The Cleveland Orchestra/Mandel Opera & Humanities Festival

YOUR VISIT

LATE SEATING

IN THE EVENT OF AN EMERGENCY

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.

CELL PHONES, WATCHES & OTHER DEVICES

As a courtesy to others, please silence all electronic 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.

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.

A FESTIVAL OF CONCERTS, CONVERSATIONS & IDEAS

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).

FOOD & MERCHANDISE

Beverages and snacks are available at bars throughout Severance Music Center. For Cleveland Orchestra apparel, recordings, and gift items, visit the Welcome Desk in Lerner Lobby.

TELL US ABOUT YOUR EXPERIENCE

We are so glad you joined us! Want to share about your time at Severance? Send your feedback to cx@clevelandorchestra.com. Hearing directly from you about what we are doing right and where we can improve will help us create the best experience possible.

FROM THE

CLEVELAND ORCHESTRA PRESIDENT & CEO

ASPIRING TO EMPATHY

ON BEHALF OF THE CLEVELAND ORCHESTRA , I am delighted to welcome you to the 2025 Jack, Joseph and Morton Mandel Opera & Humanities Festival. As an anchor for this year’s festival, Music Director Franz Welser-Möst chose Leoš Janáček’s Jenůfa, one of the great masterworks of the operatic repertoire. This year’s theme, Reconciliation, invites us to reflect on the complex and vital process of understanding divides, restoring relationships, and aspiring to a greater understanding of one another.

As was the case for the first two editions of the Mandel Opera & Humanities Festival, this year’s programming aims to create experiences that foster meaningful conversations and, we hope, a deeper reflection around a subject that is both complex and important to all of us. Through the unique power of music and the humanities, we continue in our belief that such experiences can make our world a slightly better place, an ideal that is core to the mission of The Cleveland Orchestra.

Another important goal of this festival, in addition to featuring the remarkable artistic breadth of the Orchestra, is to highlight our city’s and one of our country’s most vibrant cultural scenes. Through our partnerships with several other Cleveland institutions, we strive to engage our community and cultural tourists alike with meaningful and inspiring programming.

I therefore want to extend my deep appreciation and gratitude to our partners for this year’s festival, to the Jack, Joseph and Morton Mandel Foundation, and to all our donors whose vision and generosity make this undertaking possible. Special thanks as well to Franz Welser-Möst, Elena Dubinets, Christophe Abi-Nassif, Toussaint J. Miller, and all my colleagues whose contributions have been essential to bringing this year’s festival to life.

Thank you for being part of this meaningful journey. I hope you are able to join us for as many of these events as possible, and that you find them inspiring and stimulating.

André Gremillet President & CEO The Cleveland Orchestra

The cast comes together in a moment of harmony at the conclusion of Mozart’s The Magic Flute, the centerpiece of the 2024 Mandel Opera & Humanities Festival.

African American artist Hughie Lee-Smith created this lithograph in 1939 while teaching at Cleveland’s Karamu House as part of the Ohio WPA Art Project. Titled Artist’s Life, No. 1, it depicts an artist mentoring a student, creating art, and participating in a demonstration.

FROM THE JACK , JOSEPH AND MORTON MANDEL FOUNDATION

LESSONS IN STORYTELLING

WELCOME TO THE THIRD ANNUAL Jack, Joseph and Morton Mandel Opera & Humanities Festival, a celebration of the transformative power of art, music, opera, and storytelling. This year’s festival theme, Reconciliation, is both urgent and deeply complex.

From the first sketches on the wall of a cave to ancient religious texts to modern narratives like those featured in the festival’s Moth Mainstage event, personal stories have always served as a bridge to understanding across generations and cultures. Through opera, music, and theater, we are invited to step into feelings and perspectives beyond our own, reminding us of the shared humanity that connects us all.

History, too, offers lessons in reconciliation. From the Truth and Reconciliation Commission in South Africa to the fragile yet enduring peace in Northern Ireland, we witness both the possibility and the struggle of mending fractured societies. These examples, however imperfect, tell us that the path to reconciliation is an arduous one. But, we have more than a millennium of humanities experience, stories that tell us we should keep striving toward peace and justice.

The Mandel Festival’s central performance of Leoš Janáček’s opera Jenůfa features a psychologically unsettling story of one woman’s journey to reconcile with the tragic events of her life, ultimately finding forgiveness and redemption. During this two-week series of concerts, community events, and conversations, artists, writers, musicians, and community members will encourage us to explore how we can heal divides, restore connections, and seek common ground.

Thank you and congratulations to André Gremillet, Franz Welser-Möst, Elena Dubinets, and The Cleveland Orchestra musicians, staff, and community partners whose vision and dedication make the Mandel Festival possible. We hope these shared experiences will cultivate and deepen the spirit of empathy, renewal, and understanding in our community.

Dr. Jehuda Reinharz

President & CEO

Jack, Joseph and Morton Mandel Foundation

Stephen H. Hoffman

Chairman

Jack, Joseph and Morton Mandel Foundation

by Elena Dubinets Festival Curator

THE JOURNEY OF RECONCILIATION

The 2025 Mandel Opera & Humanities Festival offers space for open dialogue, healing, and renewed connections

RECONCILIATION TRANSCENDS MERE FORGIVENESS AND FORGETFULNESS ; it entails recollection and progression. The journey of reconciliation can be arduous, slowly reaching the restoration and rebuilding of trust. It recognizes the pain of victims while acknowledging the motivations of the offenders; it offers solutions and ascertains truth while delivering justice. It pushes for fairness and respect, and it unites divided communities.

The third Mandel Opera & Humanities Festival, conceived by Cleveland Orchestra Music Director Franz Welser-Möst, explores this theme of Reconciliation through a number of events programmed to demonstrate different types of reconcilements, from personal to societal, from emotional to religious, and more.

The festival is centered around three performances of Leoš Janáček’s opera Jenůfa (May 17, 22 & 25, see page 33), featuring a spectacular cast of world-renowned soloists. Jenůfa follows a young woman who is caught up in a seriously entangled human drama. Her existence revolves around her most central priorities while, at the same time, she exhibits compassion, gentleness, courage, and affection. She seeks reconciliation with her own life as well as with the people around her.

Janáček breaks away from the stereotypical depictions of female characters in the operatic genre, refusing to make them either submissive or prone to death. The devoted and loving Jenůfa grapples with the outcomes of an unwed pregnancy, a physical disfigurement caused by a jealous admirer, and the death of her child.

Grammy Award–winner Latonia Moore first appeared with The Cleveland Orchestra in March 2022, singing George Walker’s Pulitzer Prize–winning work Lilacs. She returns to Severance as the title character in Jenůfa, the central event in this year’s Mandel Opera & Humanities Festival.

Her stepmother — the virtuous Kostelnička — having been oppressed by a violent husband, spirals into infanticide and insanity out of an honorable motivation to save her stepdaughter.

The other main musical event of the festival — its orchestral concert, titled Vox Humana — is also performed by The Cleveland Orchestra under the baton of Franz Welser-Möst (May 23 and 24, see page 59). The program includes two other operatic highlights: Sarah Aristidou (above) sings Francis Poulenc’s one-act monodrama La voix humaine in which music is used to intensify the conflict between detachment and anguish, love and loss, memory and the present moment; and Richard Strauss’s Symphonic Fantasy on Die Frau ohne Schatten, a fairy-tale romance about love, marriage, and the blessing of childbirth. The concert also comprises a sacred motet by Johann Sebastian Bach and Galina Ustvolskaya’s Symphony No. 5, an extraordinary work scored for just five musicians and reciter based on the Lord’s Prayer.

Musical adventures abound throughout the festival.

Boundary-pushing French soprano Sarah Aristidou (above) tackles the challenging solo role in Poulenc’s La voix humaine during The Cleveland Orchestra’s Vox Humana concert. Before that, legendary pianist and composer Chucho Valdés (right) fills Severance with the irresistably catchy rhythms of Afro-Cuban jazz.

PHOTO BY THOMAS DASHUBER

Reconciliation transcends mere forgiveness and forgetfulness; it entails recollection and progression.

Another key music event on this year’s program, on May 18, brings a jazz icon to Severance Music Center. The legendary Cuban pianist and composer Chucho Valdés (below) reconciles Afro-Cuban jazz, classical, and even rock in a performance with his Royal Quartet (see page 51). Their artistry crosses boundaries, honors cultural heritage, and fosters meaningful connections.

On May 17, we present United in Song! A Community Choral Celebration, an uplifting afternoon of vocal performances that showcases the vibrant diversity of Greater Cleveland’s choral community (see page 23). Get an inside look at opera on May 18 when several members of the Jenůfa cast and creative team discuss the work during Opera Curious? (see page 49). And in her May 19 piano recital, The Women of Chicago’s Black Renaissance, pianist Michelle Cann performs music by pioneering but often overlooked Black women composers — Florence Price, Margaret Bonds, Betty Jackson King, Nora Holt, and Irene Britton Smith — while sharing spoken commentary about their resilience and creativity (see page 53)

Aside from music performances, the festival includes a number of humanities events that explore different angles of reconciliation in contemporary life.

From April 24 to May 25, Re-membering Community showcases six Cleveland artists exploring reconciliation and connection through diverse media (see page 17). As part of the exhibition — held in Severance Music Center’s Bogomolny-Kozerefski Grand Foyer and curated by Toussaint J. Miller — a panel on May 24 brings together distinguished scholars and cultural leaders from the Cleveland community (see page 57).

The festival opens on May 16 with A Symposium on Immigration and Reconciliation, co-curated by Global Cleveland and the Cleveland Council on World Affairs (CCWA). This two-part event examines Cleveland’s immigrant history and contributions while framing reconciliation through global peace initiatives. Cleveland Orchestra violinist Zhan Shu — who is himself an immigrant — also performs a short interlude (see page 19)

On the same day, for the first time ever in Cleveland, audiences will experience The Moth Mainstage, the flagship live event of The Moth, a nonprofit dedicated to the art of authentic, personal storytelling (see page 21). As a centerpiece of this year’s festival, this highly anticipated event brings five storytellers to the stage, each sharing deeply personal narratives — stories of healing, restoration, and finding common

Through raw honesty and vivid storytelling, these tales [presented in The Moth Mainstage] explore how reconciliation unfolds in different ways, whether in repairing fractured relationships, confronting painful histories, or seeking understanding across divides.

ground. Through raw honesty and vivid storytelling, these tales explore how reconciliation unfolds in different ways, whether in repairing fractured relationships, confronting painful histories, or seeking understanding across divides.

All the above-mentioned concerts and presentations take place at Severance Music Center, but festival programming also includes a number of community-based events co-presented with our partners, taking place at other arts and community hubs.

On May 17, a screening of Wes Anderson’s The Royal Tenenbaums takes place at the Cinematheque at the Cleveland Institute of Art (see page 25). In this film, a long-estranged father fabricates a terminal illness to reunite with his fractured family after years of betrayal and disappointment. Anderson’s distinctively stylized drama, anchored by Gene Hackman’s unforgettable performance, explores the messy, imperfect nature of reconciliation.

On May 20, The Cleveland Museum of Art (CMA) presents Beyond Repatriation: Reconciliation through Cultural Cooperation with Cambodia, a conversation between Sonya Rhie Mace, curator of Indian and Southeast Asian Art at CMA, and

Muong Chanraksmey from the Ministry of Culture and Fine Arts of Cambodia (see page 54). Their discussion explores how many of Cambodia’s cultural artifacts ended up in museums worldwide and how institutions such as CMA are working to repatriate artifacts and better honor the legacy of Khmer art. The conversation is complemented by a performance of Cambodian-American composer Chinary Ung’s Khse Buon — played by Cleveland Orchestra Principal Cellist Mark Kosower —  that reconciles Cambodian and Western musical traditions.

Later that same day, the Sound of Ideas Community Tour: Re-entry and Reconciliation — presented in partnership with Ideastream Public Media — takes place at the Martin Luther King, Jr. Branch of the Cleveland Public Library (see page 55). Many formerly incarcerated individuals struggle to reintegrate into society, facing barriers to employment, housing, and economic stability. This session, hosted by Jenny Hamel, explores how they can have opportunities to rebuild their lives.

Finally, on May 22, The City Club of Cleveland presents a session on Reconciliation in America’s Museums led by Smithsonian museum leaders (see page 56). They discuss how museums are confronting the legacy of settler colonialism and slavery as they address the provenance of artifacts, many taken without consent, while working with communities to reconcile past injustices.

We hope you will take advantage of the many opportunities this festival offers as a space for open dialogue, healing, and renewed connections.

This sandstone frieze from Bayon, a sacred temple in the Khmer Empire, dates to the late 1100s. Housed in The Cleveland Museum of Art, the Museum has been working closely with Cambodia to repatriate artifacts and build a more respectful legacy of Khmer art.

CALENDAR

APRIL 24 – MAY 25

Re-membering Community

Bogomolny-Kozerefski Grand Foyer at Severance Music Center

This special exhibit seeks to highlight the creative voices shaping Cleveland’s cultural landscape, celebrating the ways art fosters dialogue, bridges differences, and reimagines what is possible. There will also be a panel discussion held on May 24

SEE PAGE 17

SATURDAY, MAY 17

4:30  PM

A Screening of Wes Anderson’s The Royal Tenenbaums Cinematheque at Cleveland Institute of Art Wes Anderson’s signature style frames this poignant story of a flawed father’s halting attempts at reconciliation with his family.

SEE PAGE 25

FRIDAY, MAY 16

8:30  AM

A Symposium on Immigration & Reconciliation

Reinberger Chamber Hall at Severance Music Center

A dialogue on immigration, reconciliation, and their impact on our community, curated by Global Cleveland and the Cleveland Council on World Affairs.

SEE PAGE 19

FRIDAY, MAY 16

7:30  PM

The Moth Mainstage: Live from Severance

Mandel Concert Hall at Severance Music Center

Five masterful tellers share true, personal stories on the theme of reconciliation —  stories of mending, healing, and finding common ground.

SEE PAGE 21

SATURDAY, MAY 17 | 7  PM

THURSDAY, MAY 22 | 7  PM

SUNDAY, MAY 25 | 3  PM

Janáček’s Jenůfa

Mandel Concert Hall at Severance Music Center

Franz Welser-Möst (above) leads The Cleveland Orchestra in a concert production of Janáček’s opera, a harrowing tale of forbidden love, desperation, and reconciliation.

SEE PAGE 33

SATURDAY, MAY 17

2  PM

United in Song!

A Community Choral Celebration

Mandel Concert Hall at Severance Music Center

An afternoon of joyous vocal performances at Severance Music Center representing the rich diversity of the Greater Cleveland choral community.

SEE PAGE 23

SUNDAY, MAY 18

4:30  PM

Opera Curious?

The World of Jenůfa

Reinberger Chamber Hall at Severance Music Center

This special event invites you to experience opera like an insider through the world of Jenůfa, with a thoughtfully curated discussion and musical interlude.

SEE PAGE 49

SUNDAY, MAY 18

7  PM

Chucho Valdés

Royal Quartet

Mandel Concert Hall at Severance Music Center

Cuban pianist, composer, and arranger Chucho Valdés and his Royal Quartet bring their electrifying artistry to the Severance stage in a performance that speaks to the power of music as a force for connection and healing.

SEE PAGE 51

THURSDAY, MAY 22

11:30  AM

Reconciliation in America’s Museums: Understanding Cultural Patrimony & the Path to Rebuilding Trust

The City Club of Cleveland Hear from Smithsonian museum leadership on how American cultural institutions are charting a new path forward on reconciliation and repatriation.

SEE PAGE 56

MONDAY, MAY 19

6  PM

The Women of Chicago’s Black Renaissance Reinberger Chamber Hall at Severance Music Center

Pianist Michelle Cann brings the legacy of Chicago’s Black Renaissance to life in this compelling recital, celebrating the music and stories of pioneering women composers.

SEE PAGE 53

TUESDAY, MAY 20

12  PM

Beyond Repatriation: Reconciliation through Cultural Cooperation with Cambodia

Gartner Auditorium at The Cleveland Museum of Art Leaders from the National Museum of Cambodia and The Cleveland Museum of Art discuss the model relationship between their institutions and prospects for the future.

SEE PAGE 54

SATURDAY, MAY 24

4  PM

Framing Reconciliation:

Visual Art as a Tool for Collective Healing

Reinberger Chamber Hall at Severance Music Center

Join us for a panel discussion with distinguished artists, scholars, and cultural leaders to explore how art can foster reconciliation in today’s society.

SEE PAGE 57

TUESDAY, MAY 20

6  PM

Sound of Ideas

Community Tour: Re-entry & Reconciliation

Martin Luther King, Jr. Branch of the Cleveland Public Library

As part of the Sound of Ideas Community Tour, program host Jenny Hamel leads a discussion about the realities facing the formerly incarcerated as they re-enter society.

SEE PAGE 55

FRIDAY, MAY 23 | 7:30  PM

SATURDAY, MAY 24 | 8  PM

Vox Humana

Mandel Concert Hall at Severance Music Center

The full range of human emotion is on display in this fascinating program curated by Franz Welser-Möst, with works by Poulenc, J.S. Bach, Ustvolskaya, and R. Strauss, and featuring soprano Sarah Aristidou (above).

SEE PAGE 59

Ohio Poetry Out Loud State Champion Hiba Loukssi of Xenia High School (Greene County) reciting

2023 state finals. She competed at

Gilliam

The Cleveland Orchestra’s 2025 Mandel Opera & Humanities Festival is supported by a historic grant from the Jack, Joseph and Morton Mandel Foundation.

The Cleveland Orchestra’s performances of Janáček’s Jenůfa are supported with generous funding from The National Endowment for the Arts.

The Cleveland Orchestra thanks the following donors and members of the Opera Club for their support of the 2025 Mandel Opera & Humanities Festival:

Ms. Viia R. Beechler

Mel Berger & Jane Haylor

Robin Dunn Blossom

Mitchell & Caroline Borrow

David & Julie Borsani

Ted & Donna Connolly

Judith & George W. Diehl

Mr. & Mrs. Frederick A. Fellowes

Dr. Michael Frank & Patricia A.* Snyder

In Memory of Philip Wasserstrom

Cal & Sherry Griffith

Iris & Tom Harvie

Robert & Linda Jenkins

Mr. & Mrs. Douglas A. Kern

Camille & Dennis LaBarre

Mrs. Susan D. LaPine

Jan R. Lewis

Dr. Alan & Mrs. Joni Lichtin

Ms. Cathy Lincoln

In Honor of Emma Skoff Lincoln

Alex & Carol Machaskee

The Jack, Joseph and Morton Mandel Foundation

Ms. Nancy L. Meacham

Loretta J. Mester & George J. Mailath

Deborah L. Neale

Mr. & Mrs. Forrest A. Norman III

Mr. & Mrs. John Olejko

Mr. David A. Osage & Ms. Claudia C. Woods

Dr. Roland S. Philip & Dr. Linda M. Sandhaus

David Reimer & Raffaele DiLallo

James & Marguerite Rigby

Mr. D. Keith* & Mrs. Margaret B. Robinson

Frank Rosenwein

Richard B. & Cheryl A. Schmitz

Ms. Beverly J. Schneider

Astri Seidenfeld

Drs. Charles Kent Smith & Patricia Moore Smith

Ms. Linda L. Wilmot

Tony & Diane Wynshaw-Boris

Anonymous

PARTNER INSTITUTIONS

The Cleveland Orchestra and the Mandel Opera & Humanities Festival are proud to partner with the following organizations:

Assembly for the Arts

ASSEMBLYCLE.ORG

The City Club of Cleveland CITYCLUB.ORG

Cleveland Cinematheque CINEMATHEQUE.CIA.EDU

Cleveland Council on World Affairs CCWA.ORG

The Cleveland Museum of Art CLEVELANDART.ORG

Cleveland Public Library CPL.ORG

Cuyahoga Community College TRI-C.EDU

Global Cleveland GLOBALCLEVELAND.ORG

Ideastream Public Media IDEASTREAM.ORG Tri-C JazzFest TRI-C.EDU/JAZZFEST

OPEN DURING SEVERANCE MUSIC CENTER EVENTS

by Toussaint J. Miller Exhibition Curator

Bogomolny-Kozerefski Grand Foyer at Severance Music Center

Join us for a Community Open House on: SATURDAY, MAY 17 | 12 – 2  PM

Also see page 57 for more information about the accompanying panel discussion, Framing Reconciliation: Visual Art as a Tool for Collective Healing on Saturday, May 24, at 4 PM.

