Madame Butterfly

madame butterfly November 11, 2022

2022-2023 SEASON

The Buddy Holly Hall

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2022-2023 SEASON

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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, We are thrilled to bring yet another classic to the Lubbock community.

Giacomo Puccini, one of the leading composers in Italian music, propelled into the world of opera; with “realism” and a storyline characterized by real life.

story of Cio-Cio-San.

Tonight’s “Madame Butterfly” world-class cast makes their debut at The Buddy Holly Hall. They are the best singers of their generation and will bring you to tears as they render the heartbreaking

I would like to laud the Symphony musicians, staff, and every supporter for helping us realize this fine score to you. With so many moving parts, a project of this magnitude is only possible with commitment from everyone involved.

Thank you so much! Welcome to the Lubbock Symphony’s semi-staged production of Puccini’s “Madame Butterfly.’

Sincerely,

David Cho Music Director

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A LETTER FROM THE CHAIR Dear Patrons, Good evening and welcome to our third Masterworks concert of the season.

Gracing the hall tonight is a semi-staged production of Giacomo Puccini’s beloved opera, “Madame Butterfly.” One of Puccini’s most performed works. I’m as excited as you are to hear how this sounds in the wonderful Buddy Holly Hall. I hope you were able to join us this week for the screening of the 1993 film “M. Butterfly” (Jeremy Irons, John Lone) as we continue our partnership this season with Alamo Drafthouse to offer movie tie-ins the week of our concerts.

Performances like tonight’s would not be possible without the backing of all our patrons and sponsors. I’d like to extend special recognition to our concert sponsor, Lone Star State Bank. We value our partnership with Lone Star State Bank and appreciate their dedicated support.

As the holiday season gets underway, please make plans to join us for something new next month. On December 3, experience the classic holiday movie, “Elf,” here at The Buddy Holly Hall of Performing Arts and Sciences.

Watch and listen as your Lubbock Symphony performs the soundtrack live alongside the film. Then, on December 16, the Crickets Theater will host a Holiday Chamber Concert to carry you through the rest of 2022 with a cheery, seasonal melody.

Now it’s time to sit back and enjoy your Lubbock Symphony Orchestra!

Brian Willcutt Chair, LSO Board of Directors

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Kelly S. Robinson, D.D.S.

Jake Malone, D.D.S.

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David In-Jae Cho, Conductor Winner, 2007 Eduardo Mata International Conducting Competition Born in Seoul, Korea, David immigrated to the United States in 1985. David received a variety of music lessons during his childhood in Palos Verdes, California, before focusing his energy exclusively on the piano. He later attended Oberlin College and Conservatory, where he received his Bachelor of Music in piano performance. In 1996, David won the E. Nakamichi Concerto Competition at the Aspen Music Festival and was awarded the Arthur Dann Prize at the Oberlin Conservatory.

In 1999, while acquiring his Master of Music in piano performance at the Peabody Institute at Johns Hopkins University, David was invited by Robert Spano and Seiji Ozawa to attend the prestigious Tanglewood Music Center as a Merrill Lynch Conducting Fellow. David was then invited by Larry Rachleff to study at Rice University, where he served as guest conductor for the Shepherd School Orchestras while acquiring his Master of Music in instrumental conducting. David was subsequently invited by the Vienna Philharmonic to serve as an assistant conductor. As the recipient of the Karajan Fellowship, David has enjoyed residencies at the annual Salzburg Festival in Austria. In 2003, David was invited by Leonard Slatkin to participate in the National Conducting Institute, during which time he made his début with the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts.

During the 2003-2004 season, David was selected to spend a year as the conducting fellow of the New World Symphony under the mentorship of Michael Tilson Thomas. While on tour with the New World Symphony in New York City, David made his Carnegie Hall début conducting works by Copland and Tchaikovsky. During the orchestra’s Rome tour, David made his début at the Academy of Santa Cecilia, conducting works by Luciano Berio and John Adams. David was then invited by his mentor, Larry Rachleff, to serve as the resident conductor of the San Antonio Symphony Orchestra from 2004-2006. During the 20062007 season, David held the Bruno Walter resident conductor chair with the ensemble.

During his tenure as the associate conductor of Utah Symphony | Utah Opera (2006-2011), David won first prize at the Eduardo Mata International Conducting Competition in Mexico City, which resulted in numerous conducting engagements in Europe, Asia, and South America. He has conducted the symphonies of Seattle, Houston, Austin, Memphis, Fort Wayne, Baton Rouge, and Shreveport. He has collaborated with such guests artist as Yo-Yo Ma, Renée Fleming, Joshua Bell, Frederica von Stade, Sarah Chang, Daniel Müller-Schott, Jennifer Koh, Leila Josefowicz, Jennifer Frautschi and Alexander Kobrin. During previous summers, David made appearances at the Aspen Music Festival and the Grand Teton Music Festival.

After heralded guest appearances with the Lubbock Symphony Orchestra in 2007 and 2009, David was appointed as the orchestra’s seventh music director in 2011. He began his tenure with the LSO in the 2012-2013 season and has been actively involved in community engagements.

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TONIGHT’S GUEST ARTISTS Yulan Piao | Cio-Cio-San Korean-Chinese Soprano, Yulan Piao, most recently made a successful debut as the principle role of Princess Jia in Dream of the Red Chamber with San Francisco Opera.

