The Cleveland Orchestra April 11-13 Concerts

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2023/2024 SEASON

JACK, JOSEPH AND MORTON MANDEL CONCERT HALL AT SEVERANCE MUSIC CENTER

Elgar’s Cello Concerto

Thursday, April 11, 2024, at 7:30 PM

Friday, April 12, 2024, at 11 AM

Saturday, April 13, 2024, at 8 PM

Klaus Mäkelä, conductor

Jimmy López Bellido (b. 1978)

Edward Elgar (1857–1934)

William Walton (1902–1983)

* William Walton’s Belshazzar’s Feast does not appear on Friday’s program, which will be performed without intermission.

Sol Gabetta’s performance is generously sponsored by Mrs. Rebecca F. Dunn.

Thursday’s performance is dedicated to Tony and Diane Wynshaw-Boris in recognition of their generous support of music.

Perú negro

Cello Concerto in E minor, Op. 85

I. Adagio — Moderato —

II. Lento — Allegro molto

III. Adagio —

IV. Allegro — Moderato — Allegro, ma non troppo — Poco più lento — Adagio

Sol Gabetta, cello

INTERMISSION

Belshazzar’s Feast *

Thus spake Isaiah —

By the waters of Babylon —

Babylon was a great city —

In Babylon Belshazzar the King —

Praise ye the God of Gold —

Thus in Babylon, the mighty city —

And in that same hour —

Then sing aloud to God our strength —

The trumpeters and pipers —

Then sing aloud to God our strength

Thomas Hampson, baritone

The Cleveland Orchestra Chorus

15 minutes

30 minutes

20 minutes

35 minutes

Total approximate running time: 1 hour 40 minutes

Thank you for silencing your electronic devices.

EDWARD ELGAR AND WILLIAM WALTON MET ONLY ONCE  — in the gentlemen’s restroom during a 1929 concert where, according to Walton, they exchanged nothing more than “gruff pleasantries.” Perhaps such a chilly reception between two of England’s most prominent composers was inevitable, given their lives and music are a study in contrasts.

/

JOHN

Elgar was the last of the Edwardian romantics, a provincial composer who didn’t achieve fame until age 42 with his tender-hearted Enigma Variations, while Walton was hailed an enfant terrible at just 21 following the scandalous premiere of his jazz-fueled Façade. On the continuum of English music, the pair represent a major changing of the guard — from impassioned romanticism to riotous modernism —  as displayed in their works featured on this weekend’s concerts. Written in 1918–19 as the final embers of World War I turned to ash, Elgar’s Cello Concerto showcases the composer’s lean, reflective late style, amplified by a monochromatic orchestral palette and a strong vein of melancholy. A far cry from the nostalgia of Elgar’s concerto, Walton’s Belshazzar’s Feast, completed in 1931, is set ablaze with cinematic colors, its titanic orchestra and choir evoking the Biblical tale of the doomed Babylonian King with music veering between blistering sorrow and unbridled celebration.

The luminous orchestral details and rhythmic frenzy of Walton’s grand oratorio find contemporary counterparts in Jimmy López Bellido’s Perú negro, a work championed by returning guest conductor Klaus Mäkelä. Inspired by Afro-Peruvian music, Perú negro employs six traditional folk songs as the launching point for a kaleidoscopic journey that, according to López, doesn’t aim to reproduce Peruvian folklore, but instead creates “an invented folklore of sorts, which bears the seal of my musical language.” — Michael Cirigliano II

DETAIL FROM BELSHAZZAR’S FEAST (1826)

BY

MARTIN

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Perú negro

by Jimmy López Bellido

BORN : October 21, 1978, in Lima, Peru

▶ COMPOSED: 2012

▶ WORLD PREMIERE: May 17, 2013, with the Fort Worth Symphony Orchestra conducted by Miguel Harth-Bedoya

▶ This weekend’s performances mark the first presentations of Jimmy López Bellido’s Perú negro by The Cleveland Orchestra.

▶ ORCHESTRATION: 3 flutes (2nd and 3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cajóns, cowbells, ratchet, suspended cymbal, tam-tam, toms, cabasa, jawbone, mark tree, vibraslap, bass drum, temple blocks, thunder sheet, triangles), harp, and strings

▶ DURATION: about 15 minutes

JIMMY LÓPEZ BELLIDO has an origin many of us no doubt can relate to: the reluctant young piano student. Then, at age 11, he had a momentous encounter with the music of J.S. Bach. “His Two-Part Invention No. 13 struck me like lightning!” the Lima, Peru-born composer said in a 2023 interview for the Birdsong podcast. “Through him, I discovered the world of classical music, which elicited something in me akin to religious ecstasy,” López recalled. “I have strived to produce that same kind of response [in] my listeners ever since.”

With considerable success, one hastens to add. While his best-known work is likely Bel Canto, his 2015 opera based on the Ann Patchett

novel, López’s intelligently designed, viscerally thrilling orchestral works have secured his global stature. And among his burgeoning canon of symphonic music, Perú negro has emerged as a breakout success.

Composed in 2012, the 15-minute piece was commissioned by López’s countryman and comrade, conductor Miguel Harth-Bedoya, for the Fort Worth Symphony Orchestra’s centennial season. López embedded the initials of the conductor’s full name into the opening horn motto: “E, B, B flat, and G, which correspond to Miguel (Mi = E) Harth (H = B natural) Bedoya (B = B flat) Gonzáles (G),” he wrote in a detailed composer’s note.

Describing Perú negro in a video posted on TikTok ahead of its 2023 UK premiere, López explained that the work has roots in a dark chapter of his homeland’s history. “This piece pays homage to Afro-Peruvian music, which actually has its origins when people from Africa were taken as slaves to Peru by the Spaniards,” he said.