RE-MEMBERING COMMUNITY APRIL 24 – MAY 25

Celebrating the ways art fosters dialogue, bridges differences, and reimagines what is possible

Re-membering Community is generously sponsored by JoAnn and Robert Glick.

Born in Pittsburgh

CLEVELAND HAS LONG BEEN REGARDED as a place of confluence — for waters, for peoples, for cultures. A meeting space built by movement: of Lake Erie giving way to the Cuyahoga; of Black families fleeing the Jim Crow South during the Great Migration, carrying with them the burden of memory and the hope of possibility; of Eastern European and Latino communities arriving in pursuit of industrial promise. The city has and continues to serve as a nexus of cultural exchange and a testament to the power of collective resilience.

Re-membering Community seeks to bring this diverse tapestry into focus. The title itself is deliberate. To “re-member” is not merely to recall. It is to reassemble, to reconstitute, to gather what has been fractured by policy or displacement or neglect, and to piece it together with care. It is a gesture towards healing, not by erasing the past, but by confronting it, honoring it, and building something new from the rubble.

The exhibition features the work of six Ohio-born or -based artists, many of whom maintain active studio practices in Cleveland: Woodrow Nash, Amanda D. King, Antwoine Washington, Oliver Frontini, Ryan Harris, and Rhonda K. Brown Their practices both reflect the city’s layered histories and actively and intentionally reshape them. Their work speaks to reconciliation, yes, but also to reclamation.

Nash reclaims diasporic memory through sculptural forms that evoke both ancestral presence and futuristic imagining. King uses visual storytelling as a tool for justice, exploring themes of loss and grief. Washington paints Black familial life with radical tenderness, refusing spectacle in favor of intimacy and dignity.

and now living in Cleveland, Amanda D. King’s work explores embodied grace and converging notions of beauty, identity, and spirituality. This 2018 photograph, titled Charron, is part of her series SWEET THING

Frontini weaves archival material and personal history into layered compositions that explore displacement, belonging, and placemaking. Harris documents community life through photography that honors lineage and the quiet power of presence. Brown creates mixed-media works that cement the Black form in positions of nobility. Indeed, Re-membering Community is an exercise in “cultural equity”: the ongoing work of creating space where different voices are not simply included but valued. It is this ethic that undergirds the exhibition and promulgates the belief that art should reflect the full spectrum of a community’s truth and that artists are more than simply custodians of culture — they are architects of it. Re-membering Community insists that Cleveland’s creative voices are central to how we understand who we are.

In this vein, Re-membering Community serves as both an exhibition and an offering. It affirms that community is not static or fixed; it is something that evolves and breathes. It is among our most enduring human practices — a profound means of enacting care and cultivating belonging. At its core, this exhibit invites us not only to reflect on who we are, but to consider who we hope to become.

Toussaint J. Miller is a Cleveland-born performer-composer, science researcher, and curator exploring the intersection of art and medicine to bridge scientific inquiry and representational justice. A senior at Harvard University, he is pursuing a double concentration in neuroscience and music on the pre-med track, investigating how the arts can inform healing and healthcare.

above: Much of Oliver Frontini’s work uses traditional materials such as clay, plaster, and bronze. His sculpture Procession Through Pololū Valley from 2024 was inspired by a trip to Hawaii and reflects on the reconnection between self and nature.

above left: Antwoine Washington’s works challenge conventional narratives in radically tender ways. His painting Black Family: Protector from 2021 reframes a Black man not through the lens of trauma, but through care, presence, and relational strength.

FRIDAY | 8:30  AM

Reinberger Chamber Hall at Severance Music Center

A SYMPOSIUM ON IMMIGRATION & RECONCILIATION

Join us for a thought-provoking morning of dialogue on immigration, reconciliation, and their impact on our Cleveland community. The program will feature two discussions exploring Cleveland’s immigrant history and contributions, as well as reconciliation through the lens of international peace processes. The morning will also include a musical interlude from Cleveland Orchestra violinist Zhan Shu and pianist Carolyn Gadiel Warner.

MODERATOR

Sia Nyorkor, CBS Affiliate, WYKC (3 News)

PANELISTS

Aziz Shah, President of the Afghan Community Association

Ahlon Gonzalez, Project Manager of LAND Studio

Maryna Didenko, Consultant for the US Committee for Refugees and Immigrants and CEO of MD&Co

MODERATOR

Ambassador Gina Abercrombie-Winstanley, Senior Fellow at the Atlantic Council

PANELISTS

Michael Scharf, President of the American Branch of the International Law Association and Associate Dean of Global Legal Studies at Case Western Reserve University’s School of Law

According to the Pew Research Center, immigrants account for 14.8% of the total US population. In an age of divisiveness, it is more critical than ever to foster compassionate discussions surrounding immmigration, both in Cleveland and the US as a whole.

Milena Sterio, James A. Thomas Distinguished Professor of Law and LLM Programs Director at Cleveland State University’s College of Law and Managing Director at the Public International Law & Policy Group

Presented in partnership with Global Cleveland and the Cleveland Council on World Affairs This program is generously sponsored by the Iris and Tom Harvie Fund for Strengthening Community

FRIDAY | 7:30  PM

Mandel Concert Hall at Severance Music Center

THE MOTH MAINSTAGE: LIVE FROM SEVERANCE MAY 16

Through the art of storytelling, The Moth Mainstage creates space for profound connection and reflection. In this two-act evening, five masterful tellers —

Amena Brown, George Sumner, Phuc Tran, Karyn Elkanich, and Reginald Williams (the last two of whom are Cleveland-based) — share true, personal stories on the theme of reconciliation: stories of mending, healing, and finding common ground. This quintessential Moth experience explores how reconciliation shapes lives, communities, and cultures. Honest and compelling, each story invites you into an intimate world of transformation and humanity.

When it comes to engaging and brilliant storytelling, The Moth never disappoints. Moth performances are the go-to for anyone who has ever wanted to hear the best of the art of storytelling.

Forbes

Since 1997, over 60,000 stories have been told at over 6,000 live Moth events. In addition, over 560 stations air The Moth Radio Hour and The Moth Podcast was downloaded over 90 million times in 2023.

HOST

Jon Goode

STORYTELLERS

Amena Brown

George Sumner

Phuc Tran

Karyn Elkanich

Reginald Williams

MUSICIAN

Daniel McKelway, Assistant Principal Clarinet at The Cleveland Orchestra

CREW

Kate Tellers, director

Amanda Garcia, producer

Presented in partnership with Ideastream Public Media

Scan the QR code for more information on the host, five storytellers, and featured musician.

SATURDAY | 2  PM

Mandel Concert Hall at Severance Music Center

UNITED IN SONG! A COMMUNITY CHORAL CELEBRATION

Join us for an afternoon of joyous vocal performances at Severance Music Center representing the rich diversity of the Greater Cleveland choral community. The event is hosted by spoken word artist, Emmy-winning contributor at WKYC-3 Cleveland, and nationally accomplished filmmaker Chris Webb.

THE ARTISTS

The Cleveland Orchestra Children’s Choruses

Jennifer Rozsa, director

The Cleveland Orchestra Children’s Choruses consist of The Cleveland Orchestra Children’s Chorus and The Cleveland Orchestra Children’s Preparatory Chorus. The Children’s Chorus was formed in 1967 to offer choral training to singers in grades 6 – 8. They perform annually with The Cleveland Orchestra and Chorus at Severance Music Center. The Preparatory Chorus was formed in 2005 for singers in grades 4 – 6, providing a foundation in vocal technique, musical literacy, and musicianship. Students interested in joining the Children’s Choruses can visit our website for more information. cocc.cochorus.com

Vasa Voices of Cleveland

Mary Ober, director

The Vasa Voices of Cleveland is a friendly mixed chorus that celebrates its Scandinavian, primarily Swedish, heritage through music. Originating from the Nobel-Monitor Lodge #130 of the Vasa Order of America, the group participates in local cultural events and international festivals, including the Scandinavian Festival in Jamestown, New York. vasavoices.org

Freakybob (Cleveland Heights High School Barbershop

Quartet)

Freakybob is composed of four juniors from Cleveland Heights High School. Over time, the quartet has gained significant recognition within their community, with both young and old fondly referring to them as “Freakybob.” Their mission is to spread the joy of barbershop music while highlighting the strength that diversity brings to their performances and connections with the audience.

Windsong

Jessica Galagher-Steuver, director Windsong, Cleveland’s Feminist Chorus, was founded in 1945. They are an inclusive, caring community that encompasses a broad range of ages, socioeconomic statuses, religions, sexual orientations, gender identities, and musical abilities. They create music to promote feminism, social justice, activism, and the empowerment that comes from finding one’s own unique voice.

windsongcleveland.org

Quintessence

Steven Weems, director

Quintessence is a distinguished vocal ensemble committed to presenting high-caliber performances that span various musical genres, with a particular emphasis on sacred and spiritual repertoire. The ensemble, comprising both community and professional artists, aims to establish itself as a leading force in choral music.

Jimmy Olulami, director of the Visions of Africa ensemble, performs as part of United in Song! in 2023. This year’s festival marks the third iteration of this beloved community event.

Support for United in Song! is generously provided by Mrs. Jayne M. Zborowsky

Scan the QR code for more program information and for the full singer roster.

Blossom Summer Soirée

Official Luxury Vehicle of the Blossom Summer Soirée

Proud Presenting Sponsor of the Blossom Summer Soirée

SATURDAY | 4:30  PM

Cinematheque at Cleveland Institute of Art

A SCREENING OF WES ANDERSON’S THE ROYAL TENENBAUMS

For his portrayal of Royal Tenenbaum, the late Gene Hackman (above, second row center) received a Golden Globe alongside awards from the American Film Institute, the Chicago Film Critics Association, and the National Society of Film Critics. Presented in partnership with Cinematheque at Cleveland Institute of Art

After years of estrangement, Royal Tenenbaum deceptively announces a terminal illness to orchestrate a return to his remarkable but scattered family, seeking to win back their love. Gene Hackman delivers one of his unforgettable performances as the “displaced patriarch” at the heart of Wes Anderson’s witty and “melan-comic” drama from 2001. Anderson’s signature style frames this poignant story of a flawed father’s halting attempts at reconciliation with his family, exploring forgiveness as its characters stumble, sometimes unconsciously, towards redemption and connection.

THE ROOTS OF FORGIVENESS

Jenůfa’s realistic characters and compelling musical language help bring this twisted, yet profoundly moving story to life

by Franz Welser-Möst Music Director, The Cleveland Orchestra

OUR FIRST TWO ITERATIONS of the Mandel Opera & Humanities Festival featured Italian and Germanic repertoire, but this year, we present something different. Our audiences and guest artists are still talking about the productions of The Cunning Little Vixen in 2014 and 2017, so I thought another Leoš Janáček opera with The Cleveland Orchestra would be wonderful. In musical terms, Jenůfa draws you in from the first moment. Janáček is highly efficient in portraying the personalities in the opera —  it is not like Wagner, where you need hours to decipher the action. Here, there is an immediacy in the story and the music. ▶ ▶ ▶

So many treasured operas, when you look closely, have an aristocratic or mythical environment. This is true of early operas like Mozart’s Don Giovanni, Così fan tutte, and The Magic Flute and also later operas like Richard Strauss’s Elektra and Salome

The list goes on and on from there. There was a push against this tradition, though, at the turn of the 20th century. Composers like Puccini, Leoncavallo, and Giordano began composing operas in the style of verismo — music about common people. For example, two years ago, during our inaugural Mandel Opera & Humanities Festival, we saw the struggles of frontier life in Puccini’s Girl of the Golden West

Janáček is not often associated with this movement, but he really ought to be. He explores the stark experiences of real people, stripped of the frivolity of aristocracy, in his music as well as his stories. If you look at his operas, they are always very much about the people, often in a rural environment. It is this investment in the lives and struggles of common people that shape Jenůfa’s plot and music, and that make it feel so visceral and accessible.

previous page: Portuguese artist Paula Rego painted this striking depiction of Jenůfa in 1995, which pushes back against more traditional depictions of femininity by portraying the character as a muscular, physically imposing figure.

above: The sights and sounds of Brno (seen in 1896) were indispensible to Janáček’s creative process, especially Jenůfa, which premiered at the city’s National Theatre in 1904.

A small village has totally different dynamics than a big city — everyone knows everyone. That’s why, in the opera, Jenůfa must hide her pregnancy and why she must give birth to Števa’s child secretly. Otherwise, she would be shamed and rejected by the rest of that little society in her village. It is fear of this public humiliation that drives Jenůfa’s stepmother, the Kostelnička, to kill the infant. And when Jenůfa realizes that the Kostelnička was acting out of love and protection, she is able to forgive her. It is therefore not just a messed-up family story, but a story about sacrifice and community that really rings true.

In fact, the inspiration for our whole festival this year came from this key moment of reconciliation. For our festival concert (May 23 and 24), I chose to program other works that comment on this theme. Poulenc’s La voix humaine depicts a poignant one-sided phone call in the twilight of a relationship. Ustvolskaya’s Fifth Symphony offers a counterpoint — it has a spiritual text but the expression of the music is the opposite of reconciliation, reflecting anger with the crumbling Soviet Union. To balance this out, J.S. Bach offers the essence of comfort in his motet Komm, Jesu, komm. And Richard Strauss’s Symphonic Fantasy on Die Frau ohne Schatten is beautiful music from an opera that ends with the earthly reunion of the Emperor and the Empress. So, reconciliation is a strong throughline in the festival, with Jenůfa at the center.

The original title of the opera is important to understanding Jenůfa’s theme of reconciliation. Janáček based his libretto on a play by Gabriela Preissová called Její pastorkyňa (Her Stepdaughter). The stepmother is really the key figure; it’s all about the Kostelnička and the relationship between her and Jenůfa.

The original title of the opera is important to understanding Jenůfa’s theme of reconciliation. Janáček based his libretto on a play by Gabriela Preissová called Její pastorkyňa (Her Stepdaughter). The stepmother is really the key figure; it’s all about the Kostelnička and the relationship between her and Jenůfa. There is even more depth in this central relationship when you have a singer, like we have in Nina Stemme, who has sung Jenůfa early in her career and later moved on to sing the Kostelnička. The first and only time I did a new production of Jenůfa was over 20 years ago, with Gabi Beňačková as Jenůfa and Anya Silja as the Kostelnička. Anya brought so much unbelievable experience, because she, in her early days, also had sung Jenůfa. It always lends a special sort of flavor to the performance when a singer has performed a lead role and then grows into the other, more experienced role in the same opera. But I find it even more powerful in Jenůfa, where the entire opera focuses on the relationship between stepmother and stepdaughter.

The Kostelnička’s concern is always to protect Jenůfa from repeating her own past mistakes. In Act I, she warns Jenůfa about Števa because she regrets marrying Jenůfa’s father for his looks over his dependability. And she resorts to killing Jenůfa’s baby so that her stepdaughter will have a future with Laca and not end up alone, as she has. A singer who already knows the youthful naiveté of Jenůfa can bring so much more to the Kostelnička and her need to protect her younger self.

At the very end of Janáček’s opera, as the Kostelnička is taken away by the officials, the emotional climax is really when Jenůfa, portrayed in our performances by the wonderful Latonia Moore, forgives her stepmother. This is the key to the entire opera: that Jenůfa, after all the bad things that have happened to her — after Laca disfigures her, Števa abandons her and his unborn child, and the Kostelnička rips that child from her — has the human greatness to be able to forgive each of them. With that forgiveness, she can recognize deep love with Laca and, for once in opera, there is a happy ending.

Janáček does so much with his music to make us feel the power of this twisted story. His music is “minimalist,” so to speak. He plays a lot with instrumental colors in the orchestra and writes in short motives that he combines to create enormous emotions. This is a musical and expressive legacy that we hear in contemporary composers like John Adams. When you listen to the music in Jenůfa, it is very much earthbound. You have a soldiers’ dance and peasant songs, where there is no hiding behind affectations. Janáček is a composer who confronts you immediately in his operas. He doesn’t give you time to ease into it. The only option you have as a listener is to give in to the emotions.

Franz Welser-Möst leads The Cleveland Orchestra in its acclaimed 2014 production of Janáček’s The Cunning Little Vixen (which was later reprised in 2017). Completed almost 20 years after Jenůfa, this tragicomic opera follows a cast of mostly animal characters in a moving reflection on the cycle of life and death.

PHOTO BY ROGER MASTROIANNI

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MAY 17 , 22 & 25

SATURDAY, MAY 17 |  7 PM

THURSDAY, MAY 22 |  7 PM

SUNDAY, MAY 25 |  3 PM

Mandel Concert Hall at Severance Music Center

JENŮFA

AN OPERA IN THREE ACTS

Leoš Janáček COMPOSER

Gabriela Preissová LIBRETTIST

Based on the play Její pastorkyňa (Her Stepdaughter)

The Cleveland Orchestra

Franz Welser-Möst CONDUCTOR

Miloš Repický REPETITEUR

Lisa Wong

CHORUS DIRECTOR

Lucy Guillemette PRODUCTION STAGE MANAGER

SuperTitle System courtesy of DIGITEXT, Chatham, VA

CAST (IN ORDER OF APPEARANCE)

Latonia Moore, Jenůfa

Marianne Cornetti, Grandmother Buryjovka

Pavol Breslik, Laca Klemeň

Lucy Baker, Jano (Shepherd)

Will Liverman, Stárek (Mill Foreman)

Nina Stemme, Kostelnička Buryjovka

Miles Mykkanen, Števa Buryja

Sarah Hutchins, Barena & Aunt

Sarah Mesko, Shepherdess

Kyle Albertson, Mayor

Olivia Vote, Mayor’s Wife

Simone McIntosh, Karolka

The Cleveland Orchestra Chorus

This performance is approximately 2 hours and 20 minutes long, including one 20-minute intermission.

Leoš Janáček (1854 – 1928) was an important voice in a distinguished lineage of Czech composers. Following in the footsteps of his countryman Dvořák, he cultivated an innovative style that merged folk elements and modernistic techniques to remarkable effect.

This project is supported in part by the National Endowment for the Arts.

Latonia Moore’s performance is generously sponsored by Camille and Dennis LaBarre.

Nina Stemme’s performance is generously sponsored by Ms. Cathy Lincoln

Miles Mykkanen’s performance is generously sponsored by James and Marguerite Rigby.

Lucy Baker’s performance is generously sponsored by Jane Haylor and Mel Berger.

Miloš Repický, repetiteur, is generously sponsored by Dr. Michael Frank and Patricia A.* Snyder, in memory of Philip Wasserstrom

Jenůfa, Brno version Opera in 3 acts from Moravian peasant life

Critical Edition edited by Sir Charles Mackerras and John Tyrrell

Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner

COMMUNITY RESOURCES

Janáček’s Jenůfa is a powerful opera that raises important, yet perhaps troubling issues that can still resonate with countless individuals today. Here are several local organizations committed to walking alongside those facing domestic violence or the loss of an infant:

First Year Cleveland

Dedicated to reducing infant mortality rates in Cuyahoga County through research, educational programs, community awareness, and policy changes firstyearcleveland.org

Pregnancy and Infant Loss Society

Offers free support to African Americans who are pregnant, new parents, or have experienced miscarriage, stillbirth, or the loss of a baby before age 1 pailconnect.org

Journey Center for Safety and Healing

Provides services for children and adults facing domestic abuse, alongside its numerous prevention efforts journeyneo.org

Celebrating VoiceOPERA CLUB

opera cast member

• Post-concert artist meet and greets for select concerts

• Exclusive invitations to parties, performances and more!

CONTACT

Angela Mortellaro, Major Gift Officer 216-231-8014 | amortellaro@clevelandorchestra.com

Laura’s Home

Service of The City Mission that provides meals, housing, and safety for mothers and children in crisis thecitymission.org

Forget-Me-Not Baskets

Curated bereavement baskets for families who have experienced a loss during any stage of their pregnancy forgetmenotbaskets.com

Cornerstone of Hope

Offers support groups, counseling, and educational resources for grieving individuals and families cornerstoneofhope.org

The Caleb Andrew Longfield Foundation

Assistance in paying medical bills for families who have suffered the loss of a stillborn child calfoundation.org

Julian Prégardien singing Tamino in The Magic Flute at the 2024 Opera & Humanities Festival.

SYNOPSIS

JENŮFA

ACT I: The Buryja Mill  | 40 MINUTES

INTERMISSION  | 20 MINUTES

ACT II: The Kostelnička’s house, five months later  | 50 MINUTES

ACT III: Two months later  | 30 MINUTES

ACT I

Jenůfa waits anxiously to hear if her beloved Števa will be drafted, for she is carrying his child and her secret will soon be known. She is relieved to learn that he has not been called up and so can marry her before the pregnancy becomes obvious.