Soon, She will be making her debut as Cio-Cio San in Madama Butterfly with Boston Lyric Opera. And as soprano soloist in Mozart’s Requiem with American Classical Orchestra in Alice Tully Hall at Lincoln Center.

In competitions she has received 3rd prize in Lois Alba Aria Competition, 1st prize in the both Verismo Opera Competition and Vienna Summer Music Festival Competition, 3rd prize in the Gerda Lissner International Vocal Competition, The Winner from the Career Bridges Grant Awards, Encouragement grant from Giulio Gari foundation, 3rd Prize from the Connecticut Opera Idol Competition, and 1st prize in the Five Towns music and Art Foundation.

Recently, she has performed as Rosina from Il barbiere di siviglia, and as Juliette from Roméo et Juliette with Knoxville Opera, as Liu in Turandot with the New Jersey Association of Verismo Opera, as Musetta in La Bohème with New Rochelle Opera. More previously her credits include La bohème (Mimì), Gianni Schicchi (Lauretta), Die Zauberflöte (Pamina), Luisa Miller (Luisa), Così fan tutte (Fiordiligi), Rigoletto (Gilda).

Kristen Choi | Suzuki Mezzo-soprano Kristen Choi has been hailed by Opera News as a “powerhouse in the making” for her portrayal of Suzuki in Madama Butterfly. She recently made her Opera Philadelphia debut singing two roles in their season including Maddalena in Rigoletto and the Narrarator in Hosokawa’s The Raven. Ms. Choi also made her Dallas Opera debut singing the role of the Stewardess in Flight.

Upcoming roles include covering the role of Dimitri in the Metropolitan Opera’s new production of Fedora and singing Cherubino in Le nozze di figaro with Opera Omaha.

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Stephanie Doche | Kate Pinkerton Praised for her “richly colored mezzo”, “distinctive lower voice” and “explosively elegant” stage presence, FrenchAmerican artist Stephanie Doche has rapidly created an important place for herself among today’s rising mezzos. A singing actress of outstanding technical and interpretive skill, Ms. Doche has starred in leading roles nationwide, distinguishing herself in diverse styles and repertoire.

Recent performances include title roles of Ariodante, Carmen, La Cenerentola and Serse, as well as Nicklausse in Les Contes d’Hoffmann and Justice Ginsburg in Derrick Wang’s Scalia/Ginsburg with Opera Neo, Opéra Louisiane, Opera Memphis, Mobile Opera, and Pacific Opera Project. Upcoming performances include Rosina in Il barbiere di Siviglia with Florida Grand Opera and Gulfshore Opera, Isabella in L’italiana in Algeri with St. Petersburg Opera, and the Alto Soloist in Handel’s Messiah with Palm Beach Symphony. She’s received awards from the Metropolitan Opera National Council, the Camille Coloratura Awards, and the Beethoven Club of Memphis.

Jesse Donner | B. F. Pinkerton A graduate of the Ryan Opera Center at Lyric Opera of Chicago, tenor Jesse Donner distinguishes himself on the operatic and concert stage with his “vibrant” (Chicago Classical Review) “fresh and juicy” (Chicago Tribune) voice. The 2022-2023 season sees Donner return to the Metropolitan Opera in Aida, building on previous MET engagements in Boris Godunov and Die Meistersinger during the 2021-2022 season. Recent opera highlights include role debuts as Rodolfo (LA BOHEME) and Ismaele (NABUCCO) with Union Avenue, Danilo (MERRY WIDOW) with St. Petersburg and New Philharmonic, and Eisenstein (DIE FLEDERMAUS) with Dupage. In concert, Donner has featured as tenor soloist in Beethoven’s SYMPHONY No. 9 with UK Symphony Orchestra, Mozart’s REQUIEM and Handel’s MESSIAH with Louisville Orchestra, Verdi’s REQUIEM with Green Bay Symphony, and various regional concerts.

Upcoming, Donner will contribute the tenor solos in recording for Stacy Garrop’s oratorio Terra Nostra under the Cedille Records label.

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Zachary Nelson | Baritone, Sharpless Zachary Nelson’s 2022-2023 season includes role debuts as Alberich in Das Rheingold with Atlanta Opera, Sharpless in Madama Butterfly with the Lubbock Symphony and Mercutio in Roméo et Juliette with Florentine Opera.

He also sings the role of Leporello in Don Giovanni with North Carolina Opera, and further ahead, makes returns to Lyric Opera of Chicago and Santa Fe Opera. During the 2021-2022 season, Zachary was engaged with Lyric Opera of Chicago for its production of L’elisir d’amore, appeared as Escamillo in Carmen with Palm Beach Opera, sang Marcello in La bohème with both New Orleans Opera and the Jacksonville Symphony, joined the Santa Fe Symphony for “A Night at the Opera”, and appeared as a soloist with the St. Barts Music Festival. The baritone made a major role debut during the summer of 2021, as the title role in Stephen Sondheim’s Sweeney Todd with Des Moines Metro Opera.

Christopher Humbert Jr. | Bonze Photo Credit: Earl Hopkins

Bass-baritone Christopher Humbert Jr. has proven a favorite with audiences across the US. Originally from Akron, Ohio, Christopher has appeared with opera companies including Opera Columbus, The Seagle Festival, Utah Festival Opera and Musical Theatre, Annapolis Opera, Detroit Opera, Palm Beach Opera, and Florida Grand Opera. Mr. Humbert is also a frequent oratorio and concert soloist and has performed with the Minnesota Orchestra, Lubbock Symphony, and Erie Philharmonic. In 2019, he placed first in the Opera Guild of Dayton’s Tri-State Vocal Competition. In 2023, Christopher will join the prestigious Ryan Opera Center at the Lyric Opera of Chicago. He is currently pursuing a Master’s Degree in Opera Performance from Boston Conservatory, and is a graduate of the Capital University Conservatory of Music.

