundamental part of The Cleveland Orchestra’s programs each year, including teaching and coaching future musicians — such as these young students in 1929.

Severance Hall 2017-18

About the Orchestra



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


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The 2017-18 season will mark Franz Welser-Möst’s 16th 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.

52 53%

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.


Follows Followson onFacebook Facebook(as (asof ofJune Sep 2017) 2016)

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

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concerts each year.

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

The Cleveland Orchestra performs over



staff, and board members for the Orchestra’s unflagging ability to put on a great performance for wildly enthusiastic audiences — even with circumstances of lessthan-optimal hotels, transportation, and backstage facilities. Despite his reputation, the steel-eyed taskmaster Szell was not entirely without emotion and understanding of those around him or of humanity as a collective society. Stories abound of small gestures of sympathy and understanding at fateful moments in the lives of longtime Orchestra musicians. And, having escaped in the 1930s from a Europe-turned-afoul, he was well-tuned to world politics and changing times — and to the need for public statements in times of crisis. Following the assassination of Martin Luther King Jr. in 1968, he led the Orchestra in a moving performance of the Funeral March from Beethoven’s Seventh Symphony, making a statement of solidarity and caring with the ongoing struggle for human justice. Planning and foresight by the Orchetra’s leadership also brought about increased performance opportunities. In 1968, the opening of the Orchestra’s parklike countryside summer home, Blossom Music Center, ensured the musicians of a year-round employment contract, further bonding them with their hometown audiences (who also lined up by the thousands at Blossom for rock-n-roll concerts by the era’s other big-name musical legends). Forging Ahead: Boulez and Maazel Upon Szell’s death, Pierre Boulez was appointed to an interim position as musical advisor for two seasons (1970-72). Boulez Severance Hall 2017-18

made his professional American debut with the Cleveland ensemble in 1965. His relationship as a friend and influence on the podium in Cleveland eventually extended to nearly half a century. He brought daring programming of new music along with new ideas to clear the accumulated earwax from old ways of listening to classics. His astute musical judgement and his extraordinary laser-like precision on the podium eventaully won Cleveland five Grammy Awards. By example and with keen intellect and approach, he effortlessly encouraged the musicians across a widening spectrum of the repertoire. Lorin Maazel, the next music director (1972-82), stirred things up a bit for The Cleveland Orchestra. His high-energy leadership and fascinating programming, along with a compelling (if at times headstrong) conducting style also dared the musicians to make music in new ways. International touring continued, including the Cleveland’s first trips to South America and to Australia and New Zealand — with the Orchestra’s global reach becoming a true reality beyond its well-deserved reputation. The ensemble’s recordings also continued, with Maazel leading large swaths of the repertoire and helping the Orchestra pioneer digital recording. A New Golden Era: Dohnányi and a Restored Severance Hall Christoph von Dohnányi, the sixth music director (1982-2002), brought artistic leadership for a second “Golden Age,” as well as, finally, some critical distinction beyond being “the Orchestra that Szell built.” Dohnányi focused on both precision and

About the Orchestra


warmth of sound, while presenting intriguing programming of standard works mixed together with lesser-known repertoire. Touring became an annual part of the Orchestra’s calendar, including regular residencies in Salzburg, performances throughout Europe, and first performances in China. These years also coincided with the final era of growth in commercial recording. The Cleveland Orchestra laid claim to being the “most-recorded orchestra in America” for nearly a decade, turning out album after album annually to wide acclaim and sales. In addition, Dohnányi revived the Orchestra’s operatic traditions, though mostly with in-concert presentations, and devoted his work to further polish and amalgamate the musicians’ gifted artistry and ensemblework. One of the greatest long-term achievements of Dohnányi’s tenure was the renovation and expansion of Severance Hall, which restored what many have called “America’s most beautiful concert hall” to visual interior splendor while simultaneously enhancing its famously clear and intimate acoustics. The work also restored the hall’s original 6,025-pipe concert organ, making it once again useable (from a new location within the hall) for the first time in half a century. Accelerando con moto: Welser-Möst and a New Century Franz Welser-Möst became The Cleveland Orchestra’s seventh music director in the autumn of 2002. His charge has been to carry the ensemble forward


— first into the new millenium and now into the Orchestra’s own Second Century. His playbook has been to build on the best traditions of the past while steering clearly and with passionate directness to argue for music’s renewed relevance in a changing world. He has expanded repertoire while further honing the Orchestra’s flexibility for modern (and older) music. The Orchestra’s long operatic tradition has been augmented with the return of fullystaged opera productions to Severance Hall, including cutting-edge presentations filled with 21st-century technological know-how and wonder — all in service to telling the plotlines of challenging works in compelling ways and with superb casts. Welser-Möst has also led The Cleveland Orchestra in a series of acclaimed video and other recordings, further enlarging the ensemble’s storied recorded legacy. He has advocated for a renewed and extended focus aimed at serving the people of Cleveland, through expanded education offerings and a new diversity of programming and concert formats. Special ticketing programs offer free tickets for families to bring children with them to concerts, with a notable increase of younger people attending performances — with 20% of audiences now aged 25 and younger. In the past decade, the Orchestra has also extended its work as Cleveland’s ambassador to the world, regularly showcasing its extraordinary musicianship in music capitals and at festivals and in residencies across Europe and on tour in the

About the Orchestra

The Cleveland Orchestra

tra’s growth while insisting on excellence as the goal, not just musically, but in programs for educating and inspiring the city’s youth. That support continues today at uniquely high levels, boasting the greatest generosity of per capita donations for any major American orchestra. Thus, the extraordinary dream contin-


United States. With his contract extended to encompass a tenure of at least two decades, Welser-Möst continues to prepare The Cleveland Orchestra for its Second Century, serving the art of music and the people of its hometown earnestly and with the utmost dedication to harness the power of music to change lives and to inspire creativity and understanding. Tellingly, throughout the Orchestra’s history, there has been a strong tradition of leadership continuity, not just artistically (with only seven Music Directors in 100 years), but also in Presidents of the governing non-profit Board of Trustees (just twelve), and staff Executive Directors (only ten), providing a steady but focused progression of guidance propelling the Orchestra forward. Contrasted with the shifting sands at some other well-known ensembles, this unity of purpose and personnel has helped carry the Orchestra forward institutionally as a tireless agent for inspiring its hometown through great music. For, in truth, the Orchestra’s greatest strength remains the citizens of its hometown and the region surrounding Cleveland, whose forebears imagined such a world-famous orchestra could exist and then set about to make it happen. Individuals and corporations financed the OrchesSeverance Hall 2017-18

ues — marching The Cleveland Orchestra into a Second Century of achievement and success, arm in arm with the community whose name it carries.

About the Orchestra



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

Franz Welser-Möst is among today’s most distinguished conductors. The 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s 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 successSeverance Hall 2017-18

Music Director

ful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. WelserMöst 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, Strauss’s Die Liebe der Danae in 2016, and Reimann’s Lear in 2017), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall in February. He returns to the Salzburg Festival in 2018. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2017-18 schedule includes concerts with the Royal Stockholm Philharmonic, Zurich’s Tonhalle Orchestra, Orchestre de Paris, Leipzig Gewandhaus, Amsterdam’s Royal Concertgebouw, and Milan’s Filarmonica della Scala, as well as leading a gala with the Shanghai Grand Opera. From 2010 to 2014, Franz WelserMöst 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 pro-


ductions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the 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. A companion video recording of Brahms’s German Requiem was released in 2017. This past summer, Mr. Welser-Möst was awarded the 2017 Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards 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.


ABOVE In December 2015, Franz Welser-Möst

led the prestigious Nobel Prize Concert with the Stockholm Philharmonic.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle

Music Director

The Cleveland Orchestra

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Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair


Blossom-Lee Chair

Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Peter Otto


Jessica Lee


Clara G. and George P. Bickford Chair

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1


Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

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

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

Daniel McKelway

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

Jack Sutte Lyle Steelman 2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters


Robert R. and Vilma L. Kohn Chair

Yann Ghiro E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin


Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller


TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal


CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

CONTRABASSOON Jonathan Sherwin

Tom Freer 2

Severance Hall 2017-18

The Musicians


Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong


Frances P. and Chester C. Bolton Chair

Mr. and Mrs. Richard K. Smucker Chair




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

Severance Hall 2017-18

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.