Števa’s jealous half-brother Laca secretly loves Jenůfa. A drunken Števa staggers in with some other recruits and breaks into a rowdy dance. Their behavior incurs the disapproval of Jenůfa’s stepmother, the Kostelnička (not her name but her title — it means “village sacristan”), who tells Števa he can marry Jenůfa only after a year of abstaining from drink.

Left alone, Jenůfa begs Števa to marry her as soon as possible. They are interrupted, and Števa runs off, declaring that he will never abandon Jenůfa.

After Števa has left, Laca tries to incite Jenůfa’s anger against Števa; failing that, he impulsively slashes her cheek with a knife.

The worker Barena, who has been looking on, tells the others it was an accident, but the Foreman, who knows of Laca’s true feelings for Jenůfa, accuses Laca of hurting her deliberately.

ACT II

While everyone thinks Jenůfa has been sent away, the Kostelnička has hidden her away at home, where she has given birth to a boy. Though Jenůfa loves the child, the Kostelnička cannot bear the shame.

Having secretly sent for Števa, the Kostelnička gives Jenůfa a sleeping draught. When Števa arrives, the Kostelnička tells him about the baby and begs him to marry Jenůfa and acknowledge his son. Števa refuses: he is now engaged to Karolka, the Mayor’s daughter. Distraught, the Kostelnička turns to Laca, who is eager to marry Jenůfa. He is so upset to hear about the baby that the Kostelnička impulsively lies, claiming that the child is dead. Taking the baby, she heads for the freezing river to drown him.

Jenůfa wakes, disoriented, just as the Kostelnička returns; the Kostelnička tells her she has been in a fever for two days during which the baby has died. She also tells her of Števa’s forthcoming marriage. Laca returns and offers himself to Jenůfa. He insists that he loves Jenůfa despite everything and she agrees to become his wife.

ACT III

The marriage between Jenůfa and Laca is about to take place. Just as the couple are about to receive the Kostelnička’s blessing, a commotion outside interrupts the ceremony, as the body of a baby has been found in the thawing river. Jenůfa realizes this must be her own child.

Everyone now turns on Jenůfa, but the Kostelnička confesses her crime, begging the crowd to hold Jenůfa blameless. As the Kostelnička is led away to face her punishment, Jenůfa forgives her stepmother.

— Courtesy of English National Opera

by Derek Katz

THE HEART OF JENŮFA

From Janáček’s fascination with the speech patterns of his homeland to the tragic loss of his daughter, numerous life experiences merged in the creation of Jenůfa, perhaps the composer’s most personal opera

Many

the

JENŮFA WAS BOTH THE OPERA that brought Leoš Janáček international fame and the one in which he arrived at his mature compositional style. When the work was first staged in his hometown of Brno in 1904, Janáček was the leading figure in the musical life of the city as a teacher, choir director, and journalist, but not known elsewhere in the Czech lands as anything other than a folk song collector. When the Prague National Theatre finally produced Jenůfa in 1916, it led to a string of successful performances in Czech- and German-speaking areas and even reached New York’s Metropolitan Opera in 1924.

Janáček used Gabriela Preissová’s play Její pastorkyňa (Her Stepdaughter), premiered in Prague in 1890, almost verbatim as the libretto for Jenůfa, trimming scenes and lines until it was an appropriate length. Preissová was a member of Young Moravia, a group of artists devoted to realistic portrayals of regional life. This group sat at the intersection between the vogue for dramatic realism in Europe at the time (including verismo in Italy) and a fascination with Moravian folk culture in the Czech lands. Preissová had lived in rural Moravia for many years, and she based Její pastorkyňa on events reported in newspapers during her time there. Preissová’s frank depiction of a complex rural life that included childbirth out of wedlock, political corruption, and economic injustice shocked Prague audiences used to comforting performances of wholesome village rituals like those of Smetana’s popular comic opera The Bartered Bride

Janáček composed Jenůfa in two stages. He wrote the first act between 1894 and 1896 and then set the opera aside. After a five-year hiatus, he composed acts II and III between 1901 and 1903. Janáček’s activities and experiences during the end of the 19th century led to marked stylistic differences between the first act and the remainder of the opera. The first act was composed when Janáček was deeply engaged with

of

stories by author and playwright Gabriela Preissová (1862 – 1946) depict the unflinching realities of Czech village life and place strong female characters at the forefront. Though her play Její pastorkyňa was not well received at its Prague premiere in 1890, it found greater success when Janáček later adapted it into Jenůfa

collecting, transcribing, and publishing Moravian folk music. Although he did not use any actual folk material in Jenůfa, the first act is filled with displays of folk culture, most notably the string of stylized songs and dances celebrating Števa’s evasion of conscription into the Imperial army.

The five-year gap before Janáček continued work on Jenůfa coincided with two major developments in his artistic development. The first was his preoccupation with what he called “speech melodies.” Around the time that he halted work on the opera, Janáček began filling notebooks with fragments of Czech that he overheard, setting each one to a musical line that reflected the contours of the spoken phrase. He developed a theory around these “speech melodies,” maintaining that the musical settings preserved not only the inflections of the spoken words, but also the emotional truth behind them.

Just as Janáček was adamant that he had not used folk music in Jenůfa, he also made it clear that he did not reuse his notated speech melodies in his stage works. Nonetheless, the idea provided a model for Janáček’s vocal writing, and he turned to lines that aspired to the condition of heightened speech rather than to the lyricism of conventional opera.

Janáček saw his daughter in the operatic character [of Jenůfa] and felt that the opera was a memorial to her, later writing, “I would bind Jenůfa simply with the black ribbon from the long illness, suffering, and laments of my daughter Olga.”

The other pivotal event during this period was Janáček’s encounter with Tchaikovsky’s opera The Queen of Spades, which he heard and reviewed in Brno in 1896. Janáček was particularly struck by the relationship between orchestral texture and vocal lines in the work. Tchaikovsky’s orchestral music is woven from lyrical motives over which he layered vocal lines shaped by the emotional demands of the text. The second and third acts of Jenůfa reveal Janáček’s desire to follow Tchaikovsky’s model, combining continuous orchestral textures constructed from short motives with speech-like vocal lines. Although later revisions tempered the stylistic differences between acts, the first act still has more extended and melodic vocal lines than the later acts and contains more set pieces, most notably the ensemble for vocal quartet and chorus near the end of the act.

The final impetus for Janáček to resume work on Jenůfa was personal. In the summer of 1900, his 17-year-old daughter Olga was courted by a suitor of whom her parents disapproved, both on account of his financial improprieties and his rumored infidelities. In a dim echo of the Kostelnička’s decree that Števa must sober up for a year before marrying Jenůfa, Janáček insisted that Olga’s suitor complete his medical

The tragic early death of Janáček’s daughter

was an monumental loss for the composer. He dedicated Jenůfa to Olga upon its completion and also wrote a short cantata for tenor, chorus, and piano in her memory —  Elegy on the Death of Daughter Olga — which set a text by Russian poet and family friend Marie N. Vevericová.

studies in Vienna before resuming his courtship. This romantic issue became irrelevant when Olga’s health was compromised by rheumatic fever. Janáček saw his daughter in the operatic character and felt that the opera was a memorial to her, later writing, “I would bind Jenůfa simply with the black ribbon from the long illness, suffering, and laments of my daughter Olga.” She died in 1903, just as Janáček was completing Jenůfa. One of Olga’s last wishes was to hear her father play through “her opera” on the piano as she lay on her deathbed. This is perhaps the way in which Jenůfa is most typical of Janáček’s later works, as he seems to have needed to be convinced that his art reflected his own experiences, using his personal passions as excuses to create vivid and emotionally charged music.

Derek Katz is an associate professor of musicology at the University of California, Santa Barbara. He has written extensively on the operas of Leoš Janáček and other Czech composers, and is currently researching music and middlebrow culture in the mid-20th century United States.

Olga

by Leah Batstone

BY SUPREME ORDER:

JENŮFA IN VIENNA

Jenůfa’s first Vienna performances clashed with listeners’ preconceived notions of opera, shining a light on anti-Czech sentiments and the Czech fight for sovereignty in the early 20th century

Czech superstar soprano Maria Jeritza (1887 – 1982) sang the role of Jenůfa at the opera’s first Vienna Court Opera performances in 1918 and, later, at its US premiere at the Metropolitan Opera in 1924. Despite the beautiful intricacies of the Czech libretto, both productions were sung in a German translation.

ON JANUARY 29, 1918 , ahead of its premiere in Vienna, German nationalist members of the Austrian Parliament protested the production of Leoš Janáček’s Jenůfa to the Ministry of Culture. This act was so serious that it required an intervention from the Court, and the playbill from the first Viennese performance — which ultimately took place on February 16 — included the inscription “auf allerhöchsten Befehl,” or “by supreme order.” A protest not only of Janáček’s opera but the further performance of Czech works at the Vienna Court Opera, these events were symptomatic of increasingly nationalistic politics in the Austro-Hungarian Empire, of which Czech-German relations were among the most fraught.

The Czech lands of Bohemia and Moravia became part of the Austrian Empire at the end of the Thirty Years’ War in 1648 and remained among the imperial territories until the Empire’s collapse after World War I. In the 270 years between, Czechs under Austrian rule began to organize for greater representation and cultural autonomy, though progress moved in fits and starts. For instance, Czechs did not gain the same status as Hungarians in the Compromise of 1867 (when the Habsburg Empire became the Austro-Hungarian Empire), but in 1871, Emperor Franz Joseph I granted Bohemia-Moravia greater autonomy and equal language rights.

The importance of linguistic equity, an issue at the heart of Austria-Hungary’s fin-de-siècle politics, was also integral to Janáček’s output. Czech operas had previously appeared on the Imperial stage: Dvořák’s The Cunning Peasant was staged in 1885 in its original Czech and Mahler chose Smetana’s Dalibor for his directorial debut at the Vienna Court Opera in 1897. However, by 1918, the political temperature had risen to the point that Jenůfa, even performed in a sensitive German translation by Max Brod, resulted in protests. The composition’s ultimate use of “speech

melodies,” which capture the meticulously rendered village dialect of Gabriela Preissová’s original play, however, made the opera — and any faithful translation of it — part of an ongoing and heated political debate.

While German nationalists were protesting Jenůfa on the one hand, a decade earlier, writer and poet (and university friend of Mahler) Siegfried Lipiner was using his position as Librarian of Parliament in Vienna to expand the languages of its holdings into Bohemian, Italian, Croatian, Romanian, and Slovenian in order to represent the linguistic diversity of the Habsburg realm. The issue at the heart of attitudes towards language was — and remains — one of autonomy and visibility. Can a culture speak for itself? Does it have a space to tell its own stories? And beyond linguistic considerations, Jenůfa further presented Czech culture in significantly new — and political — ways.

The themes of societal pressure, abuse, forgiveness, and redemption [in Jenůfa] placed a Czech opera, for the first time, in the company of operas such as La traviata, Tannhäuser, and Parsifal.

The life that Jenůfa depicts is characterized by a striking fact. Up until its Imperial premiere in 1918, all Czech operas performed in Vienna were either folkish comedies or distant, historic-mythological tales. Smetana’s The Bartered Bride is a comic love story set in a Czech village, while his Dalibor and Libuše concern a historical knight and the mythological founding of the Czech nation, respectively. Dvořák’s Rusalka comes from a Czech fairytale based on the Slavic mythology of the eponymous water nymph. Even Janáček’s Šárka is the legend of the mythical warrior-maiden of Bohemia. By contrast, Jenůfa presents a verismo — that is, true-to-life — story of human error within a Moravian community village. The themes of societal pressure, abuse, forgiveness, and redemption placed a Czech opera, for the first time, in the company of operas such as La traviata, Tannhäuser, and Parsifal. What is more, the plot unfolds with no reference at all to the Imperial Germanic culture of the region, rather presenting Czech stories and voices as equal and autonomous.

Given his era, Janáček’s own cultural politics were unavoidably shaped by the Czech nationalist movement, spurred partly by historian and politician František Palacký. Early on, the composer saw himself more strongly aligned with a Slavic identity, even going for a time by the more Slavic name “Lev,” than with any Germanic Habsburgian orientation. He was a lover of Russian culture and his upbringing in the Eastern territories of Moravia further encouraged his associations with Slavonic identity. Janáček’s later interest in developing musical interpretations of Czech speech and serious, human stories of Czech life positioned him to become a beacon

of cultural importance after the collapse of the Austro-Hungarian Empire and during the establishment of Czechoslovakia, a period in which nearly all his important works were written. The combination of Jenůfa’s dramatic subject matter and its premiere in Vienna just months before the end of World War I — and the great Empire with it —  makes the opera particularly poignant.

In his introduction to the edited collection Janáček and His World, musicologist Michael Beckerman argues that Janáček mastered a unique form of drama by way of operatic “duels,” using the second act of Jenůfa to illustrate the point. There, he notes, are four sets of conflicts “between evenly matched protagonists” —  between the Kostelnička and Jenůfa, Jenůfa and Števa, Jenůfa and Laca, and ultimately the internal struggles of the Kostelnička and Jenůfa within themselves. Beckerman’s analysis of Janáček’s musical and dramatic technique can also be applied to the social role of the opera itself, which waged its own “duel” with predominating expectations of the operatic genre at the time of its Vienna premiere and became an integral part of a dialogic struggle for Czech sovereignty in Europe and beyond.

Leah Batstone is a musicologist and visiting scholar at the Jordan Center at New York University. She is also the founder and creative director of the Ukrainian Contemporary Music Festival, which takes place each spring in New York City.

The Vienna Court Opera, where Jenůfa saw its Vienna premiere in 1918. Renamed the Vienna State Opera in 1921, the hall has hosted an extraordinary range of singers and conductors, including Gustav Mahler, Richard Strauss, and Igor Stravinsky

by Molly C. Doran

HEARING TRAUMA IN JENŮFA

Though thematically disturbing on the surface, Janáček’s characterization of the two leading female characters in Jenůfa is sensitive and deeply powerful

LEOŠ JANÁČEK ’S JENŮFA TELLS A GRIM STORY surrounding an unexpected pregnancy in a Moravian village that threatens to unravel the threads of morality and social order that sustain the villagers’ lives. Through his setting of this disturbing story, Janáček highlights both broad social problems that continue to force women into traumatic situations and the intimate, painful experiences of two individual women —  Jenůfa and the Kostelnička. The opera’s visceral representation of these two women, especially of the Kostelnička, and how they process trauma and make difficult choices in hopeless situations, provides an empathetic commentary on social structures that too often result in maternal suffering. Through its most powerful musical moments, performances of Jenůfa today invite audiences to bear witness to maternal trauma past and present.

How Jenůfa herself copes with her child’s death and her supposedly blissful union with Laca at the opera’s end lacks, in some ways, psychological depth and verisimilitude, especially for a 21st-century audience. After the Kostelnička returns without the infant and lies that he died of an illness, one might wonder why Jenůfa does not ask to see the body of her baby. And in the post-#MeToo age, a happy ending featuring the marriage of a woman to a man who violently disfigured her cheek with a knife is a hard pill to swallow.

Despite this overall questionable treatment of Jenůfa, the opera still provides moments that highlight her self-expression. The most poignant of these moments occurs in Act II, when Jenůfa awakens from her drugged sleep and wonders where the Kostelnička has taken her baby. Unaware of what has befallen her child, she

Ylva Kihlberg as Jenůfa (left) and Susan Bickley (right) as the Kostelnička in Opera North’s 2015 production of Jenůfa. Designed by Tom Cairns in 1995, this stark reimagining of Janáček’s opera was praised by critic Richard Wilcocks as “captivating.”

sings a Czech setting of the Salve Regina (Hail Holy Queen) to pray for the infant’s protection. Through its use of an actual liturgical text, the song seems to happen in real time, inviting the audience to experience it with feelings of immediacy and to identify with the character. Placid and beautiful until its final moments, the prayer closes with sudden crashes of dissonance that accompany Jenůfa as she deviates from the traditional text to cry out, “Do not leave him, dear mother of mercy!” The foreboding dissonance confirms for the audience that the Kostelnička has carried out her crime and also reveals the deep unease and fear felt by Jenůfa in the absence of her infant. But while the moment provides a glimpse into Jenůfa’s trauma, the opera never fully explores her suffering. Instead, it focuses on her acceptance of her life and her spiritual growth to neatly tie up the story’s loose ends.

Perhaps surprisingly, then, it is the Kostelnička who receives opera’s richest psychological treatment. Jenůfa’s suffering in the face of the death of her infant becomes secondary to her stepmother’s inner turmoil and trauma, which invites audiences to sympathetically contemplate the impossible situations too often forced upon women and mothers.

Jenůfa’s suffering in the face of the death of her infant becomes secondary to her stepmother’s inner turmoil and trauma, which invites audiences to sympathetically contemplate the impossible situations too often forced upon women and mothers.

Through the course of Act II, audiences become aware of the mixed motivations that lead to the murder of the infant. Presented as stern, forthright, and respectable in Act I, the Kostelnička takes her role as village sacristan seriously, and her concern for her own image initially appears to be her primary motivation for the infanticide. But the doubt, fear, and pain she expresses in Act II demonstrate her desire to protect Jenůfa’s future, too, and expose the lack of support for and shame around unwed mothers in 19th-century Moravia. The Kostelnička explains her extreme humiliation in the face of the pregnancy, even singing, “I thought that such disgrace would kill me,” and noting that she kept Jenůfa hidden away out of fear. This scene, and indeed the opera’s conclusion, reveals the utter lack of satisfying choices available to the opera’s characters and effectively communicates to audiences the traumas caused by this absence of choice.

If Jenůfa’s plot were a story on the evening news, despising the Kostelnička and her deplorable crime would be easy enough. But when situated in the music and libretto of Janáček’s opera, audiences become immersed in the intricacies of the

predicament and the pain of the Kostelnička, and it becomes impossible to avoid empathizing with her. Through the music of Act II — especially the Kostelnička’s aria in which she resolves to kill the baby — her inner turmoil becomes palpable. Turbulent orchestral accompaniment replete with dissonance, harmonic instability, and anxious tremolos accompany the Kostelnička’s increasingly angular and desperate vocal melody.

At the end of the act, after the murder has been committed and Laca has asked Jenůfa to marry him, an icy cold wind blows into the house through an open window, striking terror into the heart of the Kostelnička. Overcome by fear and, presumably, guilt, she hears in the wind a horrible, pained cry undetected by both Laca and Jenůfa.

The five-note rhythm that accompanies the Kostelnička’s closing line, “the icy voice of death forcing its way in,” repeats throughout the act’s postlude, highlighting the Kostelnička’s now inescapable psychological pain. Culminating in this moment, the entire act skillfully evokes the effects of trauma. The infanticide haunts the Kostelnička, her subjectivity ruptured by the crime as memories of her action haunt her. By the time Act III begins, the Kostelnička has become a shell of her former self, constantly reserved and depressed. But rather than presenting her inescapable pain as her deserved punishment, Janáček emphasizes the Kostelnička’s fallibility and humanness instead.

The powerful moments in which the opera captures its characters’ psychological pain and trauma reveal not only the morally problematic social frameworks at play in human lives, both fictional and real, but also the composer’s deep and personal understanding of loss and the harshness of life. Although connections between a composer’s biography and compositions must always be drawn with caution, aligning the bleak portrayal of suffering in Jenůfa with Janáček’s own traumatic experience with the death of his 20-year-old daughter Olga becomes almost unavoidable.

Olga’s fatal struggle with typhoid fever began in April 1902, at the same time Janáček was finishing work on the opera’s second act. Extant letters and other documents reveal that, while working on the opera, Janáček was thinking about Olga constantly and struggling emotionally, sometimes writing to her multiple times a day before she returned to her family home for her final months. Janáček played the opera to his daughter as she lay on her deathbed and ultimately dedicated it to her, inscribing in the first copy of the vocal score, “For you, Olga, in your memory.”

The opera’s austere rendering of life’s often hopeless circumstances and vivid representation of the Kostelnička’s unraveling and anguish seem to reflect the composer’s own experiences with loss and grief. One wonders if Jenůfa can perhaps even be interpreted as Janáček’s attempt to make sense of his pain as it invites audiences to empathetically bear witness to the suffering of its characters.

Molly C. Doran is an assistant professor of music at Wartburg College. A former Chateaubriand Fellow, her research explores women’s trauma in opera, covering topics from the performance of suffering in 19th-century French opera to representations of maternal trauma in recent opera productions.