“They did not have much to make music with, so they took whatever objects they found, like a cajón, which is basically a box, or the jawbone” — the latter literally a bone rattle made from a mule’s jaw. Using those modest implements, he explained, “they were able to create this music that speaks of their trials and tribulations.” But those songs also celebrated life, with joyous, infectious dance music rich in rhythmic variety and drive.

Weaving elements from six traditional songs into a sequence that grows inexorably more vivacious and powerful, López fashioned a work he likens to an Afro-Peruvian take on Ravel’s 1920 orchestral work La valse — “it’s a progression that intensifies with every single number,” he said in the video. “Pregón I,” the opening section, echoes the calls of Peruvian vendors plying their trade in the streets of Lima. The second part, “Toro Mata,” adapts a traditional ballad that opens with the same E and B heard at the work’s start: an ascending perfect fifth established as a structural device.

Strings come to the fore in the swirling, animated “Ingá,” picking up force and urgency en route to the driven “Le dije a papá” with its brilliant percussion interludes and increasingly wild flourishes. After a dramatic break, “Pregón II,” an altered version of the introduction, clears the way for a callback to “Toro Mata” and, finally, “Son de los Diablos,” a fast-paced finale that builds once again from a murmur to a roar.

— Steve Smith

Steve Smith is a journalist, critic, and editor based in New York City. He has written about music for The New York Times and The New Yorker, and served as an editor for the Boston Globe, Time Out New York, and NPR.

COURTESY OF JIMMY LÓPEZ BELLIDO / © ASHKAN IMAGE

Composer Jimmy López Bellido paid homage to his homeland in Perú negro, which contains references six traditional Peruvian songs.

Cello Concerto in E minor, Op. 85

by Edward Elgar

BORN : June 2, 1857, in Broadheath, England

DIED: February 23, 1934, in Worcester, England

▶ COMPOSED: 1918–19

▶ WORLD PREMIERE: October 26, 1919, featuring cellist Felix Salmond and the London Symphony Orchestra, conducted by the composer

▶ CLEVELAND ORCHESTRA PREMIERE: February 24, 1967, with soloist Jacqueline du Pré and conductor Louis Lane

▶ ORCHESTRATION: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings

▶ DURATION: about 30 minutes

ONLY FOR 20 of his 76 years did Edward Elgar enjoy the simultaneous benefits of fame and creative abundance. He achieved that fame at age 42 with the premiere of his immensely popular Enigma Variations. The work that closed this two-decade period of high creativity was the Cello Concerto, completed in summer 1919. A year later, with the death of his beloved wife, Alice, Elgar withdrew more and more from public life and wrote no more masterpieces.

Elgar did not match the English people’s notion of a typical composer —  expected in those days to be urbane, an aesthete, someone who clearly recognized and understood the beauty of art and could expound about it in the manner of Oscar Wilde. Elgar was largely self-taught and grew up far

from the cultural hub of London. Until the success of Enigma Variations, he was regarded as a provincial composer, which indeed he was, composing mostly for regional festivals that flourished across the countryside in late Victorian England. Then the great works appeared in steady succession — The Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, the First Symphony, the Violin Concerto, the list goes on.

In 1917, Elgars moved to Brinkwells, a house in Sussex, which brought him respite from the constant anxieties of World War I and is readily associated with the leaner, more reflective musical style encompassed by the Cello Concerto. A letter written at this time describes his routine:

“I rise about 7 work till 8:15 — then dress, breakfast — pipe (I smoke again all day!) work till 12:30 lunch (pipe) — rest an hour —  work till tea (pipe) — then work till 7:30 —  change, dinner at 8. Bed at 10 — every day practically goes thus … We go for lovely walks … the woods are full of flowers, wonderful …”

On September 26, 1918, with the war still raging, Alice Elgar’s diary recorded “wonderful new music, real wood sounds & other lament [which should] be in a war symphony.” But this was to be a concerto, not a symphony, and as it neared completion the following summer, Elgar described it as “a real large work & I think good & alive.”

The Cello Concerto was completed in July 1919 and premiered on October 26 in the Queen’s Hall, London, with Felix Salmond as the soloist and Elgar conducting the London Symphony Orchestra. (In the cello section of the orchestra was future conductor John Barbirolli, then age 19, who would conduct a historic recording of the work with Jacqueline du Pré.) That first night was marred by too little rehearsal time. Music critic Ernest Newman reported that the orchestra “made a lamentable

PHOTO BY HERBERT LAMBERT / COURTESY OF WIKIMEDIA COMMONS

By the time this photograph was taken in 1931, Edward Elgar had achieved notoriety for numerous compositions, including his Cello Concerto.

THE MUSIC

public exhibition of itself.” The work later came to be recognized as one of the supreme concertos for cello.

A sentiment of resignation and even of despair in the Cello Concerto may be generated both internally by a strong vein of melancholy that is an inescapable element of Elgar’s music and externally by the desolating impact of the Great War. But the work is not an elegy, nor even, so far as we can tell, a deliberately planned swan song. It is reflective, playful, tearful, and energetic by turns, like all Elgar’s best music.

in his sketchbook: “very full, sweet and sonorous,” and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare.

The scherzo second movement that follows is in 4/4 time with bustling sixteenth notes reminiscent of Elgar’s Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in contrast, but lightness prevails.

[The] work is not an elegy. ... It is reflective, playful, tearful, and energetic by turns, like all Elgar’s best music.