Autumn Previews: September 28, 30 “2017-18: Season Overview” (Musical works by Beethoven and Stravinsky) Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

September 29 “Liberty, Love, and Thanksgiving” (Musical works by Beethoven) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

October 5, 6 “Mahler’s Tragic Sixth Symphony” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

November 3, 4, 5 “Themes and Variation” (Musical works by Beethoven and Elgar) with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

November 9, 10, 11 “Naked Knees and Nebulous Nicknames” (Musical works by Vivaldi, Haydn, Mendelssohn) with Timothy Cutler, professor of music theory, Cleveland Institute of Music

Concert Previews





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Severance Hall


Saturday evening, September 23, 2017, at 8:00 p.m. Sunday afternoon, September 24, 2017, at 3:00 p.m. Tuesday evening, September 26, 2017, at 7:30 p.m.


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

music by Le Leos Janácek (1854-1928) libretto adapted ad by the composer from th the serialized comic strip and novella by R Rudolf Tesnohlídek and Stanislav Lolek d directed by Yuval Sharon animation by Walter Robot Studios — Bill Barminski and Christopher Louie projection and lighting design by Jason H. Thompson costume design by Ann Closs-Farley mask design by Cristina Waltz makeup design by Amy Jean Wright conducted by Franz Welser-Möst revival presentation directed by Casey Kringlen


Opera — Week 1

The Cleveland Orchestra

C A S T Featuring

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

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

CLEVELAND ORCHESTRA CHAMBER CHORUS — Lisa Wong, acting director CLEVELAND ORCHESTRA CHILDREN’S CHORUS — Ann Usher, director as the voices of the hens and other forest creatures and as the voice of the forest

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

This Cleveland Orchestra opera production was premiered in May 2014 at Severance Hall in Cleveland. The creation of this original opera presentation was made possible in part by a generous grant from The Andrew W. Mellon Foundation and by funding from the National Endowment for the Arts.

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

Please note that these performances include the sound of gunshots.

Severance Hall 2017-18

Opera — Week 1


PRODUCTION Franz Welser-Möst, conductor Yuval Sharon, production director Walter Robot Studios (Bill Barminski and Christopher Louie), animation creation Jason H. Thompson, projection and lighting design Ann Closs-Farley, costume design Cristina Waltz, mask design Amy Jean Wright, makeup design Casey Kringlen, revival director

Cleveland Orchestra Chamber Chorus Lisa Wong, Acting Director Joela Jones, Principal Accompanist

Brynn Baudier, production stage manager Stephanie Canada, assistant stage manager Katherine Fortner, assistant stage manager Corey Shotwell, score reader Alicja Basinska, supertitle operator Emily Wright, production assistant John S. Bukala, technical director Joseph Short, orchestra stage manager Nicole Leaño, makeup assistant Miloš Repický, répétiteur and prompter Joela Jones, rehearsal pianist Vinay Parameswaran, assistant conductor For The Cleveland Orchestra: Mark Williams, Chief Artistic Officer Julie Kim, Senior Director, Operations and Facilities



Claudia Barriga Emily Engle Samantha Garner Rebecca S. Hall Shannon R. Jakubczak Adrienne Leska Lenore M. Pershing Samantha Smith Sharilee Walker

Emily Austin Laura Avdey Betty Huber Sarah Hutchins Karla McMullen Dawn Ostrowski Ina Stanek-Michaelis Martha Cochran Truby



Corey Hill Peter Kvidera Adam Landry Matthew Rizer Ted Rodenborn Jarod Shamp William Venable

Christopher Aldrich Brian Bailey Bryant M. Bush David Keller Jason Levy Francisco X. Prado Stephen Stavnicky

Cleveland Orchestra Children’s Chorus Ann Usher, Director Suzanne Walters, Assistant Director Mio Arai, Accompanist Yasmin Ahuja Autumn L. Airey Leah Benko Bayleigh Braucher Mia Bruner Anna Buescher Brendan Burdick Sarah Burdick Amelia Cassidy Gavin Cozzens Ashley Cvetichan Molly Decker Aiden James Dumm Tyler Farkas Sabrina Rose Fellinger


Eleanor Fleming Claudia Gagliani Erin Gallagher Jaimee Gilliland Jade Gladue Celia June Hawk Maria Dameworth Hisey Anna Claire Ingram Lexy Jensen Megan Kim Julia Kubancik Brynn LeBlanc Isabella T. Martin Aidan Maxwell Yumi Ndhlovu

Laura Obergefell Audrey Ours Michael Overman Maggie Panichi Imaya Perera Grace Prentice Mary Proctor Emma Grace Ramon Graham Richard Oliver Richard Elena J. Rodenborn Shira Rosenberg Somiya Schirokauer Emma Schoeffler Emma Smith

Production Team

Lydia Smith Olivia Stein Christina Troyer Sasha Turner Nora von der Heydt Amelia Von Glahn Julia Weber Sammy Weidenthal James Wilkinson Sydney Wilson Delainey Wyville

The Cleveland Orchestra


Animals & Animation

T H E R E H A V E B E E N M A N Y I N T E R P R E T A T I O N S of Janáček’s The Cunning

Little Vixen over the years. Are the animals like people? or the people like animals? Is the cycle of life optimistic in renewal? or pessimistic and repetitive? Is this a tale for children? or a fable for adults? The storyline is both simple and enigmatic, with plenty of room to emphasize one direction or many, to give us pleasure and to make us ponder. This unique made-for-Cleveland production was created by director Yuval Sharon for The Cleveland Orchestra in 2014. As director, Yuval chose a particularly vivid viewpoint — and literally animated it with the creative assistance of digital scenery, together with creative costuming and masks — as he discusses (page 37). Following this week’s encore performances here at Severance Hall, this production goes on the road as part of The Cleveland Orchestra’s 2017 European Tour, with performances at Vienna’s Musekverin in October. As background on the opera, David Wright talks about Janáček’s life and music (page 39), and about the composer’s writing of this opera itself (page 45) — and the comic strip novella upon which it was based. Biographies of the cast and creative team (beginning on page 51) round out our program book, plus some information about “real foxes” (page 66) plus a variety of information about The Cleveland Orchestra itself and the start of the ensemble’s 1OOth season — including season welcomes and proclamations (page 7), news (page 71), and recognition throughout the book of the many generous individuals and institutions who make possible everything The Cleveland Orchestra does each year. Enjoy. —Eric Sellen begins on page: IN THIS BOOK Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Production Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Director’s Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 About the Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 About the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Real Live Foxes (in University Circle) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Cleveland Orchestra Operatic Traditions & Renaissance . . . . . . . . . . . . . . . . 68

Severance Hall 2017-18

Week 1 — Introducing the Concert


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


shocked at their go-along conservatism. The Vixen plays dead. When the Rooster and hens investigate, she kills him and thrashes the hens. The Forester and his wife confront their wayward pet, but the Vixen escapes off into the forest.

ACT TWO “Sharp-Ears Expropriates a Home” — a winter night in the forest The Vixen taunts the Badger, then pushes him out of his comfortable home and takes it over for herself. At Pásek’s Inn, in winter. The Forester, the Schoolmaster, and the Parson are drinking and playing cards. The Forester mocks the Schoolmaster about his hopeless infatuation for the girl Terynka. The Schoolmaster, in turn, taunts the Forester over his failure to hold the Vixen. The Parson is troubled by a scandal in his own past. The men depart. Outside. As the Schoolmaster stumbles drunkenly home, he confuses the movement and colors of a Sunflower (behind which the Vixen is hiding) for his old flame Terynka, pouring his heart out into the night. The Parson, also the worse for drink, sees the Vixen and confuses her with a girl he was accused of seducing years ago. The For-

The Story

The Cleveland Orchestra

ester also catches sight of the Vixen and fires shots at her, sending her running off into the darkness. “Courtship of Sharp-Ears and the Fox; Love and Marriage” — a summer night in the forest The Vixen meets a handsome Fox and tells him the story of her life. The Fox woos her. They mate. Having scandalized the gossiping birds, they agree to marry, officiated by the Woodpecker. The forest creatures celebrate the wedding.

ACT THREE “Sharp-Ears outwits Harašta from Lusen; Death of Sharp-Ears” — the forest at midday, in autumn Harašta, a poultry-dealer, comes across a dead hare. The Forester appears and accuses Harašta of poaching. Harašta explains that he is on his way to see Terynka, whom he is to marry. The Forester, realizing that the hare is one of the Vixen’s victims, uses it to set a trap for her. The Vixen, the Fox, and their cubs poke fun at the clumsily laid trap, and the parents happily watch their growing family.