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SUNDAY | 4:30  PM

Reinberger Chamber Hall at Severance Music Center

The 2024 Mandel Opera & Humanities Festival brought to Severance a fully staged production of The Magic Flute, featuring an all-star cast of singers and largerthan-life puppets, with Mozart’s enchanting score performed by The Cleveland Orchestra under the direction of Franz Welser-Möst

Step behind the curtain and into the captivating world of opera! This special event invites you to experience the art form like an insider through the world of Jenůfa, featuring a panel discussion with the creative team and performances by members of the cast. Whether you’re a lifelong opera lover or a first-time explorer, you’ll enjoy an engaging journey through the power of music and storytelling — an experience that celebrates the beauty, drama, and wonder of opera in an accessible and inviting way!

Celebrating

This event is presented as part of The Cleveland Orchestra’s Opera Club. For more information, visit clevelandorchestra.com/engage/opera-club

Scan the QR code for the list of event participants.

SUNDAY | 7  PM

Mandel Concert Hall at Severance Music Center

CHUCHO VALDÉS ROYAL QUARTET

Cuban pianist, composer, and arranger Chucho Valdés is the most influential figure in modern Afro-Cuban jazz today. In this special event, Valdés and his Royal Quartet bring their electrifying artistry to a performance that speaks to the power of music as a force for connection and healing.

El maestro Chucho Valdés is one of the great treasures of the music world. … Valdés grounds his work in the aural history of mother Cuba, while seamlessly weaving in aspects of folk, jazz and classical to create a singular musical vision.

— DownBeat

Royal Quartet

Chucho Valdés, piano

Roberto Jr. Vizcaino Torre, percussion

Horacio Hernandez, drums

José A. Gola, bass

Tonight’s program will be announced from the stage.

Known for his dazzling musicianship and distinctive Kangol headwear, Chucho Valdés is a living legend in the jazz world. Performances with his Royal Quartet are particularly celebrated for their imaginative blend of seemingly disparate musical styles.

Presented in partnership with Cuyahoga Community College and Tri-C JazzFest

MONDAY | 6  PM

Reinberger Chamber Hall at Severance Music Center

THE WOMEN OF CHICAGO’S BLACK RENAISSANCE

AS A PIANIST , I am deeply inspired by the incredible contributions of Black female composers who shaped the cultural landscape of Chicago’s Black Renaissance. This program celebrates their voices — pioneering composers who created powerful and evocative music. From Nora Holt to Margaret Bonds, each piece is a testament to the resilience and creativity of these women. I am committed to preserving and elevating these voices and, by sharing their works and talking about their lives, I hope to illuminate their legacy and bring attention to their invaluable contributions to classical music. — Michelle Cann

Michelle Cann PIANO

THE PROGRAM

Nora Holt (c. 1885 – 1974)

Negro Dance, Op. 25, No. 1

Betty Jackson King (1928 – 1994)

Four Seasonal Sketches

I. Spring Intermezzo

II. Summer Interlude

III. Autumn Dance

Grammy-winning American pianist Michelle Cann is equally at home playing the time-tested works of the classical canon as she is in lesser-known gems. On her championing of Florence Price, critic Jonathan Blumhofer wrote, “[How] exciting that, thanks to the advocacy of ... musicians like Cann, we’re seeing a deserving composer finally taking her place in the American canon.”

IV. Winter Holiday

Florence Price (1887 – 1953)

Fantasie nègre No. 1 in E minor

Irene Britton Smith (1907 – 1999)

Variations on a Theme by MacDowell

Margaret Bonds (1913 – 1972)

Spiritual Suite

I. The Valley of the Bones

II. The Bells

III. Troubled Water

This performance is approximately 1 hour in length and performed without intermission.

TUESDAY | 12  PM

Gartner Auditorium at The Cleveland Museum of Art

BEYOND REPATRIATION: RECONCILIATION THROUGH CULTURAL COOPERATION WITH CAMBODIA

When works of cultural heritage were removed from Cambodia during decades of colonial control, war, and national recovery, many found their way to museums around the world.

The

In an effort to promote reconciliation by means of elevating understanding and appreciation of historical Cambodian art, The Cleveland Museum of Art has been partnering with the National Museum of Cambodia on art transfers, exhibitions, training programs, and information sharing. Representatives from each museum discuss the model relationship between their institutions and prospects for the future. The discussion also includes a performance of Cambodian-American composer Chinary Ung’s Khse Buon, played by Cleveland Orchestra Principal Cellist Mark Kosower

PANELISTS

Sonya Rhie Mace, PhD, George P. Bickford Curator of Indian and Southeast Asian Art at The Cleveland Museum of Art

Muong Chanraksmey, Chief of Education and Publication Office, Museums Department, Ministry of Culture and Fine Arts

Presented in partnership with The Cleveland Museum of Art

Cleveland Museum of Art holds an impressive collection of Cambodian art, including these sandstone sculptures of Hindu dieties Vishnu (left) and Ganesha (right) and this bronze palanquin hook (center). In recent years, the Museum has worked closely with Cambodia to learn more about and return pieces that were removed from the country.

TUESDAY | 6  PM

Martin Luther King, Jr. Branch of the Cleveland Public Library

SOUND OF IDEAS COMMUNITY TOUR: RE-ENTRY & RECONCILIATION

Does society believe that someone who has spent time in prison deserves the chance to be fully reintegrated into society and given the opportunity to work and thrive? What are the barriers? Can more be done to aid in their success? Join us for the next Sound of Ideas Community Tour as we discuss the realities facing the formerly incarcerated as they re-enter society.

MODERATOR

Despite making up 5% of the global population, the US has more than 20% of the world’s prison population, and spends over $80 billion on incarceration each year. At the same time, many former inmates face challenges in finding jobs and housing, and sucessfully re-entering society.

Jenny Hamel, Ideastream Public Media’s Sound of Ideas Host

Scan the QR code for the list of event participants.

Presented in partnership with Ideastream Public Media and the Cleveland Public Library

THURSDAY | 11:30  AM

The City Club of Cleveland

RECONCILIATION IN AMERICA’S MUSEUMS: UNDERSTANDING CULTURAL PATRIMONY & THE PATH TO REBUILDING TRUST

As the lasting impact of settler colonialism and slavery is felt throughout Native American tribes and Black communities today, museums across the nation are grappling with issues of patrimony and provenance regarding art, artifacts, relics, and remains. Join us as we hear from Smithsonian museum leadership on how American cultural institutions are charting a new path forward on reconciliation and repatriation.

In October 2022, under its new ethical returns policy, the Smithsonian’s National Museum of African Art returned 29 Benin Bronzes to the National Commission for Museums and Monuments in Nigeria. Some 3,000 objects —  including these centuriesold works — were stolen during a British raid on Benin City in 1897 and many are now in the process of being repatriated.

MODERATOR

Dan Moulthrop, CEO of The City Club of Cleveland PANELISTS

Cynthia Chavez Lamar, Director of the National Museum of the American Indian

Sean Decatur, President of the American Museum of Natural History

Adam M. Levine, Edward Drummond and Florence Scott Libbey President, Director & CEO of the Toledo Museum of Art

Presented in partnership with The City Club of Cleveland

SATURDAY | 4  PM

Reinberger Chamber Hall at Severance Music Center

FRAMING RECONCILIATION: VISUAL ART AS A TOOL FOR COLLECTIVE HEALING

In a political moment defined by division, visual art remains one of our most powerful tools for reckoning and repair. In conjunction with the Re-membering Community exhibit curated by Toussaint J. Miller, join us for a panel discussion with scholars and cultural leaders to explore how art can foster reconciliation in today’s society.

MODERATOR

“As a Black photographer,” said Ryan Harris, “I feel it’s my duty to highlight the Black experience and the humanization of our culture in all aspects.” This is on powerful display in his photograph DuRags II (detail above), which was taken in 2021 as part of his series Sincerely, Us

Regennia N. Williams, PhD, Associate Curator of African American Community Partnerships, Programs, and Traveling Exhibitions and Distinguished Scholar of African American History and Culture at the Cleveland History Center of the Western Reserve Historical Society

PANELISTS

Emily Liebert, Lauren Rich Fine Curator of Contemporary Art at The Cleveland Museum of Art

Ellen Rudolph, Curator and Senior Director at the Cleveland Clinic Art Collection

Jeremy Johnson, President & CEO of Assembly for the Arts

See page 17 for more information about the Re-membering Community exhibit.

VOX HUMANA

MAY 23 & 24

FRIDAY, MAY 23 |  7:30 PM

SATURDAY, MAY 24 |  8 PM

Mandel Concert Hall at Severance Music Center

Concert Preview with James Wilding Mandel Concert Hall, one hour prior to each performance

FOR OUR FESTIVAL CONCERT , I chose to program ... works that comment on this theme [of reconciliation]. Poulenc’s La voix humaine depicts a poignant one-sided phone call in the twilight of a relationship. Ustvolskaya’s Fifth Symphony offers a counterpoint — it has a spiritual text but the expression of the music is the opposite of reconciliation, reflecting anger with the crumbling Soviet Union. To balance this out, J.S. Bach offers the essence of comfort in his motet Komm, Jesu, komm. And Richard Strauss’s Symphonic Fantasy on Die Frau ohne Schatten is beautiful music from an opera that ends with the earthly reunion of the Emperor and the Empress. — Franz Welser-Möst

The Cleveland Orchestra

Franz Welser-Möst CONDUCTOR

Lisa Wong

CONDUCTOR (J.S. Bach’s Komm, Jesu, komm)

THE PROGRAM

Francis Poulenc (1899 –1963)

La voix humaine (The Human Voice)

Lyric tragedy in one act

Sarah Aristidou, soprano

Saturday’s performance will be livestreamed on Adella.live and Medici.tv.

This fascinatingly eclectic program — curated by Franz Welser-Möst —  traverses broad sonic territory, from the dramatic outbursts of Poulenc to the crystalline purity of J.S. Bach

Johann Sebastian Bach (1685 –1750)

Concerto from Komm, Jesu, komm, BWV 229

The Cleveland Orchestra Chorus

Galina Ustvolskaya (1919 –2006)

Symphony No. 5, “Amen”

Tony F. Sias, reciter

Johann Sebastian Bach

Aria from Komm, Jesu, komm, BWV 229

The Cleveland Orchestra Chorus

Richard Strauss (1864 –1949)

Symphonic Fantasy on Die Frau ohne Schatten (The Woman Without a Shadow), Op. 65a

This performance is approximately 1 hour and 50 minutes long, including one 20-minute intermission.

Please note: J.S. Bach’s Komm, Jesu, komm and Ustvolskaya’s Symphony No. 5 will be performed without pause.

Tony F. Sias’s performance is generously sponsored by the Iris and Tom Harvie Fund for Strengthening Community. Portative organ courtesy of Cleveland State University

by Steve Smith

HEALING TONES

Can reconciliation be heard? That’s the key question at the center of this wide-ranging program

“ THE PRACTICE OF PEACE AND RECONCILIATION ,” the influential Vietnamese Buddhist monk and activist Thich Nhat Hanh wrote, “is one of the most vital and artistic of human actions.” His statement is arresting in its implications. That reconciliation —  defined as an act or condition of making peace, harmony, or agreement where conflict previously existed — should be termed vital seems self-evident. But artistic?

In a word: yes. What Nhat Hanh meant is that reconciliation is never formulaic, not something achieved via a single path or practice. There exists no one correct way to resolve conflict or to establish peace. Instead, reconciliation is a process of examination, contemplation, and response specific to the moment and situation —  a process that equally suits making art.

No wonder, then, that the arts can provide an ideal platform for evoking and exploring the concept of reconciliation. And music, in particular, through its audible processes of synthesizing disparate voices, instruments, timbres, and tones into some measure of harmonious coexistence, is ideally suited to demonstrate the dynamic process through which reconciliation is achieved — sometimes, as in the case of Leoš Janáček’s Jenůfa, with extreme difficulty.

Of course, opera offers the added advantage of telling a story — in the case of Jenůfa, a harrowing tale of hardship, suffering, and almost unimaginable loss. Janáček’s heroine finds acceptance and forbearance in her heart after being abandoned, permanently injured, and robbed of her only child in an act intended as desperate charity. That doesn’t assure a happy ending, exactly, but Jenůfa, in the end, achieves a hard-won peace.

So, too, in Francis Poulenc’s La voix humaine (The Human Voice) does a female protagonist reconcile herself to a new reality reached painfully — and nearly at the ultimate cost. Poulenc (left) based his succinct

left: French author, playwright, filmmaker, and artist Jean Cocteau created this simple, yet striking etching in conjunction with Poulenc’s operatic adaptation of his La voix humaine It appeared as the cover art for the work’s first recording in 1959, with soprano Denise Duval and Georges Prêtre conducting the Orchestre du Théâtre National de l’Opéra-Comique.

one-act opera — completed in 1958 — on a 1928 play by Jean Cocteau, in which the audience hears only one side of a telephone conversation between a distraught young woman and an unseen, unheard lover who has abandoned her.

Poulenc wrote La voix humaine in close collaboration with soprano Denise Duval, who sang the premiere in Paris on February 6, 1959. The libretto, credited to the playwright, recounts a final conversation between a woman named Elle and the man she loves, who is now with a new lover he intends to marry the next day.

During the call, the woman reveals that abandonment has driven her to attempt suicide. That the conversation is beset by wrong numbers, crossed connections, and frantic redialing heightens Elle’s anxiety, while also transmitting her state of mind to the listener. The music is jagged and obsessive, with stretches of agitated exposed vocalizing. When Elle waxes nostalgic, her accompaniment corresponds with romantic lushness. In the end, she wraps the telephone cord around her neck, murmuring “je t’aime” (I love you) repeatedly to the lover she now knows is gone.

The gesture is ambiguous: is this denial or acceptance? In a 2023 interview, the French soprano Véronique Gens — a leading contemporary interpreter of La voix humaine — endorses the latter view. “By the end, she feels like she’s been knocked down forever — but I hope and believe that she can pick up her life again,” Gens said. “She’ll need time and space to recover, but she’s a strong woman, and eventually, she’ll be ready for another love story.”

Reconciliation of a much different kind animates the Symphonic Fantasy on Die Frau ohne Schatten (The Woman Without a Shadow), its music taken from a mysterious, sumptuous opera by Richard Strauss and Hugo von Hofmannsthal. Years in the making and first staged in 1919, the opera involves two pairs of couples: one mortal, the other supernatural. The action centers around a half-human Empress who possesses no shadow and thus cannot conceive. She is informed by her father —  Keikobad, dark ruler of the Spirit Realm — that she must acquire a shadow within three days or her husband will be turned to stone.

The opera, a paean to fertility awash in myth and symbolism, is difficult to parse, though not to embrace since it features some of Strauss’s most ravishing music. The Empress is counseled by her Nurse to purchase the shadow of the Dyer’s Wife, a mortal woman discontent with her lot in life. After the two couples

Austrian artist Alfred Roller designed the costumes for the premiere production of Richard Strauss’s Die Frau ohne Schatten in 1919, including this beautifully simple one for the halfhuman Empress.

endure supernatural trials, each couple achieves their ideal resolution through acts of selflessness and love.

The reconciliation in Johann Sebastian Bach’s choral motet Komm, Jesu, komm is that of a weary man approaching the end of his life, who puts his faith in Christ as his savior: “If my life’s course hastens onto the end, my soul is then well-prepared / It will rise up to be with its creator, for Jesus is and remains the true way to life.”

Little is certain about the motet, neither its precise date nor its intended purpose. It is commonly dated to 1731–32 and presumed to have been composed for a funeral. Strikingly, unlike Bach’s other motets, it incorporates no Bible verses; the text is adapted from two stanzas of a poem by Paul Thymich, a professor at the St. Thomas School in Leipzig, where Bach was music director. Though its message is faithful to the Gospel of John, its conveyance is wholly mortal.

[Music] ... through its audible processes of synthesizing disparate voices, instruments, timbres, and tones into some measure of harmonious coexistence, is ideally suited to demonstrate the dynamic process through which reconciliation is achieved ...

As ambiguous as Strauss’s opera and as pious as Bach’s motet, the Fifth Symphony of Russian composer Galina Ustvolskaya (left) — subtitled “Amen”— is as arresting today as at its introduction in 1991. A phrase commonly used to reference Ustvolskaya — “the lady with a hammer,” coined by Dutch musicologist Elmer Schönberger — is in this case literal: along with anxious figurations on oboe, trumpet, and violin, and a tuba played at its high and low extremes, a percussionist solemnly strikes a hollow wooden cube with hammers. (The composer’s specific ideal was a chipboard box measuring just 43 square centimeters.)

Attended by this idiosyncratic ensemble, a reciter — Ustvolskaya specified a man in black, wearing no jewelry — intones the text of The Lord’s Prayer, in a manner meant to evoke private prayer. The words bear the comfort of familiarity and faith; the setting is anything but comfortable.

Where is reconciliation to be found herein? One might venture to suggest it is that of the composer herself. Having endured the public and private hardships that any artist so fiercely singular and uncompromising would have faced in the Soviet Union, Ustvolskaya shows her unshakeable faith in the eternal with an enigmatic ritual of mystery and awe — and, significantly, one in which the chief direction given to the musicians is espressivo.

Steve Smith is a writer 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.

BIOGRAPHIES

FRANZ WELSER-MÖST

MUSIC DIRECTOR

KELVIN SMITH FAMILY CHAIR

FOR 23 YEARS , Franz Welser-Möst has shaped an unmistakable sound culture as Music Director of The Cleveland Orchestra. Under his leadership, the Orchestra has been repeatedly praised by international critics for its musical excellence, continued its strong commitment to new music, and brought opera back to the stage of Severance Music Center. In recent years, the Orchestra also founded its own streaming platform (Adella.live) and recording label.

In addition to residencies in the US, Europe, and China, Welser-Möst and the Orchestra are regular guests at all major international festivals. Welser-Möst will remain Music Director until 2027, making him the longest-serving music director of The Cleveland Orchestra.

Welser-Möst enjoys a particularly close and productive artistic partnership with the Vienna Philharmonic. He regularly conducts the orchestra in subscription concerts at the Vienna Musikverein, at the Salzburg Festival, and on tour in Europe, Japan, China, and the US, and has appeared three times on the podium for their celebrated New Year’s Concert (2011, 2013, and 2023). At the Salzburg Festival, Welser-Möst has set new standards in interpretation as an opera conductor, with a special focus on the operas of Richard Strauss.

Welser-Möst has been the recipient of several major honors and awards, including the Honorary Membership of the Vienna Philharmonic, bestowed upon him in 2024.

ELENA DUBINETS

FESTIVAL CURATOR

A highly accomplished orchestra executive and music scholar, Elena Dubinets has been appointed artistic director of the Royal Concertgebouw Orchestra, starting in May 2025. Since 2021, she was artistic director of the London Philharmonic Orchestra, having previously held artistic planning positions at the Atlanta and Seattle symphony orchestras.

In 2022, Dubinets was also appointed curator for The Cleveland Orchestra’s annual Mandel Opera & Humanities Festival, having by now produced its first two festivals, The American Dream (2023) and Power (2024).

Dubinets received her MA and PhD degrees from the Moscow State Tchaikovsky Conservatory in Russia. She has taught at universities in the US, Russia, and Costa Rica, published five books, and written hundreds of articles, as well as liner and program notes in multiple languages. In 2018, Dubinets was named one of Musical America’s Professionals of the Year.

FEATURED PERFORMERS

SARAH

ARISTIDOU

SOPRANO

Vox Humana

Soprano Sarah Aristidou ranks as one of the most innovative and creative artists of her generation. She is the first singer to be awarded the Belmont Prize for Contemporary Music (2022), her recent solo recording (Enigma, Alpha Classics) was awarded the Preis der Deutschen Schallplattenkritik, and, as part of its 2024 Easter Festival, she collaborated with DJ Max Cooper on Seme at Salzburg’s Felsenreitschule.

In the 2024 – 25 season, Aristidou debuts at the Opernhaus Zürich, celebrates the centenary of Luciano Berio with the Spectra Ensemble, and tours Boulez’s Pli selon Pli with Les Siècles. She also appears with The Cleveland Orchestra, Orchestre de Paris, and Orquestra Sinfónica de Barcelona.

Among her other accolades, Aristidou has received the Luitpold Prize for Outstanding Performance at the Kissinger Sommer Festival (2021) and has been twice nominated for Opernwelt’s Best Newcomer Award.

MICHELLE CANN PIANO

The Women of Chicago’s Black Renaissance

Pianist Michelle Cann is one of the most sought-after artists of her generation.