Unlike a traditional concerto, this one has four movements, not three. The movements are all concise, and the two central movements, a scherzo and a slow movement, offer a complete contrast in momentum and temper. The declamatory opening of the work recurs, though truncated, at the beginning of the scherzo and in full, with marvelously valedictory effect, in the finale. After a dramatic entrance for the soloist, the first movement’s gentle lilt is far removed from any pomp or circumstance. Over the meandering first theme Elgar wrote

For the work’s third, slow movement, Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a private world of sweetness so direct and complete that it requires no development or expansion. For all its heartrending beauty, the movement is short, and its halfclose leads directly into the finale fourth movement.

Here, after another declamatory start, the music settles into a sturdy rhythm that proceeds in a businesslike and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he ever wrote. There is asperity too, in the harmony, and the music slides inevitably into a brief memory of the slow movement, followed by the work’s opening statement and a brief energetic (and surely ironic in intention) close.

—Hugh Macdonald

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as Music in 1853: The Biography of a Year

THE MUSIC

Belshazzar’s Feast

by William Walton

BORN : March 29, 1902, in Oldham, England

DIED: March 8, 1983, in Ischia, Italy

▶ COMPOSED: 1930–31

▶ WORLD PREMIERE: October 8, 1931, in Leeds, with baritone Dennis Noble, the London Symphony Orchestra, the Leeds Festival Chorus, and Malcolm Sargent conducting

▶ CLEVELAND ORCHESTRA PREMIERE: December 14, 1961, conducted by Robert Shaw and featuring baritone Ara Berberian and The Cleveland Orchestra Chorus

▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, 3 clarinets, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (xylophone, glockenspiel, triangle, castanets, tambourine, gong, field drum, tenor drum, woodblock, cymbals, bass drum, whip, anvil), 2 harps, piano, organ, and strings, plus 2 brass bands, baritone, and chorus

▶ DURATION: about 35 minutes

See page 16 for the sung texts.

WHEN THE BRITISH BROADCASTING

CORPORATION (BBC) commissioned a new choral work from William Walton in 1929, the programmer provided specific parameters to accommodate the intimacy of the BBC studios. The composition was to employ a small choir, one vocal soloist, and no more than 15 orchestral musicians — modest guidelines the young English composer obliterated in epic fashion.

The completed score Walton submitted for Belshazzar’s Feast revealed a sprawling oratorio for baritone soloist, double choir, and a massive orchestra requiring two brass bands, a convoy

of colorful percussion, military band instruments such as alto saxophone, and both piano and organ. The new work proved so expansive that its 1931 premiere was transferred to the Leeds Festival, where the London Symphony Orchestra and the festival’s large amateur choir filled the vast environs of the 1,500-seat Leeds Town Hall.

Delivering an unconventional work that ignored established guidelines was the latest display of cheek from the precocious Walton, who by the time

Alongside Benjamin Britten, William Walton was part of a generation of British composers who solidified their country’s place on the musical map in the 20th century.

THE MUSIC

of the BBC commission had been considered the enfant terrible of English music in the decade following World War I.He achieved notoriety in 1923 for his cabaret-style collaboration with the writer Edith Sitwell, Façade: An Entertainment, and his 1929 Viola Concerto, which displayed Walton’s avant-garde approach to working with classical forms.

Not yet 30, Walton now had the chance to make his mark on the English choral tradition — one he knew well from his chorister days as a teenager

holy golden vessels plundered from the First Temple in Jerusalem to praise his pagan gods. As 1,000 guests drink from these sacred cups, a mysterious hand writes a message on the palace wall foretelling doom for the king. Belshazzar, refusing to repent for his actions, is killed that night, and the enslaved Israelites celebrate their newfound freedom.

Composing a work of this vast scale and musical complexity — one teeming with constant meter changes, dissonant

[In Belshazzar’s Feast], Walton walked a path inspired by his two primary influences: the kaleidoscopic orchestral writing of Stravinsky, Debussy, and Ravel — and the driving, jagged pulse of jazz.

at Oxford’s Christ Church Cathedral School, where he sang the oratorios of Handel, J.S. Bach, and Mendelssohn. But the composer’s first major choral work didn’t use any of those revered works as a blueprint. Instead, Walton walked a path inspired by his two primary influences: the kaleidoscopic orchestral writing of Stravinsky, Debussy, and Ravel — and the driving, jagged pulse of jazz.

For the oratorio’s text, Walton used a libretto Edith Sitwell’s brother Osbert had assembled for the occasion —  a collection of passages drawn from the Old Testament depicting a lavish feast of the Babylonian King Belshazzar, who blasphemes during the event by using

harmonies, and shocking syncopations —  was a monumental undertaking for Walton, whose perfectionism often got in the way of his becoming a more prolific composer. (When sketching the section in which the king and his subjects extol their gods, Walton spent seven months frozen in place, obsessing over how to set the word “gold.”) Adding to these challenges was the fact that Belshazzar’s Feast forced Walton to break new ground in his vocal writing. Although he had previously set to music Edith Sitwell’s abstract poetry in Façade, those words were recited through a megaphone from behind a decorative screen, a performance technique more akin to the radical theater of Bertolt

Brecht than the sacred reverence of Bach’s passions.

Despite needing to apply a more traditional approach to text setting, Walton engineers an innovative architecture for his oratorio. Rather than advancing the storytelling through a series of distinct movements alternating among solo arias, orchestral interludes, and large choral numbers, as composers of earlier centuries had done, Walton casts Belshazzar’s Feast in three major sections united as one continuous movement of sweeping music that offers a cinematic realization of the Biblical scene.