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

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

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

Severance Hall 2017-18

The Story


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“I went out for a walk and finally concluded to stay out till sundown, own, for going out, I found, was really going in.” —John Muir “From any spot within its border, the forest is just a possibility: ty: ut, the aggregate of possible acts of ours which, when carried out, ely would lose their real value. The part of the forest immediately before us is a screen.” —Jose Ortega y Gasset L I K E A R E S T L E S S , W I L D A N I M A L , The Cunning Little Vixen dodges any attempt

to tame it with too-easy explanations or symbolic interpretations. Staging The Cunning Little Vixen involves no shortage of delicate balances. The production must be playful without being childish, poetic without being heavy-handed, deeply compassionate but never sentimental, and highly imaginative in itself but always igniting the audience’s imagination first and foremost. Like the music, it must be fleet, direct, clear, and full of surprises. The extreme strangeness of the work must not be cloaked in a neutralizing naturalization, even though the speech rhythms and orchestral timbres might seem to spring Nature before our eyes like a pop-up book. Instead, the work’s singular strangeness must provoke wonder and astonishment — for this opera is as unconventional as it gets. Initially conceived as an “opera with pantomime,” Janáček later described Vixen as a “forest idyll” — less driven by narrative and traditional character arcs and more an impressionistic journey through Nature’s cycle of life. In fact, it is the forest that plays the central character of the opera. Nature is a blank screen onto which we project our own fears, desires, and memories. The forest can be both a wise, silent teacher, whose lesson is life’s eternal renewal; and it can be a mirror, reflecting back only what we project onto it ourselves. Nature’s mystery stems from it offering us both objective reality and a repetition of our own subjectivity — we go into Nature hoping it will have an answer to a question of ours, but we read into it only what we want. This production lets everyone involved be free. The animated sets and costumes let us move between literal and abstract realms with complete fluidity, never encumbered by clunky scenery. The singers are free from the physical burden of trying to convince us they are wild animals and instead focus on the essential delivery of the character with their most powerful expressive tools: their voices and their heads. And, most importantly, the audience is free to create their own interpretations on this strange and wondrous work. —Yuval Sharon Severance Hall 2017-18

About the Production


ROBERTO PLANO | Oct. 15 “A pianist with a uniquely intense approach.” — Star Telegram

2017-2018 CL ASSICA L PI A NO SERIES The Tri-C Presents Classical Piano Series features up-and-coming and world-renowned artists performing FREE at 2 p.m. Sundays in the Cleveland Museum of Art’s Gartner Auditorium. | 216-987-2060

William O. and Gertrude Lewis Frohring Foundation

AWADAGIN PRATT | Nov. 19 “Awadagin Pratt is classical . . . but not conventional: now he’s a player.” — People magazine

LISE DE LA SALLE | March 18 This performance marks her Cleveland debut!

LATE NIGHT with LEONARD BERNSTEIN | May 6 “The audience filled the room with lusty laughs and applause.” — The New York Times



The Cleveland Orchestra

T H E FAC U LT Y, S TA F F, A N D S T U D E N T S of the Organ School in Brno, Moravia (in Central Europe, now part of the Czech Republic), were given the day off on July 3, 1914. It was the sixtieth birthday of the school’s head, the composer and writer Leoš Janáček, whose operas, cantatas, and musings in the local newspaper on life and music had made him something of a celebrity in this provincial capital. As the punch flowed, speeches ran overtime, and letters and telegrams from well-wishers were read, the man with the thick shock of white hair basked in the attention. Recently recovered from a prolonged, debilitating illness, his thoughts had been much on death lately, even if his optimistic temperament made him view that event in the context of a benign cycle of life. His letters of the time show him worrying that this bit of local fame was all there ever would be for him. Many of the birthday good wishes expressed hope that his works would gain a wider audience. “That time will come, it must come!” wrote one of his doctors. And then come it did. Janáček’s opera Jenůfa, successfully introSeverance Hall 2017-18

About the Composer


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


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

The Cleveland Orchestra

music, and also made extensive notes on the inflections of everyday speech, rendering them in musical notation. The effect on his music was liberating; even without explicitly sprinkling his works with folk tunes, the composer drew on his “speech melodies” as an alternative to the melodic styles of western Europe. His opera roles aren’t always easy to sing, but there is a natural shape to their phrasing that makes for compelling drama. Janáček’s musical research and eastern orientation link him to his younger contemporary Béla Bartók. Indeed, on the couple of occasions when the two composers met, the animated conversation (one observer called it “fireworks”) went on late into the night. And yet Janáček’s music isn’t like Bartók’s either. He didn’t share the Hungarian’s high-strung, fiery temperament, nor his taste for western musical traditions in orchestration and counterpoint — all factors that helped Bartók’s fiercely dissonant music make its way with audiences during the past century, while Janáček’s more approachable idiom sometimes struggled to be understood. If his impatience with “isms” of any sort makes his music hard to describe in a phrase, it also marks an approach to composing that was far ahead of its time. Although Janáček can’t be categorized as strictly a nationalist (Jenůfa notwithstanding), impressionist, serialist, or minimalist composer, he helped himself to all of these, in what would become a normal “late-20th-century” way, as it suited his expressive purposes. In a single Janáček operatic scene, passages of hypnotic repetition, floating whole-tone scales, and lush tonal harmonies can depict different characters or convey emotional crosscurrents. Similarly, Janáček preferred juxtaposition to blending when it came to writing for orchestra. The expressive contrast between three piccolos and three trombones interested him more than a well-woven carpet of orchestral sound. This experimentation with discrete instrumental timbres is very much a feature of today’s new orchestral works. Nearly a century ago, Janáček was already there. For a long time, this independent-minded composer’s music depended on a few determined champions to push it into opera houses and concert halls. In those first heady years of fame, the Severance Hall 2017-18

About the Composer

Janáček and his dog, circa 1924.


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

Above, from the autograph score of Janáček’s Sinfonietta, perhaps his most acclaimed symphonic work.

Above, Janáček and the much younger Kamila Stösslová, wife of an antique dealer, who the composer met in the spa town of Pisek in 1917. Janáček and Stösslová corresponded at length over the next decade (during the time he was composing The Cunning Little Vixen), with him sharing extensively about his music and inspirations. Janáček was clearly infuated with Stösslová, and hundreds of their letters survive, testifying to both a close relationship and ongoing tensions between them.

At right, the composer’s signature.

Severance Hall 2017-18

About the Composer


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Co-organized by the Cleveland Museum of Art and Cooper Hewitt, Smithsonian Design Museum, New York Muse with Violin Screen (detail), 1930. Paul Fehér (Hungarian, 1898–1990), designer. Rose Iron Works (American, Cleveland, est. 1904). Wrought iron, brass; silver and gold plating; 156.2 x 156.2 cm. The Cleveland Museum of Art, On Loan from Rose Iron Works Collections, LLC. © Rose Iron Works Collections, LLC

A 1957 published edition of the comic strip Liška Bystrouška (“Vixen Sharp-Ears”).

composed 1921-23, premiered 1924 in Brno, Czechoslovakia (now Czech Republic) W H E N R U D O L F T Ě S N O H L Í D E K first heard that Leoš Janáček,

the most prominent living Czech composer, wanted to make an opera out of his comic strip in the local paper, he thought someone was playing a joke on him. Yes, it was true that Těsnohlídek’s prose narrative to fanciful animal drawings by the Prague artist Stanislav Lolek had been quite a hit with readers of the Brno daily Lidové Noviny when it was serialized in 1920. It was even brought out in book form the following year. But what interest could the humorous adventures of a girl-fox in the woods have for the celebrated composer of tragic, psychological music dramas? Then an invitation came from the great man himself for a faceto face meeting. Těsnohlídek found the composer seated in the garden of the Brno Conservatory, the music school over which he presided, on a beautiful spring day, “with thousands of tiny blossoms shining around his head; that head of his was equally white, and seemed like the biggest of the flowers.” As the writer described it, something in the old man’s smile won him over instantly: “At that moment I believed that the vixen Bystrouška was sitting, tamed and quite mastered by the kindSeverance Hall 2017-18

About the Opera


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


About the Opera

The Cleveland Orchestra

ing “helpers” of this opera didn’t comprehend — was not a drama with a beginning, a middle, and a conclusion, but a sense of life moving in cycles for humans and non-humans alike, with youth and old age, enterprise and reflection, life and death, yes, even the chicken and the egg, being all part of the same thing. The English musicologist Erik Chisholm, in his classic 1971 book The Operas of Leoš Janáček, dug deep for metaphors to describe this most unconventional opera, beginning with “a sort of Czech Midsummer Night’s Dream” and proceeding to “a pastoral symphony, a sincere and touching tribute to mother-nature, an almost Buddhistic hymn in praise of the basic unity of all living creatures.” Of these, perhaps the implied analogy of Janáček to Beethoven is most apt — the rugged individualist composer suddenly awestruck at the order and beauty of the natural world. At the center of it all, representing the life force — or as Janáček’s contemporary George Bernard Shaw would have it, the Eternal Feminine — is the irrepressible vixen Bystrouška. Her name means “SharpEars.” Těsnohlídek originally wrote Bystronožka (“Sharp-Paws”), but the newspaper typesetter misread it — apparently people in Brno didn’t fully understand their dialect either — and the writer decided the new name was just as good. “Bystro” means not only literally sharp and pointy, but also quick, clever, and cunning, and so a literal rendering of the opera’s Czech title, “The Adventures of the Vixen Bystrouška,” has become standardized in English over the years as The Cunning Little Vixen. We meet Bystrouška as a pup separated from her mother, snatched up and raised in captivity by the Gamekeeper, who apparently admires her spunkiness enough to keep her despite her predations on his chickens and his wife’s objections. (Echoes of the composer’s own admiration of young women, and his wife’s perpetual chagrin about it, are audible here.) The episodes — wacky and chaotic as they may be individually — show the little vixen progressing in quite an orderly way through life’s stages: adolescent hell-raising (and, most amusingly, political agitating), Severance Hall 2017-18