Highlights of her 2024 –  25 season include appearances with the San Francisco Symphony, Cincinnati Symphony Orchestra, and London’s Philharmonia Orchestra. She also performs recitals at the 92nd Street Y, Duke University, and Royal Conservatory of Music.

Cann’s honors include the Sphinx Medal of Excellence and the Andrew Wolf Chamber Music Award. She received a Grammy Award in 2025 for Beyond the Years: Unpublished Songs of Florence Price, recorded with soprano Karen Slack

Cann holds degrees in piano performance from the Cleveland Institute of Music and an artist’s diploma from the Curtis Institute of Music, where she is on faculty.

TONY

F. SIAS RECITER

Vox Humana

Tony F. Sias is the president & CEO of Karamu House, America’s oldest Black producing theatre.

Under Sias, since 2015, Karamu raised over $14 million for restoration and increased attendance. As a creative, Sias has produced, directed, and performed in over 150 productions. His work has been highlighted nationally in The New York Times, American Theatre Magazine, on NBC’s Today Show with Al Roker, and more.

Sias’s numerous recognitions include the Cleveland Arts Prize (Barbara S. Robinson Prize), Cleveland Magazine’s Community Leader Award, and the Community Leadership Award from the NAACP’s Cleveland Branch. In addition, he serves on the boards of the Assembly for the Arts, Cleveland School of the Arts, and the Lake View Cemetery Association.

CHUCHO VALDÉS

PIANO, COMPOSER & ARRANGER

Chucho Valdés Royal Quartet

Cuban pianist, composer, and arranger Chucho Valdés is the most influential figure in modern Afro-Cuban jazz. Over a career spanning more than 60 years as a musician and bandleader, Valdés has distilled elements of Afro-Cuban musical tradition, jazz, classical, and rock into a deeply personal style.

Winner of seven Grammy and six Latin Grammy awards, Valdés received the Lifetime Achievement Award from the Latin Academy of Recording Arts and Sciences. He has also been inducted into the Latin Songwriters Hall of Fame.

Valdés maintains a remarkable activity on stage, performing as a soloist and leader of groups in different configurations, including his quartet and orchestral ensembles. In 2024, he led Irakere 50, a celebration of the small big band he founded in 1973 and led until 2005.

For 200 years,

Case Western Reserve University has recognized the importance of the arts in facilitating conversation and reflection— and we’re honored to have been a part of a community where culture thrives.

Thank you to the Jack, Joseph and Morton Mandel Supporting Foundation for helping the arts flourish in Cleveland.

JENŮFA CAST

LATONIA MOORE

SOPRANO

Jenůfa

Considered one of the greatest sopranos today, Latonia Moore performs on the most important stages worldwide. She has appeared in La bohème, Tosca, Madama Butterfly, Il trovatore, and Otello, among others.

Moore opened the seasons of the Metropolitan Opera as Sister Rose in Dead Man Walking and as Billie in Terence Blanchard’s Fire Shut Up in My Bones, a role she reprised at the Lyric Opera of Chicago. Internationally acclaimed for her portrayal of Aida, she performed this role for her debut at LA Opera.

Moore’s recorded highlights include Macbeth with English National Opera and Edward Gardner (Chandos), Mahler’s Symphony No. 2 with the Vienna Philharmonic and Gilbert Kaplan (Deutsche Grammpohon), and Porgy and Bess with the Berlin Philharmonic and Simon Rattle.

PAVOL BRESLIK TENOR

Laca Klemeň

After three years as an ensemble member at the Berlin Staatsoper, Pavol Breslik has appeared regularly at major opera houses and festivals worldwide, including the Metropolitan Opera, Salzburg Festival, Zurich Opera House, Aix-en-Provence, and London’s Royal Opera House. He has appeared in Eugene Onegin, La traviata, Gianni Schicci, and The Turn of the Screw, among other productions.

Breslik is also an acclaimed concert singer. Under the baton of Thomas Hengelbrock, he sang at the opening concert of the Elbphilharmonie Hamburg, and opened the Vienna Opera Ball in 2018. His recitals at the Schubertiade and Wigmore Hall were milestones in his career as a lied interpreter. Upcoming projects include The Magic Flute at the Opéra national de Paris, Lucrezia Borgia at the Bavarian State Opera, and his debut as Lohengrin at the Semperoper Dresden.

MILES MYKKANEN

TENOR

Števa Buryja

The career of exuberant young Finnish-American tenor Miles Mykkanen was launched with a national win of the Metropolitan Opera Laffont Competition in 2019. He has since impressed with a series of important debuts on the world’s major stages, including the Metropolitan Opera and Royal Opera House.

Mykkanen has quickly become the go-to tenor for roles requiring a deft balance of power, lyricism, and dramatic acuity, including a new Barrie Kosky production of Die Fledermaus at Dutch National Opera. Elsewhere in the 2024 – 25 season, he appears in Die tote Stadt at Bayerische Staatsoper and The Rake’s Progress with the Lakes Area Music Festival.

On the concert stage, he debuts with the Phoenix Symphony in Beethoven’s Ninth Symphony and the Atlanta Symphony Orchestra in Beethoven’s Missa solemnis

NINA STEMME SOPRANO

Kostelnička Buryjovka

For years, Swedishborn Nina Stemme has been considered a leading singer of the most challenging parts in major dramas. The diversity and bandwidth of her repertoire are manifested through her roles in Tristan und Isolde, Die Walküre, Der Rosenkavalier, and Girl of the Golden West. Whether at the Metropolitan Opera, Vienna State Opera, or Royal Opera House, Stemme has furthered the great tradition of Flagstad and Nilsson at leading opera houses.

Projects in the current season include Lohengrin at Deutsche Oper Berlin, Jenůfa with the Royal Swedish Opera and The Cleveland Orchestra, and her role debut as Amme in Die Frau ohne Schatten at the Metropolitan Opera.

Stemme has received numerous accolades, including the Laurence Olivier Award for Outstanding Achievement in Opera (2010), the Birgit Nilsson Prize (2018), and being named Honorary Member of the Vienna State Opera (2023).

MARIANNE CORNETTI

MEZZO-SOPRANO

Grandmother Buryjovka Marianne Cornetti is an internationally renowned mezzosoprano who has appeared at prestigious opera houses across the world.

In the 2024 – 25 season, Cornetti makes her Calgary Opera debut in Puccini’s Gianni Schicchi and her Cleveland Orchestra debut in Janáček’s Jenůfa. A Pittsburgh local, she also returns to Pittsburgh Festival Opera in Adriana Lecouvreur, sings Verdi’s Requiem with the Pittsburgh Concert Chorale, and makes a cameo appearance with Pittsburgh Opera in Cavalleria rusticana. Cornetti has performed leading Verdi roles to great acclaim at the Teatro alla Scala, Metropolitan Opera, Vienna State Opera, and Deutsche Oper Berlin, among many other venues. She also appears frequently in concert, has recorded Cilea’s L’arlesiana, and was featured on a 2017 Teatro Regio di Parma recording of Verdi’s Don Carlo

WILL LIVERMAN

BARITONE

Stárek (Mill Foreman)

Grammy-winning baritone Will Liverman is recipient of the 2022 Beverly Sills Artist Award and co-creator of The Factotum, which premiered at the Lyric Opera of Chicago in 2023. His 2024 – 25 season includes engagements at the Metropolitan Opera, San Francisco Opera, and Dutch National Opera, plus concerts with the San Francisco Symphony, London Symphony Orchestra, and Oakland Symphony.

Cedille Records released Liverman’s Show Me The Way with pianist Jonathan King in March 2024. His prior album, Dreams of a New Day: Songs by Black Composers (2021), with pianist Paul Sánchez, debuted at No. 1 on the Billboard Traditional Classical chart. Liverman is an alum of the Ryan Opera Center and was a Glimmerglass Festival Young Artist. He holds degrees from The Juilliard School and Wheaton College.

KYLE ALBERTSON BASS-BARITONE

Mayor

Renowned not only for his luxurious voice, confidence, and style, but also for his versatility and ability to bring a character to life on stage, bass-baritone Kyle Albertson is taking the business by storm.

This season, Albertson returns to Pittsburgh Opera and Austin Opera and makes his role debut as Jochanaan in Salome with San Diego Opera. He also joins Pacific Symphony for Das Rheingold and The Cleveland Orchestra for Jenůfa. Other recent operatic and concert highlights include performances with the Los Angeles Philharmonic, Metropolitan Opera, and Houston Symphony, among others.

Albertson is a graduate of the Santa Fe Opera Program, Glimmerglass Festival, and Aspen Opera Theater. He has been a finalist in several competitions, including The Metropolitan Opera Laffont Competition, and holds degrees from DePaul University and the University of Northern Iowa.

OLIVIA VOTE

MEZZO-SOPRANO

Mayor’s Wife

Lauded for her “theatrical magnetism,” American mezzosoprano Olivia Vote continues to garner success across opera and concert stages. Since joining the roster of the Metropolitan Opera in 2018, she has performed numerous roles, including Neris in Medea, Komponist in Ariadne auf Naxos, and Neferneferuaten in the Grammy-winning recording of Akhnaten. In the 2024 – 25 season, Vote returns to the Metropolitan Opera stage as Zweite Dame in The Magic Flute and appears in concert with Filarmonica Arturo Toscanini as a soloist for Beethoven’s Ninth Symphony and Key Chorale for Verdi’s Requiem. Passionate about new works, she also enjoyed working with Santa Fe Opera and Opera Philadelphia on the premiere of Jennifer Higdon’s Cold Mountain. Vote completed her musical studies at Yale University, North Carolina School for the Arts, and the Academy of Vocal Arts in Philadelphia.

SIMONE McINTOSH

MEZZO-SOPRANO

Karolka

Swiss-Canadian mezzo-soprano Simone McIntosh is noted as a singer with “sheer vocal agility and lovely rich sound” (Vancouver Sun). In operatic repertoire, she frequents pants roles in The Marriage of Figaro, Hansel and Gretel, and Roméo et Juliette. This season’s engagements include The Handmaid’s Tale with San Francisco Opera, Jenůfa with The Cleveland Orchestra, and L’Orfeo at Opernhaus Zurich.

McIntosh is a graduate of the Adler Fellowship Program with San Francisco Opera and the Canadian Opera Company’s Ensemble Studio. She was a Song Prize Finalist at the Cardiff Singer of the World Competition in 2023 and was the first prize laureate for the Concours Musical International de Montréal, Aria Division.

McIntosh holds a master’s from the McGill Schulich School of Music and a bachelor’s from the University of British Columbia.

SARAH MESKO

MEZZO-SOPRANO

Shepherdess

American mezzosoprano Sarah Mesko is rapidly gaining attention for her rich voice and musicality. In the 2024 – 25 season, she returns to the Lyric Opera of Chicago for The Marriage of Figaro and debuts with the Sag Harbor Song Festival in their 2024 festival concerts. Other recent opera appearances include engagements with the Metropolitan Opera, Vancouver Opera, Houston Grand Opera, and Opera Theatre of Saint Louis. On the concert stage, she has appeared with the National Symphony Orchestra, Oregon Bach Festival, Baltimore Symphony Orchestra, and New York Philharmonic, among others. Mesko was a national finalist in the Metropolitan Opera National Council Auditions. She has won prizes in numerous competitions and is a two-time recipient of the Richard F. Gold Career Grant.

LUCY BAKER

MEZZO-SOPRANO

Jano (Shepherd)

Lucy Baker is in her second year at Ryan Opera Center at the Lyric Opera of Chicago. During her time at the Lyric, she sang the role of Karolka (Jenůfa) and covered roles in La Cenerentola and The Marriage of Figaro

Baker is a graduate of the Curtis Institute of Music and DePaul University. Her summers have taken her to many prestigious programs such as the Chautauqua Institution, Ravinia Steans Music Institute, and Aspen Music Festival and School as a Fleming Artist, where she reprised the role of Hänsel in Hansel and Gretel

In the 2025 – 26 season, Baker will attend the Internationale Meistersinger Akadamie and join the Stipdendien at Deutsche Oper Berlin, thanks to a scholarship from The Opera Foundation.

SARAH HUTCHINS

MEZZO-SOPRANO

Barena & Aunt

Originally from Texas, Sarah Hutchins has called Northeast Ohio home for the past 20 years. She holds a bachelor’s degree in voice from the University of Mount Union and completed graduate work in voice performance at the University of Akron.

Currently, Hutchins is a member of The Cleveland Orchestra Chorus and Singers Companye, and works full-time as a project manager. She has sung lead roles with the Nightingale Opera Theatre, Canton Comic Opera, and Waco Civic Theatre, among others.

Hutchins has also appeared locally as a soloist with the Akron Symphony Orchestra, and as an ensemble member with the Cleveland Chamber Choir, Cleveland Opera, Blossom Festival Chorus, and CityMusic Cleveland.

THE CLEVELAND ORCHESTRA

NOW FIRMLY IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of 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. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamberlike 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 the ensemble into one of the most admired around the world.

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

FRANZ WELSER-MÖST

MUSIC DIRECTOR

Kelvin Smith Family Chair

FIRST VIOLINS

Liyuan Xie FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith 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

Analise Handke

Gladys B. Goetz Chair

Zhan Shu

Youngji Kim

Paul and Lucille Jones Chair

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

several bold digital projects, including the streaming platform Adella.live and its own recording label. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2024 – 25 season marks Franz Welser-Möst’s 23rd year as Music Director, a period in which The Cleveland Orchestra has 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 celebrated 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.

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

Gawon Kim

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

Thomas Lauria and Christopher Lauria Chair

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

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

Clara G. and George P. Bickford Chair

Sandra L. Haslinger 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

ASSOCIATE 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

Alum of The Cleveland Orchestra Youth Orchestra

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.

THE CLEVELAND ORCHESTRA CHORUS

NOW IN ITS 73RD SEASON , The Cleveland Orchestra Chorus is celebrated for its versatility and refined musicianship, appearing regularly with The Cleveland Orchestra at Severance and Blossom Music Center. As one of the few all-volunteer, professionally trained choruses affiliated with a major American orchestra, it received the 2019 –20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Visit cochorus.com for more information on the Chorus and auditions.

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, where she conducts the award-winning Wooster Chorus and teaches courses in conducting and music education. 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. Wong has served 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.

Active as a clinician, guest conductor, and adjudicator, Wong serves regularly as a music panelist for the National Endowment for the Arts and Chorus America. She 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.

SOPRANOS

Amy Foster Babinski ♦

Claudia Barriga

Jesse Bobbitt ^

Emily Carlson

Signe Carlson

Yu Ching Ruby Chen ^♦

Amanda Cobes-Miller

Caitlin DiFranco ^

Maddie Dirrim

Emily Engle ^♦

Elisha Evanko ^

Molly Falasco ^

Lisa Fedorovich ^

Samantha Garner

Jennifer Gilles ^

Jinle Glover ^

Julia Halamek ^

Rebecca S. Hall ♦

Sarah Henley ^♦

Lisa Hrusovsky ♦♦♦

Rachel Imhoff

Shannon R. Jakubczak ♦

Kiersten Johnson

Sarah Jones-Gould ♦♦

Hope Klassen-Kay ♦♦

Katie Kitchen ^*

EvaCecilia Koh

Kate Macy ♦♦♦

Grace Mino ^

Julie Myers-Pruchenski ^♦

S. Mikhaila Noble-Pace ♦

Jennifer Heinert

O’Leary ^♦♦

Ava Paul ^*

Victoria Peacock ^

Elizabeth Stockton

Perkins ^

Sarah Peterson

Grace Prentice ^

Jylian Purtee ^

Lisa M. Ramsey

Cara Rovella ^

Emma Russell

Aanchal Saraf

Ellie Smith

Megan Tettau

Cassie Utt

Sharilee Walker ♦♦

ALTOS

Rachel Ader

Emily Austin ^♦♦♦

Laurel Babcock

Debbie Bates ^

Riley Beistel ^

Carla Cashman

Barbara J. Clugh ♦

Holly Cobes-Miller

Amber Dimoff ^

Melody Bellora Edmondson

Brooke Emmel

Megan Fought

Shawna Hill

Karen S. Hunt ♦

Sarah Hutchins ^♦

Maggie Keverline ^

Rebecca King

Kristi Krueger-O’Grady

Zoe Kuhn

Elise Leitzel

Danielle S. McDonald ^♦

Karla McMullen ^♦

Bri Mosley ^

Peggy A Norman ♦♦♦

Dawn Ostrowski ^

Abigail Patton

Ellie Petro

Andrea Pintabona

Ina Stanek-Michaelis ♦♦♦

Melanie Tabak ^

Rachel Thibo ^

Kristen Tobey

Laure Wasserbauer ♦♦

Caroline Willoughby

Leah Wilson ^

Jennifer R. Woda ^

Debra Yasinow ♦♦♦

Lynne Leutenberg

Yulish ^♦

TENORS

Nathan Bachofsky ^

Rong Chen

Jonathan Fuller ^

Richard Hall

Clay Hoffner ^

Daniel M. Katz ♦♦♦

Peter Kvidera ^♦♦

Benjamin Low ^*

Christian Lincoln Maric ^

David McCallum

Matt Rizer ^♦♦

Ted Rodenborn ^♦

Jacob Rumelfanger

Nathan A. Russell

Tate Russell ^

John Sabol ♦♦

Lee Scantlebury ♦

Andrew Stamp

Ethan Yoder ^*

BASSES

Ronnie Boscarello

Matthew Britton ^

Nicholas Campagna ^

Christopher Dewald ^♦

Jeffrey Duber ♦♦

Andrew Fowler

Jeffrey D. Gershman ^

Kurtis B. Hoffman ^♦

Kim A. Jacoby

James Johnston

Kevin Kutz

Jason Levy ^♦♦

Tyler Mason ^♦

Tremaine Oatman ♦♦♦♦♦

Glenn Obergefell ^

Eddie Papp ^

Trevor Pollack ^

Francisco Prado ^

Brandon Randall ^

Daniel J. Singer ^

Charles Tobias ♦♦♦

Matt Turell ^

Bob Winters

Service Recognition

♦ 10 – 19 years of service

♦♦ 20 – 29 years of service

♦♦♦ 30 – 39 years of service

♦♦♦♦ 40 – 49 years of service

♦♦♦♦♦ 50+ years of service

* Shari Bierman Singer Fellow ^ Singer in Vox Humana (May 23 & 24)

Daniel J. Singer

ASSISTANT DIRECTOR

Daniel Overly

COLLABORATIVE PIANIST

Jill Harbaugh DIRECTOR, CHORAL OPERATIONS

Lisa Fedorovich

CHAIR,

OPERATING COMMITTEE

We thank the Shari Bierman Singer Family, Mr. Eric A. Seed and Ms. Ellen Oglesby, and Robert Jenkins for their generous and continued support of The Cleveland Orchestra Chorus.

PHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA ADMINISTRATIVE STAFF

EXECUTIVE OFFICE

André Gremillet

President & CEO

Amy Egle

Executive Assistant

Jejuana C. Brown

Director of Diversity, Equity & Inclusion and Community Relations

ARTISTIC PLANNING

Ilya Gidalevich

Vice President of Artistic Planning

Michael Gandlmayr

Artistic Administrator

Austin Land Manager of Artist Services

CHORUS

Jill Harbaugh Director of Choral Operations

Victoria Peacock

Chorus Coordinator

Taylor Mills Logan Youth Chorus Manager

Angel Tyler Children’s Chorus Manager

EDUCATION & COMMUNITY

Joan Katz Napoli

Vice President of Education & Community Programs

Ashley Best

Education & Community Engagement Programs

Coordinator

Teagan Webb Director of Community Engagement

Abigail Fields

Community Engagement

Associate

Courtney Nurre

Director of Learning Programs

Hannah Muzzi

Manager of Learning Programs

Lauren Generette

Director of Instrumental

Pathway Programs

Kennedy McKain

Youth Orchestra Manager

OPERATIONS & ORCHESTRA PERSONNEL

Leah Monder

Vice President of Orchestra & Production

Rebecca Vineyard

Director of Touring & Operations

Ian Mercer

Production Manager

Elaine Slaby

Operations Coordinator

Cacia Meeks

Director of Orchestra Personnel

Ryan Finefrock

Manager of Orchestra Personnel

Destinee Siebe

Orchestra Personnel Assistant

Caitlin Overton

Administrative Assistant

Joseph Short

Stage Manager

Jermaine Burns

Stagehand

Cean Carmichael

Stagehand

Michael Monter

Stagehand

Dave Vacca

Stagehand

Don Verba

Stagehand

PHILANTHROPY & ADVANCEMENT

Maribeth Stahl

Chief Development Officer

Marcus Kuechle

European Program Manager

Crystal Carlson Director of Board & Committee Engagement

Bethany Stone

Individual Giving Coordinator

Angela Mortellaro

Major Gift Officer

Kristi Zerbe

Major Gift Officer

Audra Mahon

Development Officer

Patrick O’Brien

Development Officer

Kate Eaton

Senior Major Gift Officer, Florida

Marta Kelleher

Senior Major Gift & Planned Giving Officer

Katie Shames

Senior Advisor for Philanthropic Initiatives

Oksana Klue

Campaign Manager

Julie Caruso

Director of Institutional Giving & Government Relations

Teresa Schleicher

Foundation Gift Officer

Julie Frey

Corporate Gift Officer

Carolyn Todd

Stewardship Manager

Sean Brewster

Director of Special Events

Sydney Bertei

Special Events Manager

Madeline Polk

Special Events Associate

Megan Hall

Director of Development

Operations

Khalia Shaw

Development Research Manager

Maredith Sheridan

Annual Fund Manager

Carmen Rey

Development

Communications Manager

Elena Manoli

Development Operations Manager

Zoe Dudack

Development Operations Coordinator, Data & Analytics

Lenny Zimmermann

Development Operations Coordinator

PROMOTIONS & MARKETING

Ross Binnie

Chief Brand Officer

Jennifer Bochik

Marketing Administrative

Assistant

John O’Dell

Patron Advancement Officer

Craig Rich

Manager of Marketing

Data & Analytics

Devon Keller

Marketing Manager

Jackie Nachman

Sales Manager

Matt Craggs

Director of Project Marketing

Kevin Whitman

Project Manager

Terry Mertz

Graphic Design & Production Manager

Jessica Norris

Director of Ticket Services

Carrie Felder

Assistant Manager of Ticket Services

CONTENT & GROWTH INITIATIVES

Christophe Abi-Nassif

Vice President of Content & Growth Initiatives

Jen Steer

Media Relations Manager

Kevin McBrien

Publications Manager

Ann VerWiebe

Manager of Email Marketing

Andria Hoy

Archivist

Silvana Corrales Cantelmi

Archives Assistant

Tyler Kuehn

Manager of Growth Initiatives

DIGITAL EXPERIENCE

Ryan Buckley

Vice President of Digital & Technology

Kelli Valverde

User Experience & Quality

Assurance Designer

Sarah Kelly

Digital Content Manager

VENUES & EVENTS

Ron Willner

Vice President of Venues

Operations

Melanie Snodell

Director of Guest Experience

Megan Gryder

Bookings & Events Manager

Morgan Harris

Event Services Manager

Laura Clelland

Venues Project Manager

Matt Fritz

Venues Manager

Lynda Arth

Venues Coordinator

Charles Ballou

Food & Beverage Manager

Charles Laszlo

Blossom Project Manager

Andrew Flynn

Senior House Manager

Kathryn Fairman

Guest Services & Retail

Operations Supervisor

Ellen Cubberley

Retail Associate

Deborah Kummer

Retail Associate

BUILDING OPERATIONS

Pete Wieneke

Lead Building Engineer

Chuck Harris

Building Engineer

Bob Nock

Building Engineer

Renee Pettway

Building Engineer

Morgan Hill

Security

Isaiah Isaac

Security

Michelle Williams

Security

Pauletta Hughes

Cleaning Supervisor

Antonio Adamson

Hall Staff Lead

Jerome Kelly

Hall Staff Lead

Robert Debase

Hall Staff

Michael Harris

Hall Staff

Dwayne Johnson

Hall Staff

Glynis Smith

Hall Staff

Amanda Szymczak

Hall Staff

Graylon Vernon

Hall Staff

Brian Wells

Hall Staff

FINANCE

James E. Menger

Chief Financial Officer

Tabitha Armstrong

Controller

Barbara S. Snyder

Accounting Manager

Cheri Mallis

Asset Accounting Manager

Carolann Oravec

Payroll Manager

Tracey Evans

Manager of Analysis & Reporting

Christina Dutkovic

Accounting Associate

Mariah Becker

Finance Associate

INFORMATION TECHNOLOGY

Theresa Henderson

Assistant Director of IT Services

Jim Reynolds

Database Administrator

Jonathan Mazanetz

Systems Administrator

HUMAN RESOURCES

Yvette Hanzel

Human Resources Manager

Lisa Saneda

HR Benefits Manager

MAILROOM

Jim Hilton

Mailroom Supervisor

Delores Perry

Mailroom Clerk

THANK YOU!

THANK THANK YOU!

Behind every powerful performance is a community of supporters who bring the music to life.

Behind every powerful performance is a community of supporters who bring the music to life.

We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

THE CLEVELAND ORCHESTRA HERITAGE SOCIETY

The Heritage Society recognizes dedicated supporters who have entrusted their legacy with The Cleveland Orchestra by including the Orchestra in their estate plans. We extend our heartfelt gratitude for the generous support of these individuals.

Lois A. Aaron*

Leonard Abrams*

Gay Cull Addicott*

Norman* & Marjorie Allison

Mr. & Mrs. A. Chace Anderson

Sarah May Anderson

George N. Aronoff

Herbert Ascherman, Jr.

Jack & Darby Ashelman

Mr. & Mrs. William Winfield Baker

Ruth Balombin*

Jack L. Barnhart

Henry & Margaret Barratt*

Rev. Thomas T. Baumgardner &

Dr. Joan Baumgardner*

Fred G. & Mary W. Behm

Fran & Jules Belkin

Bob Bellamy

Carol Bergman

Marie-Hélène Bernard

Howard R. & Barbara Kaye Besser

Dr.* & Mrs. Murray M. Bett

Dr. Marie Bielefeld

Raymond J. Billy (Biello)

Mr. William P. Blair III*

Doug & Barb* Bletcher

Madeline and Dennis Block

Trust Fund

Robin Dunn Blossom

Mrs. Flora Blumenthal

Mr. Richard J. Bogomolny &

Ms. Patricia M. Kozerefski

Mr. & Mrs. Charles P. Bolton

Ms. Katherine Bormann

Drs. Christopher P. Brandt & Beth Brandt Sersig

Mr. D. McGregor Brandt, Jr.

David & Denise Brewster

Richard F. Brezic*

Robert W. Briggs

Elizabeth A. Brinkman

Dr. Jeanette Grasselli Brown &

Dr. Glenn R. Brown*

Thomas Brugger, MD*

Joan & Gene* Buehler

Douglas R. Bunker

Gretchen L. Burmeister

Milan & Jeanne* Busta

Ms. Lois L. Butler

Mr.* & Mrs. William C. Butler

Gregory & Karen Cada

Mary Freer Cannon*

Mary Jane Hawn Cariens*

Harry & Marjorie* M. Carlson

Janice L. Carlson

Dr.* & Mrs. Roland D. Carlson

Barbara A. Chambers, D. Ed.

Dr. Gary Chottiner & Anne Poirson

NancyBell Coe

Kenneth S. & Deborah G. Cohen

Victor J. & Ellen E.* Cohn

Robert & Jean* Conrad

Mr. & Mrs. Gerald A. Conway*

Alexander B. Cook*

Tom & Anita Cook

The Honorable Colleen Conway

Cooney & Mr. John Cooney

Marilyn Cotman*

Dr. Dale & Susan Cowan

Martha Wood Cubberley

Tom & Susan Cucuzza

William* & Anna Jean Cushwa

Alexander M. & Sarah S. Cutler

Karen & Jim Dakin

Mr.* & Mrs. Don C. Dangler

Mr. & Mrs. Howard J. Danzinger

Barbara Ann Davis

Ronald J Davis & Cheryl A. Davis*

Carol J. Davis

Charles & Mary Ann Davis

William E. Dean Jr. & Gloria P. Dean*

Mary Kay DeGrandis & Edward J. Donnelly

Carolyn L. Dessin

Mrs. Armand J. DiLellio

James A. Dingus, Jr.

Dr. & Mrs.* Richard C. Distad

Maureen A. Doerner &

Geoffrey T. White

Henry & Mary* Doll

Gerald & Ruth Dombcik

Barbara Sterk Domski

Dr. Doris Donnelly

Mr.* & Mrs. Roland W. Donnem

Nancy E. & Richard M. Dotson

Mrs. John Drollinger

Drs. Paul M. & Renate H. Duchesneau*

George* & Becky Dunn

Mr. & Mrs. Robert Duvin

Dr. Robert E. Eckardt

Paul & Peggy Edenburn

Mr. & Mrs.* Alfred M. Eich, Jr.

Roger B. Ellsworth

Oliver & Mary Emerson*

Lois Marsh Epp

Patricia Esposito

C. Gordon & Kathleen A. Ewers*

Patricia J. Factor

Carl Falb

Regis & Gayle Falinski

Mrs. Mildred Fiening

Gloria & Irving* Fine

Joan Alice Ford

Gil & Elle Frey*

Arthur* & Deanna Friedman

Mr.* & Mrs. Edward H. Frost

Dr. Stephen & Nancy Gage

Barbara & Peter* Galvin

Mr. & Mrs. Steven B. Garfunkel

Donald* & Lois Gaynor

Albert I.* & Norma C. Geller

Dr. Saul Genuth*

Frank & Louise Gerlak

Dr. James E. Gibbs

S. Bradley Gillaugh*

Mr.* & Mrs. Robert M. Ginn

Fred & Holly Glock

Ronald & Carol Godes*

William H. Goff

Mr.* & Mrs. Henry J. Goodman

John & Ann Gosky

In Memory of Margaret Goss

Mr. Michael Gotwald

Harry & Joyce Graham

Elaine Harris Green*

Tom & Gretchen Green

Anna Zak Greenfield*

Richard & Ann Gridley

Nancy Hancock Griffith

David E.* & Jane J. Griffiths

Bev & Bob Grimm

Candy & Brent Grover

Thomas J. & Judith Fay Gruber*

Henry & Komal Gulich

Mr. & Mrs. David H. Gunning

Mr. & Mrs. William E. Gunton*

Richard* & Mary Louise Hahn

Raymond G. Hamlin, Jr.

Kathleen E. Hancock

Norman C.* & Donna L. Harbert

William L.* & Lucille L. Hassler

Nancy Hausmann

Virginia & George Havens*

Barbara L. Hawley &

David S. Goodman

Gary D. Helgesen

Clyde J. Henry, Jr.

Ms. M. Diane Henry

Wayne & Prudence Heritage

T. K.* & Faye A. Heston

Fred Heupler, MD

Mr. & Mrs. Daniel R. High*

Alvin Hinmam*

Bruce F. Hodgson

Amy & Stephen Hoffman

Mary V. Hoffman

David & Nancy Hooker

Thomas H. and Virginia J. Horner Fund*

Patience Cameron Hoskins

Elizabeth Hosmer

Dr. Christine A. Hudak & Mr. Marc F. Cymes

Dr. Randal N. Huff

Mrs. Marguerite B. Humphrey*

Ann E. Humphreys & Jayne E. Sisson

David & Dianne Hunt

Karen S. Hunt

Mr. & Mrs. G. Richard Hunter

Gerri Hura

Ruth F. Ihde*

Pamela & Scott Isquick

Mr. & Mrs. Donald M. Jack, Jr.*

Carol S. Jacobs

Pamela Jacobson

Milton* & Jodith Janes

Mr. Gary & Dr. Maita Jarkewicz

Allan V. Johnson

E. Anne Johnson

Nancy Kurfess Johnson, MD

Susan Albrecht Johnson*

David* & Gloria Kahan

Julian & Etole Kahan

David George Kanzeg

Bernie & Nancy Karr

Milton & Donna* Katz

Ms. Beverly Kaveney

Nancy F. Keithley & Joseph P. Keithley

Bruce* & Eleanor Kendrick

Malcolm E. Kenney*

Mr. & Mrs. Douglas A. Kern

James & Gay* Kitson

Mr. Clarence E. Klaus, Jr.*

Fred* & Judith Klotzman

Paul & Cynthia Klug

Martha D. Knight

Mr. & Mrs. Robert Koch*

Mr. Clayton Koppes

Susan Korosa

Margery A. Kowalski*

Janet L. Kramer

Dr. Ronald H. Krasney

Mr. James Krohngold*

Mr. & Mrs. Gregory G. Kruszka

Thomas* & Barbara Kuby

Mr. & Mrs. Dennis W. LaBarre

James I. Lader

Mr. & Mrs. David A. Lambros

Mrs. Carolyn Lampl*

Kenneth M. Lapine & Rose E. Mills

Lee & Susan Larson

Charles K. László &

Maureen O’Neill-László

Anthony T.* & Patricia Lauria

Jordan R. & Jane G. Lefko

Teela C. Lelyveld

Mr. & Mrs. Roger J. Lerch

Judy D. Levendula

Dr. & Mrs. Howard Levine

Bracy E. Lewis

Mr. & Mrs.* Thomas A. Liederbach

Rollin* & Leda Linderman

Virginia M. & Jon A. Lindseth

Dr.* & Mrs. William K. Littman

Dr. Jack & Mrs. Jeannine Love

Jeff & Maggie Love

Dr. Alan & Mrs. Min Cha Lubin

Linda* & Saul Ludwig

Kate Lunsford*

Patricia MacDonald

Alex & Carol Machaskee

Mrs. H. Stephen Madsen

Mr. & Mrs. Donald Malpass, Jr.

Clement P. Marion

Dr.* & Mrs. Sanford E. Marovitz

Mr. & Mrs. Anthony M. Martincic

Kathryn A. Mates

Dr. Lee Maxwell & Michael M. Prunty

Alexander & Marianna* McAfee

Christine Gitlin Miles*

Antoinette S. Miller

Chuck & Chris Miller

Edith & Ted Miller*

Leo Minter, Jr.

Mr. & Mrs.* William A. Mitchell

Robert L. Moncrief

Ms. Beth E. Mooney

Beryl & Irv Moore

Ann Jones Morgan

George & Carole Morris

Mr. & Mrs. Thomas W. Morris

Ken & Sharon Mountcastle

Susan B. Murphy

Anne & Chris Myers

Mr. Michael Napoli

Dr. & Mrs. Clyde L. Nash, Jr

Deborah L. Neale

Mrs. Ruth Neides*

Jay & Joyce Nesbit

David & Judith Newell*

Steve Norris & Emily Gonzales

Bernadette Norwood*

Paul & Connie Omelsky

William R. O’Connell*

Katherine T. O’Neill

The Honorable John Doyle Ong

Henry Ott-Hansen

Mr. J. William & Dr. Suzanne* Palmer

R. Neil Fisher & Ronald J. Parks

Nancy* & W. Stuver Parry

Dr.* & Mrs. Donald Pensiero

Mr. & Mrs. Peter Pfouts*

Drs. Roland Philip & Linda Sandhaus

Elisabeth C. Plax*

Florence KZ Pollack

Julia & Larry Pollock

John L. Power* & Edith Dus-Garden

Richard J. Price

Ms. Rosella Puskas*

Leonard* & Heddy Rabe

M. Neal Rains

Dr. James & Lynne Rambasek

Mrs. Alfred M. Rankin, Sr.*

James* & Donna Reid

David J. Reimer & Raffaele DiLallo

David & Gloria Richards

James & Marguerite Rigby

Larry J.B. & Barbara S. Robinson*

Dwight W. Robinson

Margaret B. Robinson

Janice & Roger Robinson

Amy & Ken Rogat

Carol Rolf & Steven Adler

Margaret B. Babyak & Phillip J. Roscoe*

Audra & George Rose*

Dr. Eugene & Mrs. Jacqueline Ross*

Robert* & Margo Roth

Howard & Laurel Rowen

Professor Alan Miles Ruben & Judge Betty Willis Ruben

Marc Ruckel

Michael J. & Roberta W. Rusek

Dr. Joseph V. Ryckman

Marjorie Bell Sachs

Dr. Vernon E. Sackman & Ms. Marguerite Patton*

Mr. & Mrs.* James A. Saks

John A Salkowski

Alice R. Sayre

In Memory of Hyman and Becky Schandler

Sandra J. Schlub

Ms. Marian Schluembach

Robert & Betty Schmiermund

Richard B. & Cheryl A. Schmitz

Mr.* & Mrs. Richard M. Schneider

Jeanette L. Schroeder

Frank Schultz

Carol & Albert Schupp*

Mr. Raymond B. Scragg

Lawrence M. Sears & Sally Z. Sears

Roslyn S. & Ralph M. Seed

Nancy F. Seeley

Meredith M. Seikel

Reverend Sandra Selby

Eric Sellen

Holly Selvaggi

Thomas & Ann Sepúlveda

The Seven Five Fund

B. Kathleen Shamp*

Jill Semko Shane

David Shank

Helen & Fred D. Shapiro*

Dr. & Mrs. William C. Sheldon

John F. Shelley & Patricia Ann Burgess*

Frank* & Mary Ann Sheranko

Kim Sherwin*

Mr. & Mrs. Michael Sherwin*

Reverend & Mrs. Malcolm K. Shields

Robyn Shifrin

Mr. & Mrs. David L. Simon*

Dr.* & Mrs. John A. Sims

Lauretta Sinkosky*

H. Scott Sippel & Clark T. Kurtz

Ellen J. Skinner

Ralph* & Phyllis Skufca

Janet Hickok Slade

Bartholomew Slak

Drs. Charles Kent Smith &

Patricia Moore Smith

Ms. Mary C. Smith

Sandra & Richey* Smith

Roy Smith

Mr.* & Mrs. Ward Smith

Myrna & James Spira

Barbara J. Stanford & Vincent T. Lombardo

George R. & Mary B.* Stark

Sue Starrett & Jerry Smith

Lois & Tom Stauffer*

Elliott K. Stava & Susan L. Kozak Fund

Saundra K. Stemen

Dr. Myron Bud & Helene* Stern

Mr. & Mrs. John M. Stickney

Dr. & Mrs. William H. Stigelman, Jr.

Mr.* & Mrs. James P. Storer

The Strawbridge Family Foundation / Holly Strawbridge

In Memory of Marjory Swartzbaugh

Dr. Elizabeth Swenson

Lorraine S. Szabo

Nancy & Lee Tenenbaum

Mr. Joseph F. Tetlak*

Carol Tevis

Dr. & Mrs. Friedrich Thiel

Christina & Thomas Thoburn

William & Judith Ann Tucholsky

Mr. Jack G. Ulman

Robert & Marti* Vagi

Robert A. Valente

J. Paxton Van Sweringen*

Mary Louise & Don VanDyke*

Nicholas J. Velloney*

Steven Vivarronda

Hon. & Mrs. William F.B. Vodrey

Pat & Walt* Wahlen

Mrs. Clare R. Walker*

John & Deborah Warner

Mr. & Mrs. Russell Warren

Joseph F. & Dorothy L.* Wasserbauer

Richard & Barbara Watkins*

Reverend Thomas L. Weber

Lucile Weingartner

Max W. Wendel

William Wendling* & Lynne Woodman

Robert C. Weppler

Paul & Suzanne Westlake

Marilyn J. White

Yoash & Sharon Wiener

Linda R. Wilcox

Mrs. Alan H. Wilde*

Helen Sue & Meredith Williams*

Dr. Paul R. & Catherine Williams

Carter & Genevieve* Wilmot

Nancy L. Wolpe

Mrs. Alfred C. Woodcock

Katie & Donald Woodcock

Dr.* & Mrs. Henry F. Woodruff

Nancy R. Wurzel

Michael & Diane Wyatt

Tony & Diane Wynshaw-Boris

Mary Yee

Carol Yellig

Libby M. Yunger

William Zempolich & Beth Meany

Anonymous (55)

To learn more about the Heritage Society, contact Marta Kelleher, Senior Major Gift and Planned Giving Officer at 216-231-8006 or legacy@clevelandorchestra.com

THANK YOU THANK YOU

Nancy W. McCann

Nancy B. McCormack

Mr. William C. McCoy*

Dorothy R. McLean

James & Virginia Meil

Brenda Clark Mikota

Larry J. Santon*

Stanford* & Jean B. Sarlson

Dorian Sarris & Scott Inglis

James Dalton Saunders

Patricia J. Sawvel

Ray & Kit Sawyer

Gary & Beryl Tishkoff

Mr. & Mrs. William M. Toneff

Joe & Marlene Toot

Alleyne C. Toppin

Janice & Leonard Tower

Dr. & Mrs. James E. Triner

INDIVIDUAL SUPPORT

Behind every powerful performance is a community of supporters who bring the music to life. We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

To learn more, visit clevelandorchestra.com/give

Adella Prentiss Hughes Society

Gifts of $1,000,000 & more

Mr. & Mrs.* Geoffrey Gund

Joan Y. Horvitz*

Anne H. & Tom H. Jenkins

Milton & Tamar Maltz

Mrs. Jane B. Nord

Mr. & Mrs.* Richard K. Smucker

Gifts of $200,000 to $999,999

The Musicians of The Cleveland Orchestra (in-kind contribution for community programs & opportunities to secure funding)

Mary Freer Cannon*

Iris & Tom Harvie

Haslam 3 Foundation

Dr. & Mrs. Anthony T. Lauria

Mrs. Norma Lerner

Jan R. Lewis

Robert Lugibihl*

Mr. & Mrs. Albert B. Ratner

Jenny & Tim Smucker

Anonymous

Gifts of $100,000 to $199,999

Gay Cull Addicott*

Art of Beauty Company, Inc.