A blast of trombones establishes the opening’s mournful mood, as a chorus of exiled Israelites lament their imprisonment and loss of their homeland. A shadowy theme emerges in the depths of the orchestra and icy dissonances abound as the choir sings of their weeping by the shores of Babylon, asking “How shall we sing the Lord’s song in a strange land?” The solo baritone enters, and in declamatory style portrays the decadence of Babylon through the “merchandise” in which the city trades —  from precious stones and marble to fine linens, gold, and most chillingly, “the souls of men.”

Spiky, angular themes begin darting across the orchestra like lightning bolts as Walton plunges us directly into Belshazzar’s bacchanal. The choir recounts the opulent celebration, during which the king calls for the golden vessels of Jerusalem so that his princes, wives, and concubines can celebrate

their pagan gods, each one evoked in a dazzling feat of Walton’s orchestration: The metallic twinkling of glockenspiel, flutes, and piccolo praise the God of Silver; anvil strikes pay tribute to the God of Iron; and in honor of the God of Brass, the brass bands volley a series of pompous military fanfares. The cataclysm of sound intensifies throughout the roll call of praise, reaching its peak as the chorus erupts over ominous chords from brass and organ: “O King, live forever!”

Then — silence. Against a spinetingling assortment of hushed cymbal strokes, trembling strings, and the death rattle of castanets, the baritone recounts the surreal sight of a floating hand writing on the palace wall behind the king. “Mene, mene, tekel upharsin” (Thou art weighed in the balance and found wanting), the message reveals before the soloist announces Belshazzar’s death, punctuated by a thunderclap from the chorus with the shouted word “Slain!” Babylon has fallen, and the Israelites celebrate freedom in a final chorale of unquenchable joy. The music races forward with relentless fervor into a series of high-voltage climaxes as the choir invites one and all to “Make a joyful noise to the God of Jacob … Alleluia!”

— Michael Cirigliano II

Michael Cirigliano II is a freelance writer who has worked with The Cleveland Orchestra, Oregon Symphony, Los Angeles Philharmonic, Minnesota Orchestra, Lincoln Center, and the Metropolitan Museum of Art. His newsletter, Shades of Blue, explores the human stories behind classical music’s most melancholy moments as a means to cultivate calm, connection, and healing.

Belshazzar’s Feast

by William Walton

Words selected from Biblical sources by Osbert Sitwell and reprinted by permission of Oxford University Press

CHORUS

Thus spake Isaiah: Thy sons that thou shalt beget, they shall be taken away and be eunuchs in the palace of the King of Babylon. Howl ye, howl ye, therefore: For the day of the Lord is at hand!

By the waters of Babylon, there we sat down: yea, we wept and hanged our harps upon the willows.

For they that wasted us required of us mirth; they that carried us away captive required of us a song.

“Sing us one of the songs of Zion.” How shall we sing the Lord’s song in a strange land?

BARITONE AND CHORUS

If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth;

yea, if I prefer not Jerusalem above my chief joy.

CHORUS

By the waters of Babylon, there we sat down: yea, we wept.

O daughter of Babylon, who art to be destroyed, happy shall he be that taketh thy children and dasheth them against a stone. For with violence shall that great city Babylon be thrown down, and shall be found no more at all.

BARITONE

Babylon was a great city, her merchandise was of gold and silver, of precious stones, of pearls, of fine linen, of purple, silk and scarlet, all manner vessels of ivory, all manner vessels of most precious wood, of brass, iron and marble, cinnamon, odors and ointments, of frankincense, wine and oil, fine flour, wheat and beasts, sheep, horses, chariots, slaves, and the souls of men.

CHORUS

In Babylon Belshazzar the King made a great feast, made a feast to a thousand of his lords, and drank wine before the thousand.

Belshazzar, whiles he tasted the wine, commanded us to bring the gold and silver vessels: Yea! the golden vessels, which his father, Nebuchadnezzar, had taken out of the temple that was in Jerusalem.

He commanded us to bring the golden vessels of the temple of the house of God, that the King, his Princes, his wives, and his concubines might drink therein.

Then the King commanded us: “Bring ye the cornet, flute, sackbut, psaltery, and all kinds of music.”

They drank wine again, Yea! drank from the sacred vessels. And then spake the King:

BARITONE AND CHORUS

“Praise ye the God of Gold.

Praise ye the God of Silver.

Praise ye the God of Iron.

Praise ye the God of Wood.

Praise ye the God of Stone.

Praise ye the God of Brass.

Praise ye the Gods!”

CHORUS

Thus in Babylon, the mighty city, Belshazzar the King made a great feast, made a feast to a thousand of his lords and drank wine before the thousand.

Belshazzar, whiles he tasted the wine, commanded us to bring the gold and silver vessels that his Princes, his wives and his concubines might rejoice and drink therein.

After they had praised their strange gods, the idols and devils, false gods who can neither see nor hear, called they for the timbrel and the pleasant harp to extol the glory of the King. Then they pledged the King before the people, crying, “Thou, O King, art King of Kings: O King, live forever.”

CONTINUED ON NEXT PAGE

CONTINUED ▶ ▶ ▶

BARITONE

And in that same hour, as they feasted, came forth fingers of a man’s hand and the King saw the part of the hand that wrote.

And this was the writing that was written:

MENE, MENE, TEKEL, UPHARSIN.

CHORUS

THOU ART WEIGHED IN THE BALANCE AND FOUND WANTING.

BARITONE

In that night was Belshazzar the King slain,

CHORUS Slain!

BARITONE and his kingdom divided.

CHORUS

Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob.

Take a psalm, bring hither the timbrel. Blow up the trumpet in the new moon, blow up the trumpet in Zion, for Babylon the Great is fallen. Alleluia!

Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, while the Kings of the Earth lament and the merchants of the Earth weep, wail and rend their raiment. They cry, “Alas, Alas, that great city, in one hour is her judgment come.”