About the Opera

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


declaring her independence (i.e., escaping the Gamekeeper), falling in love, discovering sex, getting married, and raising children. Meanwhile, the opera’s human characters function — if that’s the right word — on a different level of awareness. They are, in words, a bundle of yearnings, regrets, ambivalences, misadventures, disappointments, pints of beer, and good-natured jokes at each other’s expense. A lot of it is about “the one that got away,” be it the Gamekeeper’s little vixen, which he insists he is not still chasing (even though he is), or the much-longed-for (but never seen onstage) Terynka, a woman in the village. In the end, of course, for all of us, the whole world does “get away.” That is yet another life-cycle experience that the humans don’t have in this opera, but the vixen does. Surely in no opera before or since has the death of the protagonist been treated as laconically as in this one. It’s Till Eulenspiegel again — the vixen merrily dodges the humans’ bullets, until one day she doesn’t. And the action continues. Life goes on. By this time, in Act III, Janáček as librettist has departed from the comic-strip narrative on an errand of his own — to pull back and put a frame of meaning around all the madcap action. And a delicate and touching frame it is. By stitching together various episodes from the book, he finds the human characters nursing their regrets, and


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About the Opera

The Cleveland Orchestra

the Gamekeeper venturing stiffly one more time into the forest, only to find that, while he has gotten older, the forest creatures have gotten younger. What is going on? Soon the explanation appears — the vixen cub that darts across his path is not Bystrouška but her daughter, and the frog he catches is not the one that jumped on his nose in Act I, but that frog’s grandson. The Gamekeeper, struck with awe at the renewal of life, lets his gun fall to the ground. (Exactly what that means . . . varies by production, director’s choice, and audience imagination.) That is all the “philosophy” that this charming opera needs. Janáček would never have been so ill-mannered as to bite the hands of friends such as the critic and translator Max Brod, who did so much to bring him international fame late in his life, but one wonders what he thought of their efforts to Wagnerize this opera with leitmotif-hunting and animal-human plot parallelisms. (In his German translation of Vixen, Brod even brought the village woman Terynka onstage as a human “equivalent” to the vixen.) Janáček’s distinctive musical themes and motifs, with their modal Moravian flavor, certainly do recur at key points to reinforce the action — and it’s interesting how the animal and human characters reflect off each other — but none of this is imposed by some great creaking superstructure. It just happens . . . naturally. —David Wright © 2017 David Wright lives and writes in South Orange, New Jersey. He previously served as program annotator of the New York Philharmonic.

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About the Opera





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Martina Janková The Vixen Martina Janková, a Swiss soprano with Czech roots, is an internationally famous interpreter of Mozart and Baroque music. She has also extended her artistry into a variety of vocal works of the 19th and 20th centuries. Ms. Janková first worked with Franz Welser-Möst at the International Opera Studio in Zurich, and has been a member of the Zurich Opera since 1998. Her roles in Zurich have included Angelica in Handel’s Orlando, Vixen in Janáček’s The Cunning Little Vixen, Nanetta in Verdi’s Falstaff, Marzelline in Beethoven’s Fidelio, Gretel in Humperdinck’s Hansel and Gretel, and Ighino in Pfizner’s Palestrina. Beyond her work in Zurich, Ms. Janková’s recent seasons have included performances at the Salzburg Festival, La Scala in Milan, Paris’s Théâtre des Champs-Élysées and at the Prague National Theater and Prague State Opera. She has also sung at the festivals of Geneva, Graz, Lucerne, Prague, and Vienna, and at the Janáček Spring Festival, Martinů Festival, and the Rheingau Festival. She has worked with many of the world’s leading conductors and orchestras on the concert stage, including appearances with the Berlin Philharmonic, Budapest Festival Orchestra, Concentus Musicus Wien, Czech Philharmonic Orchestra, Israel Philharmonic, Mahler Youth Orchedstra, Munich Philharmonic, and Zurich’s Tonhalle Orchestra. Martina Janková’s DVDs include Johann Strauss Jr.’s Simplicius for EMI with Welser-Möst conducting, as well as appearing in Mozart’s The Marriage of Figaro, Così fan tutte, and Don Giovanni. She has also recorded albums for DGG Archiv and Philips/Universal. Ms. Janková made her Cleveland Orchestra debut in 2009 as Susanna in The Marriage of Figaro, and returned as Despina in Così fan tutte in 2010 and to sing Zerlina in Don Giovanni in March 2011. In May 2017, she starred as Mélisande in the Orchestra’s production of Debussy’s Pelléas and Mélisande at Severance Hall.

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Guest Artists


Alan Held The Forester Recognized among today’s leading singing actors, American bass-baritone Alan Held has appeared in major roles at many of the world’s great opera houses, including the Bavarian State Opera, Hamburg State Opera, Lyric Opera of Chicago, Metropolitan Opera in New York, Munich State Opera, Paris Opera, London’s Royal Opera House, San Francisco Opera, Teatro alla Scala, and the Vienna State Opera. He has also performed with major orchestras around the world, and at the Salzburg, Saito Kinen, and Tanglewood festivals, and at the BBC Proms. His many roles include Wotan in Wagner’s Ring of the Nibelung cycle and Hans Sachs in Die Meistersinger, as well as the title role in Berg’s Wozzeck, and Scarpia in Puccini’s Tosca. Mr. Held can be heard on an EMI Classics recording of Beethoven’s Fidelio, and in DVDs of the Metropolitan Opera’s production of Wagner’s Das Rheingold and a Paris Opera presentation of Hindemith’s Cardillac. A native of Washburn, Illinois, Mr. Held received his vocal training at Millikin University and Wichita State University.  His many awards include the Birgit Nilsson Prize.  He made his Cleveland Orchestra debut in 2004, and most recently sang in The Cunning Little Vixen in 2014.

Jennifer Johnson Cano Fox American mezzo-soprano Jennifer Johnson Cano has been widely praised for her performances on the operatic stage, in concert, and in recital. Ms. Cano joined the Lindemann Young Artist Development Program at New York’s Metropolitan Opera after winning the Metropolitan Opera National Council Auditions in 2008, and made her Met debut during the 2009-10 season. Other honors have included the 2014 George London-Norma Newton Award and a 2012 Richard Tucker Career Grant. She made her Cleveland Orchestra debut in May 2012, and sang with the Orchestra most recently in Handel’s Messiah in December 2015 and in Bach cantata music in Miami in January 2017. Ms. Cano has given over 100 performances with the Metropolitan Opera, with recent roles including Bersi, Emilia, Hansel, Meg Page, Mercedes, Nicklausse, Wellgunde, and Waltraute. She can be heard in Mahler’s Song of the Earth with the Orchestra of St. Luke’s and in DVDs of Robert LePage’s Ring cycle production at the Metropolitan Opera. Ms. Cano is a native of St. Louis, Missouri and made her professional operatic debut with the Opera Theater of Saint Louis. She earned degrees from Webster University and Rice University. For more information, visit


Guest Artists

The Cleveland Orchestra

Andrew Foster-Williams Harašta English bass-baritone Andrew Foster-Williams is known for his operatic performances and diversity of stage roles. Although he first built his career on baroque foundations, he has been expanding into later and dramatic operas and concert works. Recent performances have included Don Pizarro in Beethoven’s Fidelio, Captain Balstrode in Britten’s Peter Grimes, Telramund in Wagner’s Lohengrin, Golaud in Debussy’s Pelléas and Mélisande, and Gunther in Wagner’s Götterdämmerung (across the United Kingdom in Opera North’s Ring cycle). His concert appearances have encompassed an eclectic repertoire, including performances with the Salzburg Mozarteum, San Francisco Symphony, Hong Kong Philharmonic, and the London Symphony Orchestra (led by Colin Davis). He also sang in staged performances at Opéra de Bordeaux featuring the story of Don Quichotte with music by Ravel, Falla, and Massenet, in Elgar’s The Dream of Gerontius with the Minnesota Orchestra, and as Escamillo in Bizet’s Carmen at the Bregenz Festival. He made his Cleveland Orchestra debut in January 2008 singing Haydn’s “Lord Nelson” Mass, and appeared here most recently in March 2017 as Jesus Christ in Bach’s Saint John Passion.