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Rodell Rosel | Goro Filipino-American Rodell Rosel is a Grammy-nominated tenor and a regular guest at major musical organizations, including The Metropolitan Opera, Lyric Opera of Chicago, The Royal Opera House, Houston Grand Opera, The Dallas Opera, Santa Fe Opera, Arizona Opera, Pittsburgh Opera,The Cleveland Orchestra, and the Ravinia Festival.

He is best known for his portrayal of Monostatos in Magic Flute, Goro in Madama Butterfly, Spoletta in Tosca, and Mime in Wagner’s Ring Cycle, to name a few. He originated the role of Ong Chi Seng in Paul Moravec’s The Letter at Santa Fe Opera, as well as Anthony Candolino in Jake Heggie’s The Great Scott at Dallas Opera. Mr. Rosel is a Ryan Opera Center alumnus, and a Metropolitan Opera Competition Grand Prize Winner.

Future engagements include the Metropolitan Opera as Monostatos in Die Zauberflöte, Los Angeles Opera as Basilio in Le Nozze di Figaro and Opera Southwest as Calaf in Turandot.

Johnathan McCullough | Prince Yamadori Photo Credit: Daniel Welch

Johnathan McCullough was recently nominated for a GRAMMY Award® (Best Opera Recording) and International Opera Award for his film of David T. Little’s Soldier Songs which marked his directorial and role debuts. This season Johnathan will appear at Disney Hall, The Amarillo Symphony, and present a solo concert produced by Carnegie Hall. His 21/22 season included Intermountain Opera Bozeman for Il barbiere di Siviglia (Figaro), Tulsa Opera for Gianni Schicchi (Marco), and Portland Opera for The Central Park Five (The Masque), Opera Theatre of Saint Louis for The Magic Flute (Papageno) and The Funny Bone with Lyric Fest.

Previous engagements include Opéra de Lausanne in Ariadne auf Naxos (Harlequin), Wolf Trap Opera for Il barbiere di Siviglia (Figaro), Bologne’s L’amant anonyme (Ophémon), Opera Philadelphia for A Midsummer Night’s Dream (Demetrius), English National Opera in a new production of The Marriage of Figaro (Count), Komische Oper Berlin Die Gezeichneten (Gonsalvo Fieschi) and Zoroastre (Oromasès). He won First Prize in the Gerda Lissner Foundation Song competition singing Mahler’s Lieder eines fahrenden Gesellen and was selected by Renée Fleming to take part in the Weill Institute Song Studio at Carnegie Hall where he performed in concert. He has appeared as a guest speaker at Mannes, Yale, and the Curtis Institute of Music.

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John Allen Nelson | Commissioner Irish-American baritone John Allen Nelson recently made his Spoleto Festival debut as Alcindoro in La Bohème. This season he appears in Boston Lyric Opera’s production of Omar, as Schaunard in Bar Harbor Music Festival’s La Bohème, and as King Melchior in Bel Cantanti Opera’s Amahl and the Night Visitors. Last season debuted as Count Almaviva in Opera Ithaca’s Le Nozze di Figaro and as Guglielmo in Bar Harbor Music Festival’s Così fan tutte. He has been featured with New York City Opera, Opera Santa Barbara, Boston Lyric Opera, Utah Opera, and Minnesota Opera, among others. Mr. Nelson is an active performer of new works, including Angels in America, Hamlet, The Grapes of Wrath, and Stonewall, in which he originated the role of Giordano. He holds degrees from Boston University’s Opera Institute, UMKC Conservatory of Music, and St. John’s University.

Gerald Dolter | Registrar Gerald Dolter joined the voice faculty at the Texas Tech School of Music in the fall of 1995. He became the Director of TTU Opera Theatre in 1998. Dolter began his professional singing career in the opera houses and concert halls of the United States and Europe. Opern Welt magazine has described his performances as “radiant,” by the Frankfurter Rundschau as “powerful baritonal presence,” and by England’s Opera magazine as “electrifying.”

His operatic credits include appearances with the Pittsburgh, New Jersey State, Tulsa, St. Louis, Cincinnati, and Arizona opera companies, as well as the opera companies of Frankfurt, Mannheim, Hamburg, Karlsruhe, Düsseldorf, Gelsenkirchen, Krefeld, and Montpellier. From 1985 – 1991, Dolter was the leading baritone with Germany’s Bremen Opera. His repertoire there included such diverse characterizations as Germont in La Traviata, Escamillo in Carmen, and Nick Shadow in The Rake’s Progress. His operatic repertoire includes more than 87 characterizations and 40 leading roles in musical theatre. He was a National Winner in the Metropolitan Opera Auditions in 1984 and is now a frequent adjudicator for that competition.

Gerald Dolter’s created the musical theatre production company, Lubbock Moonlight Musicals, in 2006. The company has produced many, grandscale musicals in the outdoor setting of Lubbock’s Moonlight Musicals Amphitheatre.