The trumpeters and pipers are silent, and the harpers have ceased to harp, and the light of a candle shall shine no more.

Then sing aloud to God our strength: Make a joyful noise to the God of Jacob. For Babylon the Great is fallen. Alleluia!

THE CONDUCTOR

Klaus Mäkelä

Klaus Mäkelä has held the position of chief conductor of the Oslo Philharmonic since 2020 and music director of the Orchestre de Paris since 2021. As artistic partner to the Concertgebouworkest since 2022, he will assume the title of chief conductor in 2027. An exclusive Decca Classics artist, he recorded the Sibelius symphonies with the Oslo Philharmonic and Stravinsky’s The Firebird and The Rite of Spring with the Orchestre de Paris.

Following residencies with the Oslo Philharmonic at the Edinburgh and Lucerne festivals, Mäkelä opened his fourth season as chief conductor with Thomas Larcher’s Symphony No. 2 and Mahler’s Symphony No. 4. The 2023–24 season includes 17 concerts at home in Norway, a three-week tour of Asia, and guest performances in Hamburg, Amsterdam, Paris, and Vienna.

With the Orchestre de Paris, Mäkelä performed Stravinsky’s Ballet Russes at the Festival d’Aix-en-Provence in collaboration with three filmmakers and recorded Stravinsky’s Petrushka and works by Debussy for Decca Classics. Additional highlights include world premieres by Unsuk Chin and Anna Thorvaldsdottir and appearances by several pianists including Bertrand Chamayou, Leif Ove Andsnes, and Daniil Trifonov

Mäkelä often compares programming concerts to curating exhibitions. He takes this literally with one of the programs he leads in his second season as artistic

partner to the Concertgebouworkest, pairing Mussorgsky’s Pictures at an Exhibition with Falla’s Nights in the Gardens of Spain and Hawar Tawfiq’s M.C. Escher’s Imagination. Additional programs pair Mozart’s Clarinet Concerto with works by Betsy Jolas and Thomas Larcher, and Beethoven’s Symphony No. 3 with music by Fanny and Felix Mendelssohn. Mäkelä also leads the orchestra in Bruckner’s Symphony No. 5 as part of a complete cycle celebrating the 200th anniversary of the composer’s birth.

Mäkelä guest conducts three orchestras in the 2023–24 season, returning to the US to lead The Cleveland Orchestra and Chicago Symphony Orchestra and to Germany for three performances with the Munich Philharmonic.

As a cellist, Mäkelä partners with members of the Oslo Philharmonic, Orchestre de Paris, and Concertgebouworkest for occasional programs and each summer performs at the Verbier Festival in chamber music concerts with fellow artists.

PHOTO BY MARCO BORGGREVE

THE ARTISTS

Sol Gabetta cello

Following her residencies with the Staatskapelle Dresden and Bamberg Symphony, cellist Sol Gabetta opened the 2023–24 season with a tour of Germany and Austria with the Orchestre Philharmonique de Radio France and Mikko Franck. Other season highlights include a tour with with Paavo Järvi and the Estonian Festival Orchestra, appearances with the Wiener Philharmoniker at Mozartwoche Salzburg, and performances with The Cleveland Orchestra, New York Philharmonic, Gewandhausorchester, and violinist Patricia Kopatchinskaja.

A respected advocate of new compositions for her instrument, Gabetta gave the world premiere at Radio France of Francisco Coll’s Cello Concerto, created especially for her. Gabetta reprises this concerto at the BBC Proms with the BBC Symphony Orchestra and Elim Chan.

Gabetta was Artiste étoile at the Lucerne

Festival and continues drawing inspiration from a wide circle of collaborators at the Solsberg Festival, which flourishes under her committed artistic direction.

Chamber music is at the core of Gabetta’s work. Past chamber music performances have led her to venues such as Lincoln Center, Wigmore Hall, and the Verbier and Salzburg festivals. Recent recitals include a tour with her longtime recital partner, pianist Bertrand Chamayou, through Germany, the Netherlands, the UK, Spain, and Italy.

In recognition of her exceptional artistic achievements, Gabetta was honored with the European Culture Prize in 2022. She also received the Herbert von Karajan Prize in 2018 and the first OPUS Klassik Award for Instrumentalist of the Year in 2019. A Grammy Award nominee, she also received Gramophone’s Young Artist of the Year Award in 2010 and commendations at Moscow’s Tchaikovsky Competition.

Gabetta continues to build her extensive discography with Sony Classical, the most recent releases being a recording of late works by Robert Schumann and cello concertos by Elgar and Martinů with the Berliner Philharmoniker.

Gabetta performs on several instruments from the early 18th century, including a cello by Matteo Goffriller from 1730, provided to her by Atelier Cels Paris, and since 2020, the famous “Bonamy Dobree-Suggia” by Antonio Stradivarius from 1717, on generous loan from the Stradivari Foundation Habisreutinger. She has taught at the Basel Music Academy since 2005.

PHOTO BY JULIA WESELY

Thomas Hampson baritone

Long recognized as one of the most innovative musicians of our time, American baritone Thomas Hampson has received countless international honors for his singular artistry and cultural leadership. His operatic repertoire is comprised of more than 80 roles, and his discography includes more than 170 albums, with multiple nominations and winners of the Grammy Award, Edison Award, and the Grand Prix du Disque.

Hampson’s 2023–24 season includes Walton’s Belshazzar’s Feast with The Cleveland Orchestra, Mahler’s Das Lied von der Erde with the Stuttgarter Philharmoniker, the New Year’s Eve Gala at the Wiener Konzerthaus, and a European tour with the Dallas Symphony Orchestra and Fabio Luisi. He also performs recitals in Kronberg, Krün, and Heidelberg, and returns for the sixth edition of Schubert Week at the Pierre Boulez Saal.