Daryl Freedman Lapák the Dog American mezzo-soprano Daryl Freedman is a recent graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program. She is making her Cleveland Orchestra debut with these performances of Janáček’s The Cunning Little Vixen, which will also be presented in Vienna and Luxembourg as part of the Orchestra’s European Tour. Other highlights of her 2017-18 schedule include a return to Washington National Opera to sing her first performances of Eboli in Verdi’s Don Carlo. Symphonic engagements include a debut with the Boise Philharmonic and a return to the Santa Fe Symphony as the alto soloist in Handel’s Messiah. She will also make her debut at Théâtre du Capitole as Schwertleite in Wagner’s Die Walküre. Recent seasons have included performances with the Opera Company of Philadelphia, Sarasota Opera, Caramoor Festival, Santa Fe Opera, and Gotham Chamber Opera, as well as a variety of roles for Washington National Opera. Ms. Freedman was a member of the Studio Artist Program at Portland Opera 2009-11, singing a variety of roles including Aglaonice in Philip Glass’s Orphée, which was recorded and released on Orange Mountain Music Records. She holds degrees from Manhattan School of Music and Temple University.

Severance Hall 2017-18

Guest Artists


Dashon Burton Parson/Badger American bass-baritone Dashon Burton made his Cleveland Orchestra debut in May 2005 and most recently appeared here in August 2017. He began his studies at Case Western Reserve University, graduated from Oberlin College Conservatory of Music and, in 2011, earned a master’s degree from Yale University’s Institute of Sacred Music. His performances have included engagements with the Bethlehem Bach, Carmel Bach, Cincinnati May, and Spoleto USA festivals, and with the orchestras of Baltimore, Charleston, Kansas City, and New Jersey, along with Copenhagen’s Le Concert Lorrain, Boston’s Handel & Haydn Society, Oratorio Society of New York, and the Yale Schola Cantorum. An advocate of new music, Mr. Burton has premiered works by William Brittelle, Christopher Cerrone, Judd Greenstein, Edie Hill, and Caroline Shaw, among other composers. He is a founding member of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for Best Chamber Music/Small Ensemble. For more information, visit

David Cangelosi Schoolmaster/Mosquito Tenor David Cangelosi has performed at New York’s Metropolitan Opera in works by Giordano, Mozart, Puccini, and Verdi, and is especially known for his interpretation of Wagner’s Mime. He has also appeared with the opera companies of Chicago, Dallas, Los Angeles, Nashville, St. Louis, San Francisco, Santa Fe, and Washington D.C., and in Paris, and recently made his debut with Houston Grand Opera. In concert, his appearances have included engagements with the orchestras of Boston, Cincinnati, Columbus, Los Angeles, and Montgomery. Mr. Cangelosi serves as artistic director of the Vann Vocal Institute in Montgomery, Alabama. He previously sang with The Cleveland Orchestra in 1999, in operas by Ravel and Bizet, and in the original staging of The Cunning Little Vixen in 2014. Mr. Cangelosi has recorded Puccini’s Tosca, as well as a scene from Wagner’s Siegfried with Placido Domingo. Born in Parma, Ohio, he atttended college at Baldwin Wallace, studied musical theater in Maine, and performed for a decade as a nightclub entertainer. In the 1990s, Mr. Cangelosi returned to classical music and became a member of the Chicago Lyric Opera Center for American Artists. For additional information, visit


Guest Artists

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The Cleveland Opera salutes

The Cleveland Orchestra November 2017

Two Portraits

Main productions of The Cleveland Opera in 2017-2018

A staged-and-costumed production of Schumann’s song cycles Dichterliebe and Frauenliebe und Leben. January 2018

Marriage by Lantern-Light A comic opérette in one act by Jacques Offenbach. March 2018

La traviata by Giuseppe Verdi June 2018

The Haunted Manor (Straszny dwór) by Stanislaw Moniuszko Playhouse Square, Cleveland

Concerts and other events throughout the season. For additional information, visit or call 216-816-1411. Please consider signing up for our e-announcements! Images from The Cleveland Opera’s production of Puccini’s La bohème, June 2017 at Playhouse Square

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

Clarissa Lyons Rooster/Owl Clarissa Lyons is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. She made her Metropolitan Opera debut as Karolka in Janáček’s Jenůfa in 2016 and sang Countess Ceprano in Verdi’s Rigoletto in the spring of 2017. Earlier, she appeared as Lisa in the Met-Juilliard co-production of Bellini’s La Sonnambula. Her 2017-18 season includes Lehar’s The Merry Widow at the Met, as well as these Cleveland Orchestra performances of The Cunning Little Vixen, at Severance Hall, Vienna’s Musikverein, and in Luxembourg. Ms. Lyons studies included working with Dawn Upshaw at Bard Conservatory of Music’s Vocal Arts program, along with summers at the Tanglewood Music Center, SongFest, and at Ravinia’s Steans Music Institute.

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

Severance Hall 2017-18

Guest Artists


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

Caroline Bergan Cricket /Frog /Pepík Caroline Bergan earned her master’s degree at the Cleveland Institute of Music and is currently completing the artist diploma program, continuing to study with Mary Schiller. Born in Florida of a French mother and Norwegian father, she was raised with three native languages. Her international credits include opera performances in Italy in Arezzo, Mezzano, and Siena. Recent roles with CIM Opera Theater include Susanna in Mozart’s The Marriage of Figaro, Belinda in Purcell’s Dido and Aeneas, and Pamina in Mozart’s The Magic Flute. Ms. Bergan has participated in masterclasses with Renée Fleming, Renata Scotto, Julia Faulkner, Warren Jones, and Bo Skovhus. She is a past winner of the Mirabell Schloss Competition in Salzburg, Austria. This production of The Cunning Little Vixen is her Cleveland Orchestra debut.

Miranda Scholl Grasshopper/Frantík Miranda LeeAnn Scholl made her Cleveland Orchestra debut with The Cunning Little Vixen in 2014. Other recent roles have included Becky in Slowgirl, Tracy in Sans Merci, Laura Larkin in The Bloodless Jungle, Sampson in Romeo and Juliet, Emma Sheppard and co-writer for This Falling Feeling, Janet Van De Graaf in The Drowsy Chaperone, and Little Red Riding Hood in Into the Woods. Ms. Scholl’s instructors in New York City have included Catherine Fitzmaurice, Joey Bates, and Ilse Pfeifer. She graduated from Baldwin Wallace University earlier this year with a bachelor of science degree majoring in psychology, with a minor in theater.

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Guest Artists


Yuval Sharon DIRECTOR Yuval Sharon has been creating an unconventional body of work exploring the interdisciplinary potential of opera. He made his Cleveland Orchestra debut with The Cunning Little Vixen in 2014, and returned with Pélleas and Mélisande in May 2017. He made his Vienna State Opera debut with a new production of Eötvös’s Tri Sestri in 2016. He makes his debut at the Bayreuth Festival with a new production of Wagner’s Lohengrin in 2018. 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 his ongoing work as artistic director of The Industry, an experimental opera company in Los Angeles, Yuval Sharon is in the midst of a three-year residency as artist-collaborator 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. Recent work also includes a new production of Wagner’s Die Walküre for Karlsruhe. 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, 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.