Mr. & Mrs.* Eugene J. Beer

Mr. Yuval Brisker

Alexander B. Cook*

Rebecca Dunn

Dr. Michael Frank &

Patricia A.* Snyder

Mr. & Mrs. Michael J. Horvitz

The Walter and Jean Kalberer

Foundation

Dr. & Mrs. Herbert Kloiber (Europe)

Mr. & Mrs. Dennis W. LaBarre

Thomas E. Lauria (Miami)

Ms. Beth E. Mooney

Patrick & Milly Park

Ilana & Chuck Horowitz Ratner

James* & Donna Reid

Jim & Myrna Spira

Mr.* & Mrs. Donald W. Strang, Jr.

Ms. Ginger Warner

Mrs. Jayne M. Zborowsky

Anonymous

Lillian Baldwin Society

Gifts of $75,000 to $99,999

Mr. & Mrs. Alexander M. Cutler

Richard & Michelle Jeschelnig

Mr. & Mrs. Douglas A. Kern

Richard & Christine Kramer

Ms. Cathy Lincoln

Mr. & Mrs. Alfred M. Rankin, Jr.

Anonymous

George Szell Society

Gifts of $50,000 to $74,999

Randall & Virginia Barbato

Brenda & Marshall B. Brown

Irad & Rebecca Carmi

Dr. Hiroyuki & Mrs. Mikiko Fujita

Mr. & Mrs. Robert W. Gillespie

JoAnn & Robert Glick

Ms. Alexandra Hanna

Mr. & Mrs. Donald M. Jack, Jr.*

Elizabeth B. Juliano

Mr. & Mrs. Ben Mathews

Nancy W. McCann

The Oatey Foundation (Cleveland, Miami)

William J. & Katherine T. O’Neill

Mr. & Mrs. Benjamin N. Pyne

Mrs. Alfred M. Rankin, Sr.*

Mr. & Mrs. James A. Ratner

The Ralph and Luci Schey Foundation

Astri Seidenfeld

The Seven Five Fund

Richard & Nancy Sneed

R. Thomas & Meg Harris Stanton

Dr. Russell A. Trusso

Mr. & Mrs. Franz Welser-Möst

Paul & Suzanne Westlake

Barbara & David Wolfort

Tony & Diane Wynshaw-Boris Anonymous

Elisabeth DeWitt Severance Society

Gifts of $25,000 to $49,999

Victor & Abby Alexander

Mr. & Mrs. A. Chace Anderson

Gerrie E. Berena

Dr. & Mrs. Wolfgang Berndt (Europe)

Mr. William P. Blair III*

Robin Dunn Blossom

Mr. Richard J. Bogomolny &

Ms. Patricia M. Kozerefski

Jeanette Grasselli Brown & Glenn R. Brown*

Dr. Robert Brown & Mrs. Janet Gans Brown

Dr. Thomas Brugger* &

Dr. Sandra Russ

J. C. & Helen Rankin Butler

Jim & Mary Conway

Judith & George W. Diehl

Elliot & Judith Dworkin

Mary Jo Eaton (Miami)

Mr.* & Mrs. Bernard H. Eckstein

Drs. Wolfgang & Gabi Eder (Europe)

Dr. & Mrs. Robert Ehrlich (Europe)

Mrs. Connie M. Frankino

David & Robin Gunning

Sondra & Steve Hardis

Mary & Jon* Heider (Cleveland, Miami)

Mrs. Lynn Heisler

Amy & Stephen Hoffman

David & Nancy Hooker

Richard Horvitz & Erica HartmanHorvitz (Cleveland, Miami)

Mrs. Marguerite B. Humphrey*

Allan V. Johnson

Mr. & Mrs. Joseph P. Keithley

Cynthia Knight

John D. & Giuliana C. Koch

Jon A. & Virginia M. Lindseth, PhD

Mr. Jeff Litwiller

Mr. Stephen McHale

Loretta J. Mester &

George J. Mailath

Randy & Christine Myeroff

The Honorable John Doyle Ong

Mr. J. William & Dr. Suzanne* Palmer

Catherine & Hyun Park

Douglas & Noreen Powers

Mr. & Mrs. Ronald Ratner

James & Marguerite Rigby

Mr.* & Mrs. David A. Ruckman

Mark & Shelly Saltzman

Mr. Eric A. Seed & Ms. Ellen Oglesby

Donna E. Shalala (Miami)

Hewitt & Paula Shaw

Dr. Elizabeth Swenson

Herbert Wainer &

Jody Bernon-Wainer

Tom & Shirley* Waltermire

Anya Weaving & Tom Mihaljevic

Meredith & Michael Weil

Anonymous (2)

Dudley S. Blossom Society

Gifts of $15,000 to $24,999

Mr. James Babcock

Mr. & Mrs. William Winfield Baker

Ms. Viia R. Beechler

Mr. & Mrs. Jules Belkin

Mel Berger & Jane Haylor

Mr. & Mrs. C. Perry Blossom

Mr. & Mrs. Charles P. Bolton

Dr. Christopher P. Brandt & Dr. Beth Sersig

Mr. D. McGregor Brandt, Jr.

Dr. Ben H. & Julia Brouhard

Meghan & Trent Brown

Ted & Donna Connolly

Mr. & Mrs. Kevin C. Conway

Mary* & Bill Conway

Mrs. Barbara Cook

Mrs. Anita Cosgrove

Mr. & Mrs. Matthew V. Crawford

Maureen A. Doerner &

Geoffrey T. White

Nancy & Richard Dotson

Mr. Brian L. Ewart &

Mr. William McHenry

Mr. & Mrs. Richard C. Fedorovich

Friends of The Cleveland Orchestra

Richard & Ann Gridley

Mr. Calvin Griffith

Gary L. & Cari T. Gross

Mr. & Mrs. Harley I. Gross

Kathleen E. Hancock

Jack Harley & Judy Ernest

Gerald Hughes

Mr. & Mrs. Brinton L. Hyde

Sarah Liotta Johnston & Jeff Johnston

Rob & Laura Kochis

Eeva & Harri Kulovaara (Miami)

Mr. & Mrs. S. Ernest Kulp

Ms. Heather Lennox

Daniel R. Lewis (Miami)

In honor of Emma Skoff Lincoln

Linda Litton

Mr. & Mrs. Alex Machaskee

Mr. & Mrs. Robert W. Malone

Alan Markowitz, MD &

Cathy Pollard

Mr. Fredrick W. Martin

Ann Jones Morgan

Sally S. & John C. Morley*

Jennifer & Alexander Ogan

Richard Organ & Jamie Nash

Dr. Roland S. Philip &

Dr. Linda M. Sandhaus

Mr. Winthrop Quigley &

Ms. Bonnie Crusalis

Dr. Isobel Rutherford

Saul & Mary Sanders (Miami)

Rachel R. Schneider

Dr. & Mrs. James L. Sechler

Meredith M. Seikel

Robyn Shifrin

Mr. & Mrs. Richard P. Stovsky

Kathryn & Duncan Stuart

Alan & Barbara Taylor

Bruce & Virginia Taylor

Philip & Sarah Taylor

Mr. & Mrs. Alfred Umdasch (Europe)

Karen Walburn

Mr. Daniel & Mrs. Molly Walsh

Mr. & Mrs. Jeffery J. Weaver

Robert C. Weppler

Katie & Donald Woodcock

Max & Beverly Zupon

Anonymous (4)

Frank H. Ginn Society

Gifts of $10,000 to $14,999

Dr. & Mrs. D. P. Agamanolis

Laura & Jon Bloomberg

Dr. & Mrs. William D. Carey

Mr. & Mrs. Chester F. Crone

Mr. & Mrs. Manohar Daga

Mrs. Barbara Ann Davis

Giles Debenham

Allan* & Connie Dechert

Peter & Sandy Earl

Dr.* & Mrs. Lloyd H. Ellis Jr.

Joan Alice Ford

Dr. Edward S. Godleski

Mr. Robert Goldberg

Mr. & Mrs. Michael Gröller (Europe)

Alfredo & Luz Maria Gutierrez (Miami)

Ms. Marianne Gymer

Robin Hitchcock Hatch

Dr. Robert T. Heath &

Dr. Elizabeth L. Buchanan

Dr. Fred A. Heupler

Ms. Mary Joe Hughes

Donna Jackson

Barbara & Michael J. Kaplan

Andrew & Katherine Kartalis

Jonathan & Tina Kislak (Miami)

David C. Lamb

Charles & Josephine Robson Leamy*

Dr. Edith Lerner

Dr. David & Janice Leshner

Mr.* & Mrs. Arch J. McCartney

Drs. Amy & James Merlino

Claudia Metz & Thomas Woodworth

Mr. William A. Minnich

Mr. Bert & Dr. Marjorie Moyar

Brian & Cindy Murphy

Deborah L. Neale

Patricia Perry Nock

Mr. & Mrs. John Olejko

Mr. David A. Osage &

Ms. Claudia C. Woods

Julia & Larry Pollock

Ms. Rosella Puskas*

Beth & Clay Rankin

Mr. & Mrs. Roger F. Rankin

Mrs. Vicki Ann Resnick

Kim Russel & Dirk Brom

Dr. & Mrs.* Martin I. Saltzman

Patricia J. Sawvel

David M. & Betty Schneider

Gary Schwartz & Constance Young

Kenneth Shafer

Rev. George Smiga

Sandra & Richey* Smith

Roy Smith

Michalis & Alejandra Stavrinides

Ryan & Melissa Stenger

Mrs. Mary L. Sykora

Taras Szmagala & Helen Jarem

Joe & Marlene Toot

Dr. Gregory Videtic &

Rev. Christopher McCann

Susanne Wamsler & Paul Singer (Europe)

Mr. & Mrs. Fred A. Watkins

Denise G. & Norman E. Wells, Jr.

Sandy & Ted Wiese

Sandy Wile & Sue Berlin

Anonymous (7)

The 1929 Society Gifts of $5,000 to $9,999

Ms. Nancy A. Adams

Mr. & Mrs. Todd C. Amsdell

Claudia Bacon

Robert & Dalia Baker

Thomas & Laura Barnard

Dr. James Bates

Fred G. & Mary W. Behm

Deena & Jeff Bellman

Mr. & Mrs. Lawrence R. Beyer

Mr. & Mrs. Fred Bidwell

Marilyn & Jeffrey Bilsky

Dr. & Mrs. Eugene H. Blackstone

Doug & Barbara* Bletcher

Laurel Blossom

Jeff & Elaine Bomberger

Mitchell & Caroline Borrow

Ms. Kristina E. Boykin

Mr. & Mrs. David* Briggs

James & Mary Bright

Frank & Leslie Buck

Mr. Gregory & Mrs. Susan Bulone

James Burke

Mrs. Catharina M. Caldwell

Joseph & Susan Carney

William & Barbara Carson

Ms. Maria Cashy

Victor A. Ceicys, MD & Mrs. Kathleen Browning Ceicys

Mr. & Mrs. James B. Chaney

Mr. & Mrs. Kerry Chelm

Ellen Chesler & Matthew Mallow (Miami)

Drs. Wuu-Shung & Amy Chuang

Drs. Mark Cohen & Miriam Vishny

Ellen E.* & Victor J. Cohn

Kathleen A. Coleman

Diane Lynn Collier & Robert J. Gura

Marjorie Dickard Comella

Robert & Jean* Conrad

Mr.* & Mrs. Ralph Daugstrup

Regis & Gayle Falinski

Mr. & Mrs. Mark Filippell

Bruce* & Nancy Fisher

Jan & John Fitts

Ms. Nancy Flogge

Mr. & Ms. Dale Freygang

Barbara & Peter* Galvin

Joy E. Garapic

Mr. James S. Gascoigne & Ms. Cynthia Prior

Anne* & Walter Ginn

Brenda & David Goldberg

Mrs. Florence Goodman

Barbara H. Gordon

André & Ginette Gremillet

Nancy Hancock Griffith

Candy & Brent Grover

The Thomas J. & Judith Fay Gruber

Charitable Foundation

Nancy* & James Grunzweig

Mr. Arthur C. Hall III

Mr. Newman T. Halvorson, Jr.

Gary Hanson & Barbara Klante

Clark Harvey & Holly Selvaggi

Mr. & Mrs. Jonathan Hatch

Barbara L. Hawley &

David S. Goodman

Matthew D. Healy & Richard S. Agnes

Dr. Toby Helfand

Anita & William Heller

Mr. & Mrs. Jerry Herschman

Mr. & Mrs. Martin R. Hoke

Dr. Keith A. & Mrs. Kathleen M. Hoover

James* & Claudia Hower

Phillip M. Hudson III (Miami)

Elisabeth Hugh

Mrs. Laura Hunsicker

David & Dianne Hunt

Donald* & Joyce Ignatz

Ms. Kimberly R. Irish

Richard & Jayne Janus

Reuben Jeffery (Miami)

Robert & Linda Jenkins

Mr. David & Mrs. Cheryl Jerome

Dr. Richard* & Roberta Katzman

Rod Keen & Denise Horstman

Howard & Michele Kessler

Joanne Kim & Jim Nash

Dr. & Mrs.* William S. Kiser

Audrey Knight

Mr. & Mrs.* S. Lee Kohrman

Dr. Ronald H. Krasney & Vicki Kennedy*

Douglas & Monica Kridler

Peter* & Cathy Kuhn

Mr. & Mrs.* Arthur J. Lafave, Jr.

Dr. & Mrs. John R. Lane

Dr.* & Mrs. Roger H. Langston

Kenneth M. Lapine & Rose E. Mills

John N.* & Edith K. Lauer

Michael Lederman & Sharmon Sollitto

Young Sei Lee

Mr. & Mrs. Roger J. Lerch in Memory of Carl J. & Winifred J. Lerch

Judith & Morton Q. Levin

Dr. Stephen B. & Mrs. Lillian S. Levine

Dr. Alan & Mrs. Joni Lichtin

Richard & Terry Lubman (Miami)

Neil & Susan Luria

David Mann & Bernadette Pudis

Mr. Keith G. Marsh

Dr. Ernest & Mrs. Marian Marsolais

Mr. & Mrs. Bruce V. Mavec

Ms. Nancy L. Meacham

Dr. & Mrs. Kevin Meany

Dr.* & Mrs. Dale Meers

James & Virginia Meil

Dr. Susan M. Merzweiler

Lynn & Mike Miller

John & Rebecca Minnillo

Drs. Terry E. & Sara S. Miller

Curt & Sara Moll

Mr. & Mrs. Andy Moock

Ms. Nancy C. Morgan

Amy & Marc Morgenstern

Eudice M. Morse

Mr. & Mrs. Scott C. Mueller

Mr. Raymond M. Murphy

Mr. Christopher B. Nance & Ms. Jessica V. Colombi

Richard & Kathleen Nord

Mr. & Mrs. Forrest A. Norman III

Courtney & Michael Novak

Malinda & Robert Och

Thury O’Connor

Harvey* & Robin Oppmann

Mr. Henry Ott-Hansen

Mr. & Mrs. Kenneth W. Outcalt

Chris & Susan Pappas

Eliot Pedrosa (Miami)

Alan & Charlene Perkins

Dale & Susan Phillip

Dr. Marc A. & Mrs. Carol Pohl

Mr. & Mrs. Frank Porter

Dr. & Mrs. John N. Posch

Mr. Robert & Mrs. Susan Price

Sylvia Profenna

Pysht Fund

Lute & Lynn Quintrell

Brian & Patricia Ratner

Mr. & Mrs.* Robert J. Reid

David J. Reimer & Raffaele DiLallo

Ms. Julie Severance Robbins

Mr. D. Keith* & Mrs. Margaret B. Robinson

Lisa Robinson & Robert Hansel

Amy & Ken Rogat

Dr. & Mrs. Ronald Ross

Robert* & Margo Roth

Dr. Adel S. Saada

Dr. Vernon E. Sackman & Ms. Marguerite Patton*

Mr. & Mrs.* James A. Saks

Richard Salomon & Laura Landro

Sandra Sauder

Bob & Ellie Scheuer

Richard B. & Cheryl A. Schmitz

Ms. Beverly J. Schneider

Sally & Larry Sears

John Sedor & Geri Presti

Deborah Sesek

Drs. Daniel & Ximena Sessler

Mr.* & Mrs. Michael Shames

Mr. Philip & Mrs. Michelle Sharp

Mr. John F. Shelley &

Ms. Karen P. Fleming

Zachary & Shelby Siegal

Mrs. Gretchen D. Smith

Mr. & Mrs. William E. Spatz

Diane M. Stack

Maribeth & Christopher Stahl

George & Mary* Stark

Howard Stark, MD & Rene Rodriguez (Miami)

Sue Starrett & Jerry Smith

Bill & Trish Steere

AJ & Nancy Stokes

Ms. Lorraine S. Szabo

Robert & Carol Taller

Mr. John R. Thorne & Family

Bill & Jacky Thornton

Brian & Elizabeth Tierney

Mr. & Mrs. Gary B. Tishkoff

Mr. Christopher Towe

Mr.* & Mrs. Robert N. Trombly

Drs. Anna* & Gilbert True

Steve & Christa Turnbull

Robert & Marti* Vagi

Bobbi & Peter* van Dijk

Mr*. & Mrs. Lee Vandenberg

Mr. & Mrs. Les C. Vinney

Kenneth H. Kirtz*

George & Barbara von Mehren

Mr. Randall Wagner

Mr. & Mrs. Eric Wald

John & Jeanette Walton

Greg & Lynn Weekley

Tilles-Weidenthal Foundation

Mr. & Mrs. Mark Allen Weigand

Paul & Nancy Wellener

Dr. Edward L. & Mrs. Suzanne Westbrook

Stephen Whyte & Rebecca Ralston

Dr. Paul R. & Catherine Williams

Ms. Linda L. Wilmot

Bob & Kat Wollyung

Mr. Graham Wood

Anonymous (3)

Composer’s Circle

Gifts of $2,500 to $4,999

Mr. & Mrs. Paul R. Abbey

Mr. Leonard H. Abrams*

Kristen & Matthew Alloway

Sarah May Anderson

Susan S. Angell

Chris Ansbacher

Gabrielle Aryeetey

Ronen Avinir (Miami)

Ms. Bonnie M. Baker

Eric Barbato & Elisha Swindell

Ms. Katherine Barnes

THANK YOU

Ronald J. Davis & Cheryl A. Davis

Pete & Margaret Dobbins

Henry & Mary* Doll

Michael Dunn

Brian & Renae Durdle

Carl Falb

Drs. Todd & Susan Locke

Eric Logan

David & Janice* Logsdon

Joan C. Long

Caetano R. Lopes (Miami)

Anne R. & Kenneth E. Love

Howard & Beth Simon

Mr. James S. Simon

The Shari Bierman Singer Family

Sarah Sloboda & Oskar Bruening

Drs. Charles Kent Smith & Patricia Moore Smith

Lucy Battle

Mrs. Lois Robinson Beck

Drs. Nathan A.* & Sosamma J. Berger

Kathryn & Gerald Berkshire

Mr. Jeffrey & Dr. Sheila Berlin

Margo & Tom Bertin

Mitch & Liz Blair

Zeda W. Blau

Marilyn & Lawrence Blaustein

Ms. Pamela M. Blemaster

Blossom Friends of The Cleveland Orchestra

Mr. John & Mrs. Robyn Boebinger

Dr. & Mrs. Timothy Bohn

Mr. & Mrs. Richard H. Bole

David & Julie Borsani, in memory of Marissa I. Borsani

Ms. Ellen Botnick

Dwight Bowden

Dr. David Bowers

continued next page

Lisa & Ronald Boyko

William & Anna Marie Brancovsky

Adam & Vikki Briggs

Matthew D. Brocone

Mr. & Mrs. Dale R. Brogan

Dale & Wendy Brott

Bennett Brown

Mr. Felix Brueck & Ms. Ann Kowal Smith

Mrs. Frances Buchholzer

Mr. & Mrs. Robert G. Busha

Mr. & Mrs. William D. Buss II

Michael & Linda Busta

Mr. William Busta & Joan Tomkins

Dr. & Mrs. William E. Cappaert

Peter & Joanna Carfagna

Mr. & Mrs. John J. Carney

Dr. Ronald Chapnick* & Mrs. Sonia Chapnick

Gregory & Kathrine Chemnitz

Gertrude Kalnow Chisholm & Homer D.W. Chisholm

Dr. Gary Chottiner & Anne Poirson

Mr. & Mrs. Edward A. Chuhna

Natalie Cipriano

Robert & Judy Ciulla

Pete Clapham & Anita Stoll

Mr. & Mrs. David Clark

Jill & Paul Clark

Richard J. & Joanne Clark

Dr. William & Dottie Clark

Drs. John & Mary Clough

Mr. John Couriel & Dr. Rebecca Toonkel (Miami)