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Layna Chianakas | Stage Director In a career that has spanned over three decades, stage director Layna Chianakas has portrayed over 50 leading opera roles across the United States, including over 80 performances of Carmen. An award-winning Stage Director, her most recent win was the 2021 American Prize for Opera Production for Livermore Valley Opera’s double-bill of Zemlinsky’s A Florentine Tragedy and Pucinni’s Gianni Schicchi. She recently staged Opera Santa Barbara’s doublebill of Falla’s El amor brujo and Puccini’s Il Tabarro, and their 2022 production of Puccini’s Tosca, as well as Michael Ching’s Speed Dating, Tonight! and Pirates of Penzance for their Chrisman Studio Artists. She will return to Santa Barbara in March 2023 to stage The Light In the Piazza for their Studio Artists and will stage La Boheme for the Santa Cruz Opera Project. An activist for her San Jose, CA arts community, Ms. Chianakas has served on numerous boards, and continues teaching voice to students ages 8-80.

NEW CONCERT ADDED!

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LUBBOCK SYMPHONY ORCHESTRA Conductor David Cho

The CH Foundation Endowed Conductor’s Podium

VIOLIN I

Annie Chalex Boyle Concertmaster Jones-Saathoff Family Endowed Chair

Linda Lin Associate Concertmaster Diekemper Family Foundation Endowed Chair

Maja Maklakiewicz Abi Rhoades Lazaro Gonzalez Grace Marín Aguilar Isaias Ferreira Rodrigo Esteban Cabrera Francisco Villarroel Judy Woody Adan Flores Kea Beasley

VIOLIN II

Lauren Pokorzynski Principal

Justice Phil and Carla Johnson Endowed Chair

Saikat Karmakar Assistant Principal Brennan Lowrey Martha Perez James Ellis Shirley Wigley Yifan Tang Cassidy Forehand Carroll Jane Goodyear

VIOLA

Conrad Sclar Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Sera Jung Sharon Mirll Bruno Silva Ryellen Joaquim Marian Herrero Stacy Stephenson

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Danny Mar Alejos Anaya Madeline Garcia Neemias Santos Yuhan Shi Suyeon Kim

DOUBLE BASS Mark Morton

Principal

Eugene and Covar Dabezies Endowed Chair

Boyce Wyrick Griff Miller Hannah Macgillivray Stuart Anderson Christopher Arcy

Flute

Kim Hudson Principal

Crew of Columbia, STS-107 Texas Tech University School of Music Endowed Chair Endowed Performer Eric Leise

Daniel Xue Nilschmid Jimenez Shawn Earthman

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PICCOLO

Spencer Hartman

OBOE

Amy Anderson Principal

bass Trombone Darin Cash

Lubbock Symphony Guild Endowed Chair

Cimbasso

ENGLISH Horn

Diekemper Family Foundation Endowed Chair

Alex Hyde

Susetta Rockett

Janeen Drew Holmes Endowed Chair

Clarinet

David Shea Principal Trisha Burrell

BASSOON

Vince Ocampo Principal

Nancy and Tom Neal Endowed Chair

Adam Drake

Horn

Christopher Smith Principal

Anthony and Helen Brittin Endowed Chair

David Lewis Yu-hsuan Chang John Stacy Lucian Hutchinson

Kevin Wass Principal

TIMPANI

John Frederick Principal

Lubbock Symphony Guild Endowed Chair

percussion Erin Martysz Principal

Lisa Rogers/Alan Shinn Endowed Chair

Taylor Burks Mariah Taller Joshua Watkins Javier Garza

Harp

Rachel Mazzucco Principal

Rachel Jean Armstrong Thomas Endowed Chair

TRUMPET

Will Strieder Principal

Stacey and Robert Kollman Family Endowed Chair

Gary Hudson Joe Vandiver

Trombone Jim Decker Principal

Larry and Lucy Landusky Endowed Chair

Bruce Keeling

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CHORUS Sopranos

Kaycee Logsdon Marie Smithwick Kayla Swan Sierra Richardson Alissa Henderson Lily Arnett Quin Shelton Faith Bulen Lauren Justman Rosie Morgan Abigale Hobbs

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Tenors

Mike Meister Spencer Ruwe Caleb Cartwright Josh Tripp Jack Cozad Sterling French Olivia Currier Nathaniel Orta

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Madame Butterfly | Giacomo Puccini The story follows the tragic love story of a Japanese girl named Cio-CioSan and the American soldier Benjamin Franklin Pinkerton.

Cio-Cio-San’s nickname in the story is Butterfly, which is where the piece gets its namesake!

Madame Butterfly’s libretto is in Italian, but supertitles are available in English. The libretto is to an opera, as a script is to a play or as a screenplay is to a movie.

In the final scene, the chords change from minor (sad) to major (happy) to create a sense of unease in the audience as this great tragedy comes to an end.

Madame Butterfly has been performed 902 times at the Metropolitan Opera since its premiere in the States in 1907.

Puccini was worth around $200 Million at the time of his death, making him the most commercially successful composer of all time.

Puccini was the originator of the ‘verismo’ style, which defines operas that are serious in nature and focus on real people rather than supernatural events.

Puccini’s most significant influence was Wagner, who pioneered the modern opera and film score landscape.

We hope you were able to participate in ClefNotes with Dr. Neil Kurtzman prior to the concert this evening!

Neil Kurtzman, MD, is Grover E Murray Professor Emeritus and University Distinguished Professor Emeritus at Texas Tech University HSC, where he served as Chairman of the Department of Internal Medicine and Chief of the Division of Nephrology. He is the past president of the National Kidney Foundation and editor emeritus of the American Journal of Kidney Disease. In addition to his medical work, he is the author of more than 600 articles on opera. He has lectured on the subject in the US, Europe, and at sea. His website is Medicine-Opera.com.