Production Team

The Cleveland Orchestra

Casey Kringlen REVIVAL DIRECTOR Casey Kringlen is a Los Angeles-based director and photographer. He returns to Cleveland Orchestra to stage these encore performances of The Cunning Little Vixen, having served as assistant director to Yuval Sharon’s production of Pélleas and Mélisande here earlier this year. He was also assistant director and production photographer for Sharon’s LA premiere production of Hopscotch: A Mobile Opera for 24 Cars. Last year, Mr. Kringlen directed Patrick Hurley’s The Winds of Ariston as part of the University of California Los Angeles New Play Festival. As a published photographer, his work has been featured with, LA Times, New York Times, and the Wall Street Journal. In 2016, he proudly collaborated in a photography partnership with Mercedes-Benz celebrating LGBTQ Pride. Mr. Kringlen served as the artistic director of Queer Classics, a Los Angeles based company dedicated to reimagining classic stories through a queer lens. He conceived and directed a 90-minute trans version of Shakespeare’s The Taming of the Shrew, a gay The Importance of Being Earnest, and Equal Love (adapted from Romeo and Juliet). Other credits include directing LA’s first production of Jacob Marley’s Christmas Carol at six01 Studios. As a performance art creator, he is particularly proud of The Hereafter, a movement piece exploring death, burial rites, and earthly release. For more information, visit

Walter Robot ANIMATION DESIGN Walter Robot is the award-winning creative team of artist Bill Barminski and director Christopher Louie. Each artist also works independently on other projects and endeavors. Together, they have collaborated in various mediums, including film, animation, art, and sculpture. Their animation and shortfilm work has been nominated for a number of awards and featured in various festivals, including the Los Angeles Film Festival and Sundance Film Festival. Their artwork and sculptures have been featured in a variety of galleries, including the famed street art POW Gallery in London. In 2012, they had an exhibit at Bergamot Station in Santa Monica called This Side Up. They have worked with a number of notable artists, including Death Cab for Cutie, Kid Cudi, Gnarls Barkley, Rob Thomas, and Modest Mouse. Their commercial clients have included MTV, American Express, Nokia, Hasbro, and Absolut Vodka. Severance Hall 2017-18

Production Team


Jason H. Thompson PROJECTION/LIGHTING 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 and Pelléas and Mélisande (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), Cage Songbooks (Carnegie Hall, San Francisco Symphony, and New World Symphony), Crescent City Opera and Invisible Cities (new experimental operas directed by Yuval Sharon), Tales from Hollywood (Guthrie Theatre), The Steward of Christendom (Mark Taper Forum), Great Immensity and Venice (Public Theatre), and Chavez Ravine (Kirk Douglas Theatre). He’s also created two videos for the Petersen Auto Museum in Los Angeles and recently co-designed an exhibit with Yuval Sharon titled Chagall: Fantasies for the Stage at Los Angeles County Museum of Art. For more information, visit

Ann Closs-Farley COSTUMES 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 being introduced on the market this year. For more information, please visit


Production Team

The Cleveland Orchestra

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

Amy Jean Wright MAKEUP Amy Jean Wright is a makeup designer. She is a graduate of Boston University. Her design credits include American Idiot the Musical (Broadway and National Tours), Natasha, Pierre and the Great Comet of 1812 (Kazino, Off-Broadway, and Broadway productions), Pelléas and Mélisande (2017, The Cleveland Orchestra), and The Cunning Little Vixen (2014, The Cleveland Orchestra), as well as productions with New Jersey Opera, Wolftrap Opera, Opera Omaha, Nevada Opera, Opera Cleveland, Manhattan School of Music, and New York’s Public Theatre. Additional makeup credits include projects for Vogue, Rolling Stone, Marie Claire, Tiffany’s Annual Blue Book Gala, and Time Warner Cable Studio Experience.

With Special Thanks for assistance in creating this production . . . Apple Video Group LLC M·A·C Cosmetics NPi Audio Visual Solutions Vincent Lighting Systems

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

Lisa Wong was appointed acting director of choruses for The Cleveland Orchestra with the start of the 2017-18 season. She had become assistant director of choruses for The Cleveland Orchestra in 2010. 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.

Ann Usher Director, Cleveland Orchestra Children’s Chorus

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is coordinator of music education and a professor of music at the University of Akron, where she teaches graduate and undergraduate choral music education courses. She has previously served as director of the School of Music and interim director of the School of Dance, Theater, and Arts Administration. She previously taught choral music in the public schools, specializing in the middle school level. She has served on adjudicated committees for the Ohio Music Education Association (OMEA) and in 2014 served as director of OMEA’s inaugural All-State Children’s Chorus for fourth and fifth graders. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

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Chorus Directors


Foxes have long been a source of human fascination, appearing in fireside tales and storybooks in cultures from all over the world. Known for their keen, clever looking faces, as well as their elusiveness and deft hunting abilities, foxes are often considered to be nature’s tricksters — sly, mysterious, and even wise. All foxes are canines and thus related to dogs, wolves, coyotes, and jackals. They are carnivores — eating meat meals that usually consist of birds


or smaller mammals such as rodents. Many fox species will also eat certain fruits and vegetables. Foxes are smaller than most dogs, and typically have a triangular face, pointed ears, and bushy tail. Found across the globe, there are many distinct species of fox, each with unique adaptations to survive in a variety of environments — all the way north to the white-coated polar or arctic fox. Ohio is home to two species of fox — the red fox and the gray fox.

Dogs, Wolves, and . . . Foxes

The Cleveland Orchestra

Photography courtesy of the Cleveland Museum of Natural History

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About Foxes

Curious to see red foxes and gray foxes yourself? Both species are at home in the Cleveland Museum of Natural History’s Ralph Perkins II Wildlife Center & Woods Garden — open daily in University Circle and presented by KeyBank.



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.

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 this week at Severance Hall and in October at Vienna’s Musikverin. COLOR PHOTOGRAPHY BY ROGER MASTROIANNI

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Opera and The Cleveland Orchestra


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New principal clarinet joins Orchestra for 2017-18

New assistant conductor begins with 2017-18 season

Afendi Yusuf joins The Cleveland Orchestra as principal clarinet with the start of the 2017-18 season. He holds the Robert Marcellus Principal Clarinet Endowed Chair. Born in Addis Ababa, Ethiopia, he has appeared as guest principal with a number of North American ensembles, including the Orpheus Chamber Orchestra, Canadian Opera Company, and the Toronto and Cincinnati symphony orchestras. As a guest ensemble musician, he has also performed with several orchestras across North America. Yusuf is winner of a variety of concerto competitions and has made solo appearances with a number of ensembles in the United States and Europe. He is an alumnus of the Aspen Music Festival and School, Brott Music Festival, National Youth Orchestra of Canada, and the National Arts Centre’s Young Artists Program. He has participated in the Marlboro Music Festival since 2016. Afendi Yusuf holds a bachelor of arts degree from Ontario’s Wilfrid Laurier University, where he was a student of Ross Edwards, and an artist diploma from the Glenn Gould School in Toronto, where he studied with Joaquin Valdepeñas. He also holds a master of music degree and professional studies certificate from the Colburn School’s Conservatory of Music in Los Angeles, where he was a student of Yehuda Gilad.

Vinay Parameswaran joins The Cleveland Orchestra as assistant conductor with the 2017-18 season. He holds the Elizabeth Ring and William Gwinn Mather Conductor Endowed Chair. In this role, he leads the Orchestra in a variety of concerts each season and many weeks serves as cover or backup conductor. He also serves as music director of the Cleveland Orchestra Youth Orchestra. Parameswaran comes to Cleveland following three seasons as associate conductor of the Nashville Symphony. This past summer, he was a Conducting Fellow at the Tanglewood Music Center. Mr. Parameswaran’s recent guest conducting engagements have included the Rochester Philharmonic, Milwaukee Symphony, National Symphony Orchestra, and the Vermont Symphony Orchestra. He has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival. A native of the San Francisco Bay Area, Vinay Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. He received a diploma from the Curtis Institute of Music, where he studied with OttoWerner Mueller.

Acting chorus directors appointed for 2017-18

Silence is golden

Lisa Wong has been appointed acting director of choruses for The Cleveland Orchestra with the 2017-18 season. She steps up with the conclusion in August of Robert Porco’s nineteen-year tenure. She has served as assistant conductor of choruses since 2010 and director of the Cleveland Orchestra Youth Chorus since 2012. Assistant director Daniel Singer will lead the Youth Chorus as acting director this season.

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As a courtesy to the performers onstage and the audience around you, please turn off cell phones and disengage electronic alarms prior to the concert.