Last season, Hampson made his highly anticipated debut as Richard Nixon in John Adams’s Nixon in China at the Opéra national de Paris, led by Gustavo Dudamel. Hampson also starred as Creonte in a concert version of Haydn’s L’anima del filosofo, ossia Orfeo ed Euridice at the Salzburg Festival. In addition, he appeared with the New Century Chamber Orchestra, joined Martha Argerich at the KKL Luzern, and performed with Klaus Mäkelä and

the BBC Symphony Orchestra at the BBC Proms.

Hampson led several masterclasses throughout the season, including the third edition of the Internationale Opernwerkstatt Waiblingen, Heidelberger Frühling’s 2023 Liedfestival, and at the second edition of Opera for Peace’s 2023 Academy in Paris.

Hampson is an honorary professor of philosophy at the University of Heidelberg and an honorary member of London’s Royal Academy of Music. In addition to several honorary doctorates, he is the Kammersänger of the Wiener Staatsoper and Commandeur de l’Ordre des Arts et des Lettres of the Republic of France. In 2017 he received the Hugo Wolf Medal, together with Wolfram Rieger. He is the co-founder and artistic director of the Lied Academy Heidelberg and, in 2003, he founded the Hampsong Foundation, which uses the art of song to promote intercultural dialog and understanding. Additionally, he serves as an advisor for Opera for Peace.

PHOTO BY MARSHALL LIGHT STUDIO

THE CLEVELAND ORCHESTRA CHORUS

Now in its 72nd season, The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra.

Since its founding in 1952 at the request of George Szell, nearly 3,000 singers, chosen through audition, have joined the Chorus. The group has appeared in over 1,300 concerts with The Cleveland Orchestra, including 27 appearances at New York’s Carnegie Hall, along with tour performances in Miami, Puerto Rico, and across Europe. They have been heard on hundreds of radio broadcasts, appeared in at least a dozen television programs, and participated in more than 30 commercial recordings with The Cleveland Orchestra. More recently, the Chorus has created 11 Christmas albums with The Cleveland Orchestra, proceeds from which help defray the cost of touring and operating the Chorus.

Current Chorus members hail from nearly 50 Northeast Ohio communities (and one Pennsylvania community). Together, the group’s 130 members volunteer more than 30,000 hours annually in rehearsals and performances. They also raise money for their tours through a variety of projects and events. Current members have service tenures ranging from 6 months to 50 years, with a combined 1,261 years of service to the ensemble.

On March 5, 2020, The Cleveland Orchestra Chorus was awarded The Cleveland Orchestra’s Distinguished Service Award. The annual award was established in 1996 by the Orchestra’s Board of Trustees to recognize ongoing and exceptional commitment and service to the Orchestra. The Chorus was recognized first as individuals, for their extraordinary commitment and dedication as volunteers, and second, for the collective and polished artistry they achieve each season as a group.

Auditions are currently being scheduled for the 2024–25 season. Visit cochorus.com for details.