Join us before “A Dance in Vienna” for another beginner-friendly discussion with radio host John Clare!

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madame butterfly program David Cho | Music Director The CH Foundation Endowed Conductor's Podium

Madame Butterfly Giacomo Puccini Opera in Three Acts Libretto by Giuseppe Giacosa and Luigi Illica, based on the play by David Belasco

CAST

THE CAST IN ORDER OF VOCAL APPEARANCE

B. F. Pinkerton: Jesse Donner, tenor Goro: Rodell Rosel, tenor Suzuki: Kristen Choi, mezzo soprano Sharpless: Zachary Nelson, baritone Cio-Cio-San: Yulan Piao, soprano Commissioner: John Allen Nelson, bass

Registrar: Gerald Dolter, bass Bonze: Christopher Humbert Jr., bass Prince Yamadori: Johnathan McCullough, baritone Kate Pinkerton: Stephanie Doche, mezzo soprano Cook: Marie Smithwick Servant: Alissa Henderson

Stage Director: Layna Chianakas Chorus Master: Kaycee Logsdon Costume Designer: Verona Green Conductor: David Cho Lighting Designers: Aidan Crowe, Micah Dade

THERE WILL BE AN INTERMISSION BETWEEN EACH ACT Supertitles were translated and edited by Michael Chadwick of Chadwick Arts.

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PROGRAM NOTES Giacomo Puccini: Madama Butterfly Few works of art have both supreme genius and universal popularity. Giacomo Puccini’s sixth opera, Madama Butterfly, falls into this rarefied group. Its history is complicated. In 1887 Pierre Loti published a semi-autobiographical novel Madame Chrysanthème. American lawyer and writer John Luther Long reworked the tale into a short story. The American Producer-DirectorPlaywright David Belasco dramatized Long’s version as Madame Butterfly: A Tragedy of Japan. In 1900 Puccini saw the London production of the play. Though he did not understand English, he was so moved by Belasco’s production that he resolved to make the play into his next opera.

Puccini, an early auto enthusiast, suffered a severe accident on February 25, 1903. He sustained a bad leg injury which immobilized him for ten months.

While being removed from the scene of the accident, he is said to have lamented “My poor Butterfly,” fearing that his injury might prevent him from finishing the opera. Of course, he did finish the opera after a ten-month recovery from his injury.

Puccini was convinced that Butterfly was the finest work he had done. An opinion that remained unchanged for the rest of his life. He and his family, confident of success, looked forward to its introductory performance with confidence.

The opera premiered on February 17, 1904, at Milan’s La Scala. It was a disaster.

Mary Jane Phillips-Matz writes in The Puccini Companion. “The premiere … was greeted by ‘roars, howls, laughter, bellowing, and guffaws.’ Almost none of his music could be heard, and any applause was answered with shouts of protest and jeers.” The composer withdrew the opera after just one performance.

Puccini then revised the opera, splitting the long second act in two with the Humming Chorus as a bridge between the two acts. This three-act version was staged in May of 1904 in Brescia with the renowned Ukrainian soprano Solomiya Krushelnytska in the title role.

Thereafter, it triumphed wherever it was played. It first reached the Metropolitan Opera in New York in 1907. Geraldine Farrar and Enrico Caruso headed the cast.

The composer was present and supervised the production. It has remained a staple of the Met’s repertory. As of the present, the company has performed the opera 902 times. The number would be higher had the Met not removed the opera from its repertory in late 1941 because of the war with Japan. It did not return until 1946. A sympathetic Japanese girl and reprehensible American naval officer felt beyond tolerance for the Met’s wartime audience.

The version of the opera first performed at the Met was Puccini’s second revision. Subsequently, there were two more revisions. The final one is now called the “Standard Version” and is the one usually performed around the world.

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Puccini’s opera depicts a sad tale of exploitation, abandonment, and betrayal.

Butterfly is only 15 years old in Act 1. She thinks she is entering a real marriage with the callous and overprivileged US naval lieutenant BF Pinkerton. He’s in his early twenties and had no intention of staying with Butterfly after his shore leave is over – 30 days. She is in love; he is just using her. Before “marrying” Pinkerton, she tells how her prosperous father committed suicide on the emperor’s order. After Pinkerton does not return to Japan, the impoverished and fatherless Butterfly, whom her family has rejected for abandoning her religion, resists all attempts to find another match for her, one that would improve her financial condition. She insists she is already married.

When Pinkerton does return in Act 3, it’s with his “real” wife, Kate. How she managed to cross the Pacific onboard an American man-of-war is never explained, or even why. Neither she nor Pinkerton knows Butterfly has a child, the issue of the 30-day “marriage,” until after they land in Nagasaki. As soon as she becomes aware that Pinkerton is the father of a Japanese-American boy, Kate wants Butterfly to surrender the child so that the American couple can raise him in the United States – another act of thoughtless cruelty. Butterfly agrees, but only on the condition that Pinkerton sees her first. Earlier in Act 3, he had run away, unable to face Butterfly.

The story Puccini set to music is replete with elements that a modern audience might find distasteful or even repellent. The Orientalism, sexual exploitation of an underage girl, cultural appropriation, and much more – all are swept away by the genius and perfection of his score. The audience does more than suspend disbelief; a fine performance removes every blemish that the story might reveal, so melodic, insightful, and dramatically compelling is the music.

The opera is sometimes characterized as depicting the clash of two different cultures at the turn of the last century. Puccini studied Japanese songs and incorporated some of them into the score. When Pinkerton describes his history or when America is mentioned, fragments of the Star-Spangled Banner are played. Puccini used Asian signifiers to provide a Japanese atmosphere.

These include a gong, bells, cymbals, pizzicato strings, and a Japanese military tremolo. But ultimately, the story is about emotions and behaviors common to humanity, no matter how different the circumstances.

Any attempt to choose the “highlights” of Madama Butterfly would require starting at its first note and ending with its last. The work is so finely wrought that not a single note could be added or removed without degrading the work.

Nevertheless, a few moments in the opera are worthy of some extra attention.

Butterfly enters after considerable discussion between Pinkerton and the American consul Sharpless of the circumstances leading to the “marriage.”

The music accompanying Butterfly’s first appearance is the theme of the love duet that ends the first act. This long duet follows her rejection by her family and friends. She converted from Buddhism to Christianity to please Pinkerton. Her uncle, the bonze (a Buddhist priest), found out about the

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CLASSROOMS FROM

“I enrolled in TTU K-12 to have a more flexible schedule to practice viola so I could prepare for college auditions and participate in regional and national music festivals.”

CONCERT HALLS CLASSROOMS TO

- Atlee Daniel, TTU K-12 class of 2017

FROM

CONCERT HALLS TO

Serving students for 30 years, TTU K-12 offers fully online solutions and alternatives for students, schools and districts!

• Award-winning, fully accredited online curriculum • A-rated by TEA • More than 200 online asynchronous semester-based courses • Full-time diploma track with two options: free tuition for qualifying Texas students or tuition-based • Individual courses and credit by exams that supplement school or homeschool curriculum • Students can advance academically or graduate early • Students can recover credits LEARN MORE AT K12.TTU.EDU/LSO

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conversion and cursed her. She is alone and utterly dependent on Pinkerton, who has no intention of staying with her. She expresses her love in this long and extraordinary duet while he burns with desire.

In the second act, Sharpless visits Butterfly. It’s been three years since Pinkerton left. The consul has a letter from Pinkerton stating that he is coming back to Nagasaki, but not to her. Butterfly is so excited about the contents of this letter that Sharpless cannot finish reading it. He stops and calls Pinkerton a devil.

Listen carefully to the orchestral accompaniment, the music of the intensely moving Humming Chorus that transitions between Acts 2 and 3. Butterfly, her servant Suzuki, and the child wait through the night for him. Butterfly saw his ship arrive in the harbor during the afternoon. But he does not come until later the next day when they have given up their vigil.

When Butterfly finally realizes that she has been betrayed and that life is no longer possible for her, she prays to statues of her ancestral gods, says goodbye to her son, and blindfolds him. She places a small American flag in his hands and goes behind a screen, killing herself with her father’s seppuku knife. Pinkerton rushes in, but it is too late.

The final scene is in C minor. The opera’s last chord would be C, E flat, and G if still in C minor. In a stroke of genius, Puccini raises the G to A flat, thus changing the key to A flat major. Instead of brightening the mood, the shift from a minor to a major key creates a sense of unease. The world is out of joint.

The listener is devastated. Puccini’s masterpiece ends with a dagger to the heart.

Program Notes by Neil Kurtzman

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The Lubbock Symphony Orchestra w o u l d l i ke t o e x p r e s s g r a t i t u d e t o

and

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IF MUSIC SOOTHES YOUR SOUL, YOU’RE

ONE OF US.

BEAR YOUR BANNER! Join or renew now at texastechalumni.org

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ACKNOWLEDGMENTS ANNUAL FUND

The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between April 17, 2021 and October 17, 2022.

($7,500 – $14,999) Norton and Jane Baker Dolle Barker Jill and Gilbert Berdine RADM and Mrs. Stephen Chadwick David Cho GRACO Real Estate Development, Inc. Joe and Ann Horkey Adrian and Leslie Huckabee Craig and Ann McDonald Jo Anne M. Smith Toni E. Wallingford

Stephen and Kathy Faulk Elias and Eleonora Ghandour Brad and Birgit Green Elgin and Erin Gregg Tommy and Lavelle Hawkins Mark and Heather Hocker Sidney Hopper John and Cherie Hunter Robert and Stacey Kollman Larry and Lucy Landusky Kurt and Paula Loveless Rick and Sharon Martin Drs. Barent and Audrey McCool Mallory Miller Mary Moran Judy and Gary Poffenbarger Tim and Mary Jane Sampson Kevin and Carrie Sedberry Nancy Sharp James and Shanna St. Clair Steve and Robin Talbert Dr. and Mrs. Davor Vugrin Dr. Charles and Pat Wheeler Harry and Cindy Zimmerman

MAESTRO’S CIRCLE

MUSICIAN’S CIRCLE

MAESTRO’S Gold CIRCLE ($15,000+) Herb Armstrong and Evan Sabino Harold and Deena Evensky Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock Neil and Sandra Kurtzman Don and Jan Ledbetter Lee and Beth Pennington

MAESTRO’S SILVER CIRCLE

($5,000 – $7,499) Joan Baker Curtis Griffith Thivakorn and Betsy Kasemsri Don and Susan Maddox Lola and Thomas Windisch

Virtuoso’s CIRCLE ($3,500 – $4,999) Alan and Sandy Henry

CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Stephen and Maria Balch Mark and Betsy Bass Deborah Conn Patty D’Alise Michael Epps 2022-2023 SEASON

($1,000 – $1,499) Pieter Bergstein Ray and Cathy Box Mr. Anthony and Dr. Helen Brittin Terri and Mike Byrne Amy Grisham Dennis and Ellen Harp Ross and Kelli Hilburn Alena Ilyushyna Carol King Ms. Mary McCrary Curtis and Brenda Parrish Melissa and Tim Pridmore Keli Ramsey Mrs. Dona Richardson John and Katie Salter Walter S. and Kathy Smith Jill and Fred Stangl Brian A. Willcutt 43

Family Owned Since 1931

44

Noelle Zavala

YOUNG ARTIST’S CIRCLE ($500 - $999) Aubrey and Ruth Ann Bridges Matthew and Krista Bumstead Richard and Reyhan Crider Bob and Sandy Crosier Sara and Tim Dodd Joan and Joe Dominey Michael and Linda Edwards Mr. Stephen G. Fannin Giles and Lynn Forbess Bess Haley Karen and Mark Havins Janeen Drew Holmes Don and Lynnita Hufstedler Morris and Janice Knox Jim and Patti Lupton Laura and Monte Monroe Norman and Bettie Orr Tom and Sarah Parsons Judy Rowdon Sam and Jana Scheef George and Judy Sell Melanie Sorsby Jenny and Edson Way Mrs. Gay Word Debby and Dennis Zuehlke

PATRON’S CIRCLE

($275 - $499) Wayne and Jane Allison Kathryn Button Bobbe Crawford P.D. and Gayle Cunningham Gary and Melanie Davis Jim and Patti Douglass Don Graf Claudia and Mark Griffin Marion Hagler William and Janis Hartwell Robb Chapman and Dr. Sarah Hosford Ms. Bobbye Hrncirik Honorable and Mrs. Phil Johnson John Jones Lucy Lanotte Wendell Leatherwood 2022-2023 SEASON

Wyatt and Claire Leavell Barry Maurer Ms. Sara McLarty Linda and George McMahan Trois Payne Davis and Janet Price Mike and Melanie Ragain Kelly Robinson Randy Kinnison and Jane Rowley Karen Savage Lynn Schmidt Scott and Vickie Shurmur Drs. Robert Duncan and Annette Sobel Sandra Stratton Dr. Jim and Mrs. Shannon Taliaferro Tom Tenner Betty Wall Jimmy and Susan Wedel Ann Williams Dr. and Mrs. Hugh Wilson

SUSTAINER’S CIRCLE ($125 - $274) Gene H. Adams Rob and Pam Allison Alexis Anderson John Anthony James Arnold Ian and Shelley Barba Pam Blassingame Edward Broome Larry and Charlotte Burt Manon and Neill Carter Mary Cato Barry Cohen Lou Conner Thomas Copple Stephen Crowell Carol Daugherty Glenn Davis David and Claudia Dea Peggy Dyess Jim and Kathy Gilbreath Elizabeth Grigsby Mr. Larry Hess Shyrle Hill Dr. Catherine Jai Robert Jokisch Brian Kendall

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BOLINGER, SEGARS, GILBERT & MOSS, L.L.P. certified public accountants

PHONE: (806) 747-3806 8215 Nashville Avenue L UBBOCK , T EXAS WWW.BSGM.COM

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Terry Hawkins and Doug Klepper Brad and Carol Ann Layton Eric Lee Gary and Judy Linker Dale Little Allan MacKenzie Shannon McClendon Ms. Amanda Mead Kishor Mehta Stephen and Cindi Moffett Jill Nelson Ainsley Nelson Tom and Gwen Nichols Dr. Gregory and Betty Pepetone

.

2022-2023 SEASON

Ms. Patricia Perkins Gerald Pipkin Susan Pollard Carolanne and Jim Purtell Jane Quade Peter Reed Douglas and Kay Sanford Melanie Slaton Stephanie Starkovich Michelle and Jon Stephens Steve Synck Tim and Amanda Wooten Robert Worth John and Ann Zwiacher

.

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I n n o va v e Te c h n o l o g y S o l u o n s

Business Services Help Desk Cybersecurity Communications Disaster Recovery HIPAA Compliance

Lubbock’s Choice for business technology solutions 6119 79th St. • 806.687.4765 • bluelayer.com

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MEMORIALS & HONORARIUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following: Memorials:

Honorariums:

Milton Bagwell Blake Eddie Bingham Dr. Eugene Dabezies Lou Dunn Diekemper Mary Epps John Charles Fox III Justin Andrew Fregia H.E. Prince Bira Kasemsri Shelley Furr Nelson Ricky Rasco Herb Tavenner

Annie Chalex Boyle David Cho Reyhan and Richard Crider CJ Goodyear The Harrod Family Larry Landusky Galen Wixson Toni Wallingford

If you would like to honor an individual or organization important to you, please send your tax-deductible donation to the Lubbock Symphony Orchestra, 601 Avenue K; Lubbock, TX 79401.

LSO ENDOWMENTS The Lubbock Symphony Orchestra Endowment Trust The CH Foundation Conductor’s Podium Endowment Helen DeVitt Jones Endowment for Education LSO Endowment for Musician Fees and Education Shelley Hall Nelson Endowment for Musicians’ Salaries Lubbock Symphony Opera Fund Texas Tech University J.T. & Margaret Talkington College of Visual and Performing Arts, School of Music Performer Endowment Jones-Saathoff Family Concertmaster Endowment Diekemper Family Foundation Associate Concertmaster Endowment Justice Phil and Carla Johnson Principal Second Violin Endowment Mary M. Epps and Ralph E. Wallingford Principal Viola Endowment Mary Francis Carter Principal Cello Endowment Eugene and Covar Dabezies Principal Bass Endowment Drs. Audrey and Barry McCool Principal Flute Endowment, in memory of the Crew of Columbia, STS-107 Lubbock Symphony Guild Principal Oboe Endowment Janeen Drew Holmes English Horn Endowment Nancy and Tom Neal Principal Bassoon Endowment Anthony and Helen Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment Larry and Lucy Landusky Principal Trombone Endowment Diekemper Family Foundation Principal Tuba Endowment Lubbock Symphony Guild Timpani Endowment Lisa Rogers/Alan Shinn Principal Percussion Endowment Rachel Jean Armstrong Thomas Principal Harp Endowment Edward R. and Jo Anne M. Smith Principal Piano Endowment

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 52

ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis

1946

Roger Key

1986

W.P. Clement

1947

Edwin E. Merriman

1987

Charles E. Maedgen, Jr.

1948

Owen McWhorter, Jr.

1988

Roy Bass

1949

Frank Newton

1989

Rex Webster

1950

Frank Anderson

1990-91

Marion Key

1951

Kay Sanford

1991

W.R. Sewell

1952

Paul Meyer

1991-92

J.C. Reynold

1953

Robert L. Stripling

1992-93

James L. Quicksall, Jr.

1954

Jim Ratliff

1993-94

Asher Thompson

1955-56

Coffee Conner

1995-96

Richard G. Richards

1957

Alan Henry

1996-97

Jack Kastman

1958

William D. Armstrong

1997-98

Joe J. Moise

1959

Susan Boling

1998-99

J. Harmon Jenkins

1960

Curtis Griffith

1999-00

George C. Miller

1961

DeWayne Pierce

2000-01

Lonnie Langston

1962

Mike Cunningham

2001-02

John Witcomb

1963

Margaret Lutherer

2002-03

O.W. English

1964

Chris Barnette

2003-05

Asher Thompson

1965-68

Catherine S. Porter

2005-06

Troy Myers

1969

Ray Fargason

2006-08

Arthur E. Gamble

1970

Emily Ratcliff

2008-09

Charley Pope

1975-77

Brad Green

2009-11

C.B. Carter

1978

Peter G. Daia

2011-13

Robert E. Norris

1979

Kirk McLaughlin

2013-15

Dean James Allen

1980-81

Harry Zimmerman

2015-17

Robert L. Stripling

1982

Shannon Taliaferro

2017-19

Charley Pope

1983-84

Heather Hocker

2019-21

John R. Kreiger

1985

COMMUNITY PARTNERS LSO is grateful for the generous support of the following foundation, community, and public partners.

Affordable Storage Alan Henry Insurance ALLIANCE Credit Union All Saints Episcopal School Anderson Bros Jewelers Atmos Energy Ballet Lubbock Benchmark Betenbough Homes Bolinger, Segars, Gilbert & Moss, LLP Brandon Guitar Studio Bruckner Society of America Carillon Chicken Express 2022-2023 SEASON

City Bank Cleaning Services of Lubbock Community Foundation of West Texas Covenant Health CRI Diekemper Family Foundation D. Williams & Co. Drest by Scott Malouf Evelyn M. Davies Foundation Evensky & Katz Wealth Management Farnsworth Family Orthodontics First United Methodist Church Ghandour, Elias M.D., P.A. 53

KCBD IS A PROUD SUPPORTER OF THE LUBBOCK SYMPHONY ORCHESTRA

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GRACO Real Estate Development, Inc. Happy State Bank HCHT Helen Jones Foundation Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock JF Maddox Foundation KCBD Kingsgate Center (Graco Real Estate) KTTZ 89.1 FM Kuykendall Foundation La Posta Botique Lee Lewis Llano Estacado Winery Lone Star State Bank Louise Hopkins Underwood Center for the Arts Lubbock Abstract & Title Co Lubbock Animal Care Clinic Lubbock Arts Alliance Lubbock Avalanche-Journal Lubbock Chorale Lubbock Community Theatre Lubbock Entertainment Performing Arts Association Lubbock Moonlight Musicals Lubbock Music Club Lubbock Music Teachers Association Lubbock National Bank McPherson Cellars Merrill Lynch MS Doss Foundation MWM Architects, Inc. Officewise Orlando’s Italian Restaurant Otto’s Granary Overhead Door Co. Overton Hotel Parkhill, Smith & Cooper PayPal Pediatric Associates of Lubbock Pennington, Bass & Associates Phi Beta Kappa Assn. of West Texas & Eastern New Mexico Endowment to Benefit LSO Youth Outreach

2022-2023 SEASON

Pinkie’s Plains Capital Bank Prosperity Bank Rea Charitable Trust Robinson & Hamblen General Dentistry Sanders Funeral Home Service Title Sharon Mirll, Exit Realty Sherick Memorial Home South Plains College Southwest Snow Services Spec’s St. Clair & Massey Orthodontics Stewart Title Tarpley Music Texas Commission on the Arts Texas Tech Alumni Association Texas Tech Club Texas Tech School of Music Texas Tech University Presidential Lecture & Performance Series Texas Women for the Arts The CH Foundation