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

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Season begins with “A Hero’s Journey” — a collaborative multimedia music project and school concert presentation tied to Orchestra’s Beethoven Prometheus Project

On September 22, a collaborative education project with Cleveland Orchestra musicians and Cleveland School of the Arts (CSA) culminated in a live school performance led by Franz Welser-Möst. Centered around Beethoven’s music alongside ideas and ideals of heroism, the daytime Education Concert at Severance Hall was titled “Beethoven & Prometheus: A Hero’s Journey.” The creative journey toward this live concert began last spring, when Orchestra musicians and staff immersed themselves at CSA, working with students and teachers to explore a unique intersection of mythology and music. This “Prometheus Project for Students” was inspired by Welser-Möst’s “Prometheus Project,” a major concert festival in May 2018, to be presented as part of the Orchestra’s Centennial Season during 2017-18. Those public concerts will feature Beethoven’s symphonies alongside important overtures, examining Beethoven’s music through the metaphor of Prometheus, a daring Greek semi-god who defied Zeus to be-


stow the gift of fire on humanity. For Beethoven, this gifting of fire helped propel human civilization forward, providing a spark (literally and metaphorically) of creativity that has powered the imagination of generations. In Welser-Möst’s view, Beethoven saw Prometheus as a metphor for powering humanity’s quest for justice and goodness, for fighting for good, and the embrace of individual freedoms — themes that Beethoven incorporated directly into his music. Through an interdisciplinary curriculum codeveloped by The Cleveland Orchestra, Cleveland School of the Arts, and Fifth House Ensemble (a Chicago-based leader in arts-integration and audience engagement), CSA students engaged deeply with the stories, challenges, and accomplishments of Beethoven and Prometheus, and the way they served — or strived to serve — the greater good. Utilizing artistic mediums (visual and performing arts), engaging core curriculum (English/ language arts, science, and social studies), and using American scholar Joseph Campbell’s classic “Hero’s Journey” framework, students were asked to create works of their own that connect these themes to personal narratives — to create stories in art of their personal heroes and the ways in which each student envisions using their own gifts to shape their future world. A core group of ten Cleveland Orchestra musicians were involved throughout the project. On September 22 at Severance Hall, in a concert performed exclusively for students in the Cleveland Metropolitan School District (CMSD), select CSA student projects and creations were projected onto large screens surrounding the Orchestra, integrating them into “Beethoven & Prometheus: A Hero’s Journey.” The emotionally rich, multidisciplinary, multimedia concert experience was designed to illuminate connections from Beethoven’s music to the mythological Prometheus to the lives of today’s students. The concert will be repeated for additional schools in November. Above, a student artwork from this collaborative project exploring music, heroes and heroism, and humanity’s search for good.

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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 text 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



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

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Statue installed at Blossom celebrates family’s enduring partnership with The Cleveland Orchestra Visitors to Blossom Music Center this past summer may have noticed a new greeter at the Smith Plaza entrance to Emily’s Garden — a statue depicting the goddess Diana as a child. Created by American sculptor Wheeler Williams (1897-1972) as part of his series “Childhood of the Gods,” the statue was donated to The Cleveland Orchestra by the Blossom family “in memory and honor of those who have gone before.” People remembered included Harold Lecy, a devoted member of the Blossom Music Center horticultural staff. Emily’s Garden was created in 1992 to commemorate Emily (the second Mrs. Dudley S. Jr.) Blossom’s influential guidance for and support of the Orchestra’s summer home. The Music Center is named to honor the Blossom family’s roles as leaders and major supporters of The

Cleveland Orchestra across several generations. Dudley S. Blossom Sr. served as the Orchestra’s president (1936-38), his son Dudley Jr. served as a trustee (1946-61), and his granddaughter, Laurel Blossom, is a current trustee. In a special private gathering to welcome the statue to its new permanent home on July 22, 2017, Ms. Blossom spoke about the heirloom’s history within the family, evoking memories of the statue’s acquisition by her mother, Jean V. Blossom, for placement atop the bird bath in the driveway of the family home, and at subsequent locations under the loving care of other members of the family. Ms. Blossom expressed her hope that Diana — charmingly frozen as a youth by the sculptor’s artistry — will bring everyone who sees her in Emily’s Garden the same feelings of joy she has given the Blossom family over the years. Ms. Blossom concluded with the hope that Diana, goddess of nature and the moon, may long “guard this place and these people.”

CIM@SEVERANCE HALL Wednesday, October 4 at 8pm CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Brett Mitchell, guest conductor SCHOENBERG Five Pieces for Orchestra (rev. 1949) BATES The B Sides for Orchestra and Electronica (2009) BEETHOVEN Symphony No. 5

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Cleveland Orchestra volunteer group promotes the power of music for a new century

Friends launches season of Meet the Artist luncheons on Friday, October 6th

The Orchestra’s flagship volunteer group — renamed earlier this year as Friends of The Cleveland Orchestra — is gearing up to celebrate the Orchestra’s 100th. Now in its tenth decade of service, the group is continuing its long tradition of raising funds to support the Orchestra and promote the institution’s education and community programs. Through social activities and raising awareness about the power of music to enhance lives, Friends of The Cleveland Orchestra OF THE are also looking to CLEVELAND ORCHESTRA grow the breadth and reach of the group’s membership for the Orchestra’s Second Century. Founded in 1921 as the Women’s Committee of The Cleveland Orchestra, the group has ably served the interests of the Orchestra across generations of women and men (men were first admitted for membership in the 1990s). The group was the brainchild of Adella Prentiss Hughes, the Orchestra’s first general manager, who envisioned a formation of volunteers promoting and advocating for the Orchestra’s musical mission. Education programs were among the group’s early initiatives and, in a very different era, the women also devoted much time to selling season ticket subscriptions. As Friends of The Cleveland Orchestra, the volunteers are continuing much of their longstanding work, while also looking to branch out with new ideas to help support the Orchestra financially and as advocates of music education and volunteering for the Orchestra. Ongoing programs include a series of Meet the Artist luncheons, benefit events, and scholarship initiatives to support Cleveland Orchestra Youth Orchestra members pursuing careers in music. As ambassadors for The Cleveland Orchestra, Friends strive to promote the Orchestra’s work, strengthen its relationships across Northeast Ohio, and to support the Orchestra financially. For information about becoming a Friend, contact Lori Cohen, Community Leadership Liaison, by calling 216-231-7557.

Friends of The Cleveland Orchestra presents its first Meet the Artist luncheon of the season on Friday, October 6. The event features Cleveland Orchestra cellist Brian Thornton, who will talk about his work as an orchestral musician and as soloist and chamber player. The luncheon will be held at the Westwood Country Club in Rocky River. The event includes a short performance by Thornton, who will then discuss his life as a musician with the Orchestra’s artistic administrator, Ilya Gidalevich. Reservations are required and cost $40 for Friends, $50 for non-members, or $100 for priority seating and a pre-luncheon reception. Call 216-938-6701 or email leslie.mta.reservations@


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I.N M.E .M.O.R.I. A .M Please join in extending sympathy and condolences to the families and friends of these former Orchestra members:

Thomas Peterson, assistant principal clarinet for 32 seasons (196395) died on February 28, 2017, at the age of 81. Tom garduated from Eastman School of Music and played as a member of the Buffalo Philharmonic prior to coming to Cleveland. His wife, Barbara, was a flutist who taught at Cleveland State University. William Hebert, principal piccolo for 41 seasons (1947-88) died on June 16, 2017, in San Diego, California, at the age of 94. He and his wife, Olive, had just celebrated their 70th wedding anniversary. Bill was born on May 6, 1923, and later attended the Juilliard School of Music prior to coming to Cleveland. He taught at Baldwin Wallce for 45 years.

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 46 musicians collectively completed a total of 1628 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 SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years 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

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 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 2017



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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 2016-17 season. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch John Clouser Kathleen Collins Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Thomas Klaber Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Emilio Llinás

Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Donald Miller Michael Miller Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany William Preucil Lynne Ramsey Jeffrey Rathbun Frank Rosenwein Marisela Sager Jonathan Sherwin Thomas Sherwood Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Richard Stout Yasuhito Sugiyama Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Walters Carolyn Gadiel Warner Scott Weber Richard Weiss Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

Severance Hall 2017-18

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



Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

Giving Societies gifts during the year prior to July 1, 2017 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) 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+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. Patrick Park (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley

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George Szell Society

Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. Alexander M. Cutler+ Mrs. John A Hadden Jr. T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Barbara and David Wolfort (Cleveland, Miami)+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Annual Support Individual

The Cleveland Orchestra

Elisabeth DeWitt Severance Society

Dudley S. Blossom Society gifts of $15,000 to $24,999

gifts of $25,000 to $49,999 Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton+ Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl George* and Becky Dunn Friends of The Cleveland Orchestra (formerly the Women’s Committee of The Cleveland Orchestra) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Junior Committee of The Cleveland Orchestra Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Milton A. and Charlotte R. Kramer Charitable Foundation Margaret Fulton-Mueller+ Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Hewitt and Paula Shaw Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Ms. Ginger Warner (Cleveland, Miami) Anonymous (2)

Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM

Gay Cull Addicott+ Randall and Virginia Barbato Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) 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 David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Rachel R. Schneider+ Mrs. David Seidenfeld+ Kim Sherwin+ William* and Marjorie B. Shorrock+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Paul and Suzanne Westlake listings continue

The Cleveland Severance HallOrchestra 2017-18

Individual Annual Annual Support Support

89 79

Frank H. Ginn Society gifts of $10,000 to $14,999 Mr. and Mrs. Dean Barry Laurel Blossom Irma and Norman Braman (Miami)+ Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Patti Gordon (Miami) Amy and Stephen Hoffman

Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mrs. Elizabeth R. Koch Stewart and Donna Kohl Dr. David and Janice Leshner Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Mr. Raymond M. Murphy+ Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman+ David M. and Betty Schneider Carol* and Albert Schupp Mr. and Mrs. Oliver E. Seikel Seven Five Fund

Mrs. Gretchen D. Smith+ The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Mr. and Mrs. Jonathan M. Steingass Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Rick, Margarita, and Steven Tonkinson (Miami)+ Gary L. Wasserman and Charles A. Kashner (Miami) Pysht Fund The Denise G. and Norman E. Wells, Jr. Family Foundation+ Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Susan Namen Tony and Diane Wynshaw-Boris+ Max and Beverly Zupon Anonymous (4)

The 1929 Society gifts of $5,000 to $9,999 Robert and Alyssa Lenhoff-Briggs Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Mr. David Bialosky and Ms. Carolyn Christian+ Suzanne and Jim Blaser Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins+ Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth+


Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Ms. Nancy L. Griffith The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson+ David and Robin Gunning Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. Loren W. Hershey Patrick* and Jean Holden Steve and Mary Hosier Elisabeth Hugh+ David and Dianne Hunt Mr. and Mrs. Brinton L. Hyde

Individual Annual Support

Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Joela Jones and Richard Weiss Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Christopher Kelly Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Mrs. Natalie D. Kittredge Rob and Laura Kochis Tim and Linda Koelz+ Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold+ Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin+ Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel

The Cleveland Orchestra



“Presented with a sense of theatre as Handel intended... scintillating and superb.” – CLEVELANDCLASSICAL.COM

OCTOBER 12-15 Akron, Shaker Heights, Beachwood, and Avon Lake ^CRQNNQUſTGQTI

Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. John Mueller Lucia S. Nash Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury O’Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Mr. Robert S. Perry Nan and Bob Pfeifer+ 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 Brian and Patricia Ratner Amy and Ken Rogat Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter+ Drs. Michael and Judith Samuels (Miami) Patricia J. Sawvel Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Mr. Eugene Smolik

Mr. and Mrs. William E. Spatz+ atz+ George and Mary Stark rang, Jr. Mr. and Mrs. Donald W. Strang, Stroud Family Trust Dr. Elizabeth Swenson+ Robert and Carol Taller+ Mr. and Mrs. Bill Thornton Dr. Russell A. Trusso Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Dr. Beverly J. Warren Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Dr. and Mr. Ann Williams+ Bob and Kat Wollyung Anonymous

James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mrs. Mary S. Eaton Mr. and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Mr. William and Dr. Elizabeth Fesler Mr. Paul C. Forsgren Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Ms. Marilee Gallagher 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 Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Mr. and Mrs. Stephen Griebling Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. and Mrs. John E. Guinness Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Dr. Fred A. Heupler Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mrs. Loretta Borstein Lisa and Ronald Boyko Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Mr. and Mrs. Robert G. Busha Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. Frank H. Carpenter

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Individual Annual Annual Support Individual

The Cleveland Orchestra

Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Dr. and Mrs. Donald W. Junglas Barbara and Michael J. Kaplan Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Dr. Gilles* and Mrs. Malvina Klopman+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. + Mrs. Sandra S. Laurenson Dr. and Mrs. Arthur Lavin Michael Lederman Ronald and Barbara Leirvik Mr. and Mrs. Ernest C. Lemmerman Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Mrs. Idarose S. Luntz Damond and Lori Mace Ms. Linda Macklin David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus 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 Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. Tom McLaughlin Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Abby and Jake Mitchell Mr. and Mrs. William A. Mitchell+

Severance HallOrchestra 2017-18 The Cleveland

Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar+ Susan B. Murphy Randy and Christine Myeroff Steven and Kimberly Myers+ Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky Mr. Robert Paddock Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Maribel A. Piza (Miami)+ Mr. Carl Podwoski Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Ms. C. A. Reagan Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Dick A. and Debbie Rose Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka+ Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Bob Scheuer 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) Drs. Daniel and Ximena Sessler+ Mr. Kenneth and Mrs. Jill Shafer Donna E. Shalala (Miami) Ginger and Larry Shane

Individual Annual Annual Support Support Individual

Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mr. Robert Sieck Laura and Alvin A. Siegal Howard and Beth Simon Ms. Ellen J. Skinner Ms. Anna D. Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Mr. Eduardo Stern (Miami) Frederick and Elizabeth Stueber Mr. Taras G. Szmagala, Jr. Kathy* and Sidney Taurel (Miami)+ Dr. and Mrs. Thomas A. Timko Mr.* and Mrs. Robert N. Trombly Steve and Christa Turnbull+ Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. Norman Wain Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (8)

+ has signed a multiyear pledge (see information box earlier in this section)

* deceased

Thank You 83 93


Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 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. PARTNERS IN EXCELLENCE $300,000 AND MORE

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

BakerHostetler Eaton Jones Day PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

The Cleveland Severance HallOrchestra 2017-18

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

Buyers Products Company Case Western Reserve University Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis

Corporate Corporate Annual Annual Support Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Adam Foslid/Greenberg Traurig (Miami) Gross Builders Huntington National Bank Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Oatey Ohio CAT OMNOVA Solutions Oswald Companies Park-Ohio Holdings PolyOne Corporation RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

87 85

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

440.720.1102 440.720.1105 440.720.1104







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The Cleveland Orchestra


Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 $1 MILLION AND MORE

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

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

Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family 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

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

The Cleveland Severance HallOrchestra 2017-18

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & 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 Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation Cleveland State University 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 Jack, Joseph and Morton Mandel 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 Miami-Dade County Public Schools (Miami) Harold C. Schott 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 Wuliger Foundation Anonymous (2)

Foundation/Government Annual Foundation/Government Annual Support Support

85 87

Ludwig van Beethoven, 1818, pencil drawing by August von KlĂśber

Tones sound and roar and storm about me until I have set them down in notes. â&#x20AC;&#x201D;Ludwig van Beethoven

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 T HE great music to transform the mind and soul CLEVEL AND that is what I most appreciate, and the gift I so O RCHESTRA enjoy sharing with others.” Celebrate the power of music, and help T HE build The Cleveland Orchestra’s future with your friends and community, by supporting the Annual Fund. Call Elizabeth Arnett, Director of Leadership and Individual Giving, at 216-231-7522 today.

Severance Hall 2017-18


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



“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music. For today and for future generations.

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email

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 216-231-7522.

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.

OPUS CAFÉ The new Opus Café is located on the ground floor in the Lerner Lobby as the top of the escalator CAFE from the parking garage. Offering pre- and post-concert refreshments and light foods, the Cafe is a perfect spot for meeting and talking with friends.


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.


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

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.



Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings

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

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.


Severance Hall 2017-18

Guest Information


AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances. As courtesy to others, please turn off any phone or device that makes noise or emits light.

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

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the


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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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.

Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit under18.


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).

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.

Join the millions of people who enjoy all the sounds of life! Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, ĞǀĂůƵĂƟŽŶƐ͕ĂŶĚĚĞǀŝĐĞĮƫŶŐƐ͕ƚŽĨŽůůŽǁƵƉĂŶĚƐƵƉƉŽƌƚ͕ ,^ǁŝůůĞŶƐƵƌĞLJŽƵŶĞǀĞƌŵŝƐƐĂŶŽƚĞ͊

ĂůůƚŽĚĂLJĨŽƌŵŽƌĞŝŶĨŽƌŵĂƟŽŶ͘ 216-231-8787

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Severance Hall 2017-18

Guest Information

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2O1 7-18







Friday October 27 at 8:00 p.m.

Sunday October 29 at 3:00 p.m.



Todd Wilson, organ

Let the movies magic begin! Celebrate Halloween with this 1920 masterpiece from the silent film era — with musical accompaniment improvised live by acclaimed organist Todd Wilson. A benevolent doctor and aspiring scientist, Dr. Jekyll (John Barrymore) is tempted to explore the two sides of his personality — the good and the evil. He faces horrible consequences when a potion allows his dark side run wild, creating his alter-ego Mr. Hyde. Featuring Severance Hall’s mighty Norton Memorial Organ and its 6,025 pipes. Please note that The Cleveland Orchestra does not perform on this concert. Sponsored by PNC Bank

CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Carl Topilow, conductor Eric Charnofsky, narrator

Deliciously frightening musical fun! Delight in the musical magic of Paganini’s The Witches’ Dance, musical selections from Star Wars, mysterious sounds and stories, and even more bewitching music! Come dressed in your Halloween best for a costume contest for audience members (the orchestra and Severance Hall will be dressed up, too). Free pre-concert activities begin one hour before concert time. Sponsored by American Greetings

Visit for a complete schedule of future events and performances, and purchase tickets online 24 / 7.




Upcoming Concerts

The Cleveland Orchestra

Itâ&#x20AC;&#x2122;s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

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bigger picture

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The Cleveland Orchestra July September 23, 24, 26 Concerts  

The Cunning Little Vixen

The Cleveland Orchestra July September 23, 24, 26 Concerts  

The Cunning Little Vixen