Laura Cox

Drs. Kenneth & Linda Cummings

Dr. Lucy Ann Dahlberg

Karen & Jim Dakin

Dr. & Mrs. Thomas M. Daniel

Mrs. Lois Joan Davis

Randall De Alba

Jeffrey Dean & Barbara & Karen Claas

Prof. George & Mrs. Rebecca Dent

Mr. Douglas Dever

Michael & Amy Diamant

Dr. & Mrs. Howard Dickey-White

Mr. & Mrs. David C. Dillemuth

Ms. Marlene Dirksen

Do Unto Others Trust (Miami)

Carl Dodge

Jack & Elaine Drage

Mr. & Mrs. Robert Dreshfield

Mr. Barry Dunaway & Mr. Peter McDermott

Bill Durham (Miami)

Ms. Mary Lynn Durham

Mr. & Mrs. Robert P. Duvin

Mr. & Mrs. Ronald E. Dziedzicki

Erich Eichhorn & Ursel Dougherty

S. Stuart Eilers

Peter & Kathryn Eloff

Andy & Leigh Fabens

Mr. & Mrs. Frederick A. Fellowes

Anne Ferguson & Peter Drench

Mr. Mike S. Eidson, Esq. & Dr. Margaret Eidson (Miami)

Mr. William & Dr. Elizabeth Fesler

Nancy M. Fischer

Mr. Dean Fisher

Joan & Philip Fracassa

Mr. & Mrs. Larry Frankel

Howard Freedman & Rita Montlack

Mr. William Gaskill & Ms. Kathleen Burke

Mr. & Mrs. M. Lee Gibson

Daniel & Kathleen Gisser

Holly & Fred Glock

Dr.* & Mrs. Victor M. Goldberg

Pamela G. Goodell

Ms. Aggie Goss

Mr. Robert Goss

Dr. & Mrs. Ronald L. Gould

Bob Graf & Mia Zaper

Mr. James Graham & Mr. David Dusek

Mr. Morgan Griffiths

Robert K. Gudbranson & Joon-Li Kim

Mr. Davin & Mrs. Jo Ann Gustafson

Mr. Ian S. Haberman

Mary Louise Hahn

Dr. James O. Hall

Megan Hall & James Janning

Mr. & Mrs. David P. Handke, Jr.

Dr. Haifa & Dr. Michael A. Hanna

Mrs. Martha S. Harding

Mr. Samuel D. Harris

Lilli & Seth* Harris

In Memory of Hazel Helgesen

Drs. Gene & Sharon Henderson

T. K.* & Faye A. Heston

Richard & Jean Hipple

Mr. & Mrs. Arnold Hirshon

Mr. & Mrs. Stephen J. Holler

Thomas & Mary Holmes

Charles M. Hoppel & Marianne

Karwowski Hoppel

Lois Krejci-Hornbostel & Roland Hornbostel

Xavier-Nichols Foundation/ Robert & Karen Hostoffer

Phillip Huber

Mr. Brooks G. Hull & Mr. Terry Gimmellie

Dr. & Mrs. Grant Hunsicker

Ruth F. Ihde*

Ms. Melanie Ingalls

Dr. & Mrs. Paul C. Janicki

Mr. & Mrs. Bruce D. Jarosz

Dylan Jin

Mr. Jeremy V. Johnson

Joela Jones & Richard Weiss

Dr. Eric Kaler

Mr. Donald J. Katt & Mrs. Maribeth Filipic-Katt

Milton & Donna* Katz

Mr. Karl W. Keller

The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis

Bruce* & Eleanor Kendrick

Mrs. Judith A. Kirsh

Steve & Beth Kish

Michael Kluger & Heidi Greene

Stewart Kohl

Mr. Ronald & Mrs. Kimberly Kolz

Ursula Korneitchouk

Margaret Kotz & Ed Covington

Dr. & Mrs. John P. Kristofco

Dr. Christine A. Krol

Dr. Jeanne Lackamp

Alfred & Carol Lambo

Mr. & Mrs. John J. Lane, Jr.

Mrs. Susan D. LaPine

Mr. & Mrs. Richard L. Larrabee

Mrs. Sandra S. Laurenson

Dr. & Mrs. Arthur Lavin

Richard & Barbara Lederman

Mr. Elliot & Mrs. Christine Legow

Michael & Lois Lemr

Robert G. Levy

Mr. & Mrs.* Thomas A. Liederbach

Eva & Rudolf Linnebach

Mr. Henry Lipian

Dr. & Mrs. Jack Lissauer

Ms. Agnes Loeffler

Mary Lohman

Mr. & Mrs. Carlos Lopez-Cantera (Miami)

Virginia Lovejoy

Linda* & Saul Ludwig

Peter & Pamela Luria

Elsie* & Byron Lutman

Dr. Kalle J. Lyytinen

Mr. & Mrs.* Robert P. Madison

Robert M. Maloney &

Laura Goyanes

Janet A. Mann

Herbert L. & Ronda Marcus

Martin & Lois* Marcus

Dr.* & Mrs. Sanford E. Marovitz

Ms. Dorene Marsh

Kevin Martin & Hansa Jacob-Martin

Ms. Amanda Martinsek

Ms. Judith E. Matsko

Bruce & Karen McDiarmid

Mr. & Mrs. Sandy McMillan

Mr. James E. Menger

Leah Merritt-Mervine

Dr. Miloslava Mervart

Mr. & Mrs. Gerald A. Messerman

Mr. Glenn A. Metzdorf

Beth M. Mikes

Amy Miller & Nikhil Rao

Mr. & Mrs. David S. Miller

Dr. & Mrs. Leon Miller

Mary Ellen Miller

Mr. Tom Millward

Anton & Laura Milo

Dr. Shana Miskovsky

Jon Morrell

Elizabeth Morris

Mr. & Mrs. Thomas W. Morris

Ken & Sharon Mountcastle

Susan B. Murphy

B Murray

Dave & Nancy Murray

Karen & Bernie Murray

Mr. & Mrs. Stephen Myers

Joan Katz Napoli & August Napoli

Dr. Anne & Mr. Peter Neff

Karen Nemec

Andrea Nobil (Miami)

Mark & Paula Nylander

Richard & Jolene O’Callaghan

Robert & Mary Ann Olive

Dr. & Mrs. Paul T. Omelsky

Richard* & Elizabeth Osborne

George Parras & Mary Spencer

Drs. James & Marian Patterson

Dr. Lewis E. & Janice B. Patterson

David Pavlich & Cherie Arnold

Matt Peart

Robert S. Perry

Mark & Eve Pihl

Mr. Richard W. Pogue

Patrick J. Holland

Karen Pritzker

Drs. Raymond R. Rackley & Carmen M. Fonseca

Dr. James & Lynne Rambasek

Mr. Todd J. Reese

Dr. Robert W. Reynolds

Mr. Chris Rhodes

David & Gloria Richards

Joan & Rick Rivitz

Mr. & Mrs. Jay F. Rockman

Eric Rose (Miami)

David & Mitsuko Rosinus (Miami)

Drs. Edward & Teresa Ruch

Anne Sagsveen

Michael & Deborah Salzberg

Mr. & Mrs. Lowell Satre

Ms. Patricia E. Say

Bryan & Jenna Scafidi

Mr. Paul H. Scarbrough

Don Schmitt & Jim Harmon

John & Barbara Schubert

Mr. James Schutte

Nicklaus Schwenk

Ms. Kathryn & Mr. Michael Seider

Mr. & Mrs. Joseph Selden

Dr. Judith Sewell &

Mr. Donald Sewell

Caltha Seymour

Lee Shackelford

Donald Shafer & Katherine

Stokes-Shafer

Steve & Marybeth Shamrock

Ginger & Larry Shane

Harry & Ilene Shapiro

Ms. Frances L. Sharp

Larry Oscar & Jeanne Shatten

Charitable Fund of the Jewish Federation

Dr. & Mrs. William C. Sheldon

Mr. Richard Shirey

Mr. & Mrs. Reginald Shiverick

Michael Dylan Short

Jim Simler & Dr. Amy Zhang

Bruce L. Smith

David Kane Smith

Mr. Joshua Smith

Mr. Eugene Smolik

Drs. Nancy & Ronald Sobecks

Drs. Thomas & Terry Sosnowski

Spängler Privatstiftung

Edward R. & Jean Geis Stell Foundation

Janet Stern

Ms. Natalie Stevens

Frederick & Elizabeth Stueber

Mike & Wendy Summers

Mr. Marc L. Swartzbaugh

Mr. Robert D. Sweet

Mr. & Mrs. Michael Taipale

Rebecca & Jeffrey Talbert

Eca & Richard Taylor

Caroline Theus

Ms. Aileen Thong-Dratler

Dr. & Mrs. Michael B. Troner (Miami)

Ms. Christeen Tuttle

Dr. & Mrs. Wulf H. Utian

Joan Venaleck

Mr. & Mrs. Steven M. Venezia

Teresa Galang-Viñas & Joaquin Viñas (Miami)

Philip Volpe

Neha & Sanjay Vyas

John & Deborah Warner

Margaret & Eric* Wayne

Mr. Peter & Mrs. Laurie Weinberger

Emily Westlake & Robertson Gilliland

John & Nancy Woelfl

Dale & Cynthia Woodling

Ms. Jennifer Wynn

Rad & Patty Yates

Ms. Carol A. Yellig

Ms. Helen Zakin

Dr. Rosemary Gornik & Dr. William Zelei

Mr. Paul Zraik

Mr. Kal Zucker & Dr. Mary Frances Haerr

John & Jane Zuzek

Anonymous (8)

CORPORATE, FOUNDATION & GOVERNMENT SUPPORT

The Cleveland Orchestra extends heartfelt gratitude to these generous organizations and partners who bring concerts and educational programs to life for our community.

Learn more at clevelandorchestra.com/partners

CORPORATE SUPPORT

Gifts of $300,000 & more

The Goodyear Tire & Rubber Company

Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc.

Gifts of $200,000 to $299,999

Jones Day Foundation

Ohio CAT

The J. M. Smucker Co.

Gifts of $100,000 to $199,999

KeyBank

White & Case (Miami)

Gifts of $50,000 to $99,999

FirstEnergy Foundation

NOPEC

Parker Hannifin Foundation PNC

Thompson Hine LLP

Gifts of $15,000 to $49,999

Acme Fresh Market Foundation

Akron Children’s Hospital

BakerHostetler

Buyers Products Company

Calfee, Halter & Griswold LLP

Case Western Reserve University

Cleveland Area BMW Centers

Cleveland Clinic

Cuffs Clothing Company

Dealer Tire LLC

DLR Group | Westlake Reed Leskosky

Frantz Ward LLP

The Giant Eagle Foundation

Lake Effect Health

Miba AG (Europe)

Northern Haserot

Northern Trust

Olympic Steel, Inc.

Park-Ohio Holdings

RPM International Inc.

RSM US LLP

Welty Building Company Ltd.

Westfield Insurance

Anonymous

Gifts of $2,500 to $14,999

BDI

Blue Technologies, Inc.

BNY Wealth

Brothers Printing Company

BWX Technologies, Inc.

Callahan Carpet

The Cedarwood Companies

Citymark Capital

The Cleveland-Cliffs Foundation

Consolidated Solutions

Dollar Bank Foundation

Eaton

Evarts Tremaine

The Ewart-Ohlson Machine

Company

FirstEnergy Foundation

Gross Residential

Hahn Loeser & Parks LLP

Hunsicker Family Dental

Karlie Newton II Insurance Agency

Kohrman Jackson & Krantz, PLL

KPMG LLP

The Lincoln Electric Foundation

McKinley Strategies

Nordson Corporation Foundation

The Sherwin-Williams Company

Sikich

Solich Piano & Music

Thriveworks

Ver Ploeg & Marino (Miami)

Margaret W. Wong & Associates LLC

Young Presidents’ Organization

FOUNDATION & GOVERNMENT SUPPORT

Gifts of $1,000,000 & more

The Brown and Kunze Foundation

Mary E. & F. Joseph Callahan Foundation

The Milton and Tamar Maltz Family Foundation

The Jack, Joseph and Morton

Mandel Foundation

David and Inez Myers Foundation

State of Ohio

The Kelvin and Eleanor Smith Foundation

Richard & Emily Smucker Family Foundation

Timken Foundation of Canton

Gifts of $500,000 to $999,999

The William Bingham Foundation

Cuyahoga County residents through Cuyahoga Arts & Culture

Ohio Arts Council

The Payne Fund

Gifts of $250,000 to $499,999

The Dr. M. Lee Pearce Foundation, Inc. (Miami)

Gifts of $100,000 to $249,999

Paul M. Angell Family Foundation

Cleveland Browns Foundation

The Cleveland Foundation

Haslam 3 Foundation

Jewish Federation of Cleveland

Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation

Kulas Foundation

John P. Murphy Foundation

Park Foundation

Anonymous

Gifts of $50,000 to $99,999

The George W. Codrington Charitable Foundation

The Jean, Harry and Brenda Fuchs

Family Foundation, in memory of Harry Fuchs

GAR Foundation

The Gerhard Foundation, Inc.

The George Gund Foundation

Martha Holden Jennings Foundation

The Oatey Foundation

Wesley Family Foundation

Gifts of $15,000 to $49,999

The Abington Foundation

Akron Community Foundation

The Batchelor Foundation, Inc. (Miami)

The Bruening Foundation

The Mary S. and David C. Corbin Foundation

Mary and Dr. George L. Demetros Charitable Trust

The Sam J. Frankino Foundation

The Helen Wade Greene Charitable Trust

The Catherine L. & Edward A. Lozick Foundation

With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs

Council, the Miami-Dade County Mayor & Board of County Commissioners

National Endowment for the Arts

The Nord Family Foundation

The PNC Charitable Trusts

The Esther and Hyman Rapport

Philanthropic Trust

The Reinberger Foundation

Albert G. & Olive H. Schlink

Foundation

The Sisler McFawn Foundation

Third Federal Foundation

The Veale Foundation

The George Garretson Wade Charitable Trust

The Welty Family Foundation

The Thomas H. White Foundation, a KeyBank Trust

Anonymous

Gifts of $2,500 to $14,999

The Ruth and Elmer Babin Foundation

The Bernheimer Family Fund of the Cleveland Foundation

Cleveland State University

Foundation

C.S. Craig Family Foundation

The C.R.E.W. Foundation

Cuyahoga County Board of Developmental Disabilities

The Frances G. and Lewis Allen

Davies Endowment

James Deering Danielson Foundation

Dorn Family Foundation

Fisher-Renkert Foundation

The Harry K. Fox and Emma R. Fox

Charitable Foundation

The Hankins Foundation

The Muna & Basem Hishmeh Foundation

George M. and Pamela S. Humphrey Fund

In His Step Foundation

The Kirk Foundation (Miami)

The Laub Foundation

The Lehner Family Foundation

The G. R. Lincoln Family Foundation

Elizabeth Ring Mather and William Gwinn Mather Fund

THANK YOU THANK YOU

Whatever greatness The Cleveland Orchestra has achieved is because of all the people here in this community, who believe in what the power of music can do.

— Franz Welser-Möst, Music Director

The Eric & Jane Nord Family Fund

Ohio Humanities Council

The M. G. O’Neil Foundation

The O’Neill Brothers Foundation

Paintstone Foundation

The Perkins Charitable Foundation

Charles E. & Mabel M. Ritchie

Memorial Foundation

SCH Foundation

Lloyd L. and Louise K. Smith

Memorial Foundation

The South Waite Foundation

Sterling Chamber Players

Stroud Family Trust

Uvas Foundation

The Edward and Ruth Wilkof Foundation

The Wuliger Foundation

Anonymous

THE CLEVELAND ORCHESTRA BOARD OF TRUSTEES

OFFICERS

Richard K. Smucker

Chair

Richard J. Kramer

Vice Chair & Treasurer

André Gremillet

President & CEO

Dennis W. LaBarre

Immediate Past Chair

Richard J. Bogomolny

Chair Emeritus

Norma Lerner

Honorary Chair

David J. Hooker

Secretary

RESIDENT TRUSTEES

Victor Alexander

Robin Dunn Blossom

Yuval Brisker

Helen Rankin Butler

Nancy Slocum Callahan

Irad Carmi

Matthew V. Crawford

Michael Frank, MD JD

Hiroyuki Fujita

Robert Glick

Arthur C. Hall III

Iris A. Harvie

Dee Haslam

Stephen H. Hoffman

David J. Hooker

Michelle Shan Jeschelnig

Sarah Liotta Johnston

Elizabeth B. Juliano

Nancy F. Keithley

Douglas A. Kern

John D. Koch

Richard J. Kramer

Dennis W. LaBarre

Heather Lennox

Cathy Lincoln

Robert W. Malone

Ben Mathews

Nancy W. McCann

Stephen McHale

Beth E. Mooney

Christine Myeroff

Katherine T. O’Neill

Hyun Park

Alfred M. Rankin, Jr.

Charles A. Ratner

Zoya Reyzis

Richard K. Smucker

James C. Spira

R. Thomas Stanton

Richard Stovsky

Russell A. Trusso

Daniel P. Walsh

Thomas A. Waltermire

Jeffery J. Weaver

Anya Weaving

Meredith Smith Weil

Paul E. Westlake Jr.

David A. Wolfort

Anthony Wynshaw-Boris

NATIONAL TRUSTEES

Virginia Nord Barbato (NY)

Mary Jo Eaton (FL)

Michael J. Horvitz (FL)

Thomas E Lauria (FL)

Loretta Mester (PA)

Benjamin N. Pyne (NY)

Geraldine B. Warner (OH)

Tony White (OH)

INTERNATIONAL TRUSTEES

Wolfgang C. Berndt (Austria)

Herbert Kloiber (Germany)

EX-OFFICIO TRUSTEES

André Gremillet (President & CEO, The Cleveland Orchestra)

Todd Diacon

Lisa Fedorovich

Eric Kaler

Judith E. Matsko

Beverly J. Schneider

TRUSTEE EMERITUS

Thomas F. McKee

HONORARY TRUSTEES FOR LIFE

Richard J. Bogomolny

Charles P. Bolton

Jeanette Grasselli Brown

Robert D. Conrad

Alexander M. Cutler

Robert W. Gillespie

Richard C. Gridley

S. Lee Kohrman

Norma Lerner

Virginia “Ginny” Lindseth

Alex Machaskee

Robert P. Madison

Milton S. Maltz

John D. Ong

Clara T. Rankin*

Audrey Gilbert Ratner

Hewitt B. Shaw

Luci Schey Spring

YOUR VISIT

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.

CELL PHONES, WATCHES & OTHER DEVICES

As a courtesy to others, please silence all electronic 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.

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).

FOOD & MERCHANDISE

Beverages and snacks are available at bars throughout Severance Music Center. For Cleveland Orchestra apparel, recordings, and gift items, visit the Welcome Desk in Lerner Lobby.

TELL US ABOUT YOUR EXPERIENCE

We are so glad you joined us! Want to share about your time at Severance? Send your feedback to cx@clevelandorchestra.com. Hearing directly from you about what we are doing right and where we can improve will help us create the best experience possible.

EDITORIAL

Kevin McBrien, Publications Manager

kmcbrien@clevelandorchestra.com

ADMINISTRATION

Ross Binnie, Chief Brand Officer

Christophe Abi-Nassif, Vice President, Content & Growth Initiatives

DESIGN

Elizabeth Eddins, eddinsdesign@gmail.com

PRINTING

Meridian Printing, meridianprinting.com

ADVERTISING Live Publishing Company, 216-721-1800