PHOTO BY ROGER MASTROIANNI

SERVICE RECOGNITION

♦ 15–24 years of service

♦ ♦ 25–34 years of service

♦ ♦ ♦ 35–44 years of service

♦ ♦ ♦ ♦ 45+ years of service

SOPRANOS

Amy Foster Babinski ♦

Claudia Barriga

Yu Ching Ruby Chen

Amanda Cobes

Susan Cucuzza ♦

Caitlin DiFranco

Maddie Dirrim

Emily Engle

Molly Falasco

Lisa Fedorovich

Arianna Fouch

Samantha Garner

AJ Gauger*

Jennifer Gilles

Sarah Gould ♦

Julia Halamek

Rebecca S. Hall ♦

Sarah Henley

Lisa Hrusovsky ♦ ♦

Rachel Imhoff

Amber Jackson

Shannon R. Jakubczak

Katie Kitchen*

Hope Klassen-Kay ♦

EvaCecilia Koh

Adrienne Leska

Kate Macy ♦ ♦

Gracie Mino^

Clare Mitchell

Julie Myers-Pruchenski

S. Mikhaila Noble-Pace

Jennifer Heinert O’Leary ♦

Katie Paskey

Victoria Peacock

Elizabeth Phillips

Grace Prentice

Jylian Purtee

Lisa M. Ramsey

Cara Rovella

Emma Russell

Martell Savage

Katie Schick

Anya Smith^

Ellie Smith

Megan Tettau

Angel Victoria Tyler

Meagan Ulery

Cassie Utt

Liz Wakelin

Sharilee Walker ♦ ♦

ALTOS

Emily Austin ♦ ♦

Laurel Babcock

Debbie Bates

Riley Beistel

Carla Cashman

Annie Cohen

Bridget Corcoran

Carolyn Dessin ♦ ♦

Amber Dimoff

Brooke Emmel

Megan Fought

Karen S. Hunt ♦

Sarah Hutchins

Maggie Keverline

Rebecca King

Kristi Krueger

Zoe Kuhn

Ada Lapham^

Elise Leitzel

Taylor Mills Logan

Danielle S. McDonald ♦

Karla McMullen

Holly Miller

Bri Mosley^

Peggy A. Norman ♦ ♦

Dawn Ostrowski

Ellie Petro

Andrea Pintabona

Ina Stanek-Michaelis ♦ ♦

Melanie Tabak

Shawna Taylor

Rachel Thibo

Kristen Tobey

Martha Cochran Truby ♦

Laure Wasserbauer ♦ ♦

Hannah Wells^

Caroline Willoughby

Leah Wilson

Jennifer R. Woda

Debra Yasinow ♦ ♦

Lynne Leutenberg Yulish

TENORS

Richard Hall

John-Joseph Haney*

Daniel M. Katz ♦ ♦

Peter Kvidera ♦

Adam Landry

Ben Low^

Christian L. Maric

David McCallum

Matthew Rizer ♦

Ted Rodenborn

Jacob Rumelfanger

Nathan A. Russell

John Sabol ♦

Julio Santana

Andrew Stamp

Allen White

Ethan Yoder*

BASSES

Craig Astler

Jack Blazey ♦

Ronnie Boscarello

Matthew Britton

Sean Michael Cahill

Nick Connavino

Tyler Coy

Kyle Crowley

Tom Cucuzza

Christopher Dewald

Jeffrey Duber ♦

Andrew Fowler

Jeffrey D. Gershman

Mark Hermann

Kurtis B. Hoffman ♦

Taral K. Jella

Robert L. Jenkins III

James Johnston

Kevin Kutz

Jason Levy ♦

Jacob J. Liptow

Tyler Mason

Robert Mitchell

Tremaine Oatman ♦ ♦ ♦ ♦ 50 years!

Glenn Obergefell

Trevor Pollack

Francisco Prado

Brandon Randall

Connor Smith^

Charlie Smrekar

Charles Tobias ♦ ♦

Matt Turell

Patrick Wickliffe

Paul Zito^

Daniel Singer, Assistant Director

Daniel Overly, Collaborative Pianist

Jill Harbaugh, Director Choral Operations

Lisa Fedorovich, Chair

The Cleveland Orchestra

Chorus Operating Committee

* Shari Bierman Singer Fellow

^ Member of The College of Wooster Chorus

THE CLEVELAND ORCHESTRA CHORUS

Lisa Wong, Director of Choruses

FRANCES

P. AND CHESTER C. BOLTON CHAIR

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018 after serving as acting director throughout the 2017 – 18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010–11 season. In 2012, she took on added responsibilities as director of The Cleveland Orchestra Youth Chorus.

In addition to her duties at Severance, she is a faculty member at The College of Wooster. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state

conference of the Ohio Music Education Association. An advocate for the music of under-represented composers, Wong serves as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association, as well as on the editorial board regarding culturally responsive pedagogy for the Ohio Music Education Association. Her previous academic posts include positions 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 international 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. Wong holds a Bachelor of Science degree in music education from West Chester University, as well as Master of Music and Doctor of Music degrees in choral conducting from Indiana University.

PHOTO

ROGER MASTROIANNI

ABOUT THE CLEVELAND ORCHESTRA

NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of Music Director Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming platform Adella, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2023 – 24 season marks Franz Welser-Möst’s 22nd year as music director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.

PHOTO

YEVHEN GULENKO/HUMAN ARTIST

THE CLEVELAND ORCHESTRA

Franz Welser-Möst, Music Director

KELVIN SMITH FAMILY CHAIR

FIRST VIOLINS

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

Dr. Ronald H. Krasney 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

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

Katherine Bormann

Analisé Denise Kukelhan

Gladys B. Goetz Chair

Zhan Shu

Youngji Kim

Genevieve Smelser

SECOND VIOLINS

Stephen Rose*

Alfred M. and Clara T. Rankin Chair

Jason Yu2

James and Donna Reid Chair

Eli Matthews1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy

Carolyn Gadiel Warner

Elayna Duitman

Ioana Missits

Jeffrey Zehngut

Sae Shiragami

Kathleen Collins

Beth Woodside

Emma Shook

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

Yun-Ting Lee

Jiah Chung Chapdelaine

Liyuan Xie

VIOLAS

Wesley Collins*

Chaillé H. and Richard B.

Tullis Chair

Stanley Konopka2

Mark Jackobs

Jean Wall Bennett Chair

Lisa Boyko

Richard and Nancy

Sneed Chair

Richard Waugh

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson

Anthony and Diane Wynshaw-Boris Chair

Joanna Patterson Zakany

William Bender

Gareth Zehngut

CELLOS

Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm

Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay

Gruber Chair

Ralph Curry

Brian Thornton

William P. Blair III Chair

David Alan Harrell

Martha Baldwin

Dane Johansen

Paul Kushious

BASSES

Maximilian Dimoff*

Clarence T. Reinberger Chair

Derek Zadinsky2

Charles Paul1

Mary E. and F. Joseph

Callahan Chair

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

HARP

Trina Struble*

Alice Chalifoux Chair

FLUTES

Joshua Smith*

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher

Jessica Sindell2

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

Sharon and Yoash Wiener Chair

Jeffrey Rathbun2

Everett D. and Eugenia S.

McCurdy Chair

Robert Walters

ENGLISH HORN

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 McKelway2

Robert R. and Vilma L. Kohn Chair

Amy Zoloto

E-FLAT CLARINET

Daniel McKelway

Stanley L. and Eloise M.

Morgan Chair

BASS CLARINET

Amy Zoloto

Myrna and James Spira Chair

BASSOONS

John Clouser*

Louise Harkness Ingalls Chair

Gareth Thomas

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOON

Jonathan Sherwin

HORNS

Nathaniel Silberschlag*

George Szell Memorial Chair

Michael Mayhew§

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch

Richard King

Meghan Guegold Hege

TRUMPETS

Michael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack Sutte

Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETS

Michael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONES

Brian Wendel*

Gilbert W. and Louise I.

Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel2

BASS TROMBONE

Luke Sieve

EUPHONIUM & BASS TRUMPET

Richard Stout

TUBA

Yasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI

vacant PERCUSSION

Marc Damoulakis*

Margaret Allen Ireland Chair

Thomas Sherwood

Tanner Tanyeri

KEYBOARD INSTRUMENTS

Carolyn Gadiel Warner

Marjory and Marc L.

Swartzbaugh Chair

LIBRARIANS

Michael Ferraguto

Joe and Marlene Toot Chair

Donald Miller

Gabrielle Petek

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Elizabeth Ring and William

Gwinn Mather Chair

Blossom-Lee Chair

Virginia M. Linsdseth, PhD, Chair

Paul and Lucille Jones Chair

Charles M. and Janet G.

Kimball Chair

Sunshine Chair

Otto G. and Corinne T. Voss Chair

Mr. and Mrs. Richard K.

Smucker Chair

Rudolf Serkin Chair

CONDUCTORS

Christoph von Dohnányi

MUSIC DIRECTOR LAUREATE

Daniel Reith

ASSISTANT CONDUCTOR

Sidney and Doris Dworkin Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C.

Bolton Chair

* Principal

§ Associate Principal

1 First Assistant Principal

2

Assistant Principal

This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

PHOTO

YEVHEN GULENKO/HUMAN ARTIST

IMusic Lovers:

You are the magic behind every powerful performance. With this season approaching its finale, the Orchestra needs donations from friends like you to finish the year strong! Your help makes all the difference.

Be a champion for music with your donation today!

clevelandorchestra.com/give 216-456-8400

THE 2023/2024 SEASON

CALENDAR

Pre-concert lectures are held in Reinberger Chamber Hall one hour prior to the performance.

SPRING

APR 14

RECITAL Schumann & Brahms

Evgeny Kissin, piano

Matthias Goerne, baritone

R. SCHUMANN Dichterliebe

BRAHMS Four Ballades, Op. 10

BRAHMS Selected Songs

APR 18 – 20

THE RITE OF SPRING

Klaus Mäkelä, conductor

Jean-Yves Thibaudet, piano

MILHAUD Le Bœuf sur le toit

GERSHWIN Concerto in F

STRAVINSKY The Rite of Spring

Pre-concert lecture by Caroline Oltmanns

APR 26 – 28

RACHMANINOFF’S SECOND PIANO

CONCERTO

David Afkham, conductor

Beatrice Rana, piano

UNSUK CHIN subito con forza

RACHMANINOFF Piano Concerto No. 2

BARTÓK Concerto for Orchestra

Pre-concert lecture by James O’Leary

MAY 2 – 4

LANG LANG PLAYS

SAINT-SAËNS

Franz Welser-Möst, conductor

Lang Lang, piano *

SAINT-SAËNS Piano Concerto No. 2 *

BERLIOZ Symphonie fantastique

Pre-concert lecture by Caroline Oltmanns

* Not performed on the Friday matinee concert

MAY 15–26

2024 MANDEL OPERA & HUMANITIES FESTIVAL

For more information on festival events visit:

clevelandorchestra.com/festival

MAY 16, 18, 24 & 26

MOZART’S MAGIC FLUTE

Franz Welser-Möst, conductor

Nikolaus Habjan, director

Julian Prégardien, tenor

Ludwig Mittelhammer, baritone

Christina Landshamer, soprano

The Cleveland Orchestra Chorus

MOZART The Magic Flute

Staged production sung in German with projected supertitles

MAY 17

CONRAD TAO IN RECITAL: POWER AND INFLUENCE

Conrad Tao, piano

Dane Johansen, cello

MAY 21

TERENCE BLANCHARD & FRIENDS: A CELEBRATION OF WAYNE SHORTER

Terence Blanchard, trumpet

Featuring the E-Collective and Turtle Island Quartet

MAY 23 & 25

MOZART’S GRAN PARTITA

Franz Welser-Möst, conductor

Leila Josefowicz, violin

WAGNER Prelude and Liebestod from Tristan und Isolde

BERG Violin Concerto

MOZART Serenade No. 10, “Gran Partita”

Pre-concert lecture by Michael Strasser

For tickets & more information visit:

clevelandorchestra.com

YOUR VISIT

HEALTH & SAFETY

The Cleveland Orchestra is committed to creating a comfortable, enjoyable, and safe environment for all guests at Severance Music Center. While mask and COVID-19 vaccination are recommended they are not required. Protocols are reviewed regularly with the assistance of our Cleveland Clinic partners; for up-to-date information, visit: clevelandorchestra. com/attend/health-safety

LATE SEATING

As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS

As a courtesy to others, please silence all devices prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

Audio recording, photography, and videography are prohibited during performances at Severance. Photographs can only be taken when the performance is not in progress.

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

FREE MOBILE APP TICKET WALLET

Download today for instant, secure, and paperless access to your concert tickets.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store.

IN THE EVENT OF AN EMERGENCY

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

AGE RESTRICTIONS

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical Season 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 Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

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

Cleveland Orchestra performances are broadcast as part of regular programming on ideastream/WCLV Classical 90.3 FM, Saturdays at 8 PM and Sundays at 4 PM.

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 Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

© 2024 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDITORIAL

Kevin McBrien, Publications Manager

The Cleveland Orchestra

kmcbrien@clevelandorchestra.com

DESIGN

Elizabeth Eddins, Eddinsdesign

eddinsdesign@gmail.com

ADVERTISING

Live Publishing Company, 216-721-1800 clevelandorchestra.com

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SETTING THE STAGE

for Success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more than $12.6 million since 2016 to scale up neighborhood-based programs that serve thousands of youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. That’s setting the stage for success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

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www.ClevelandFoundation.org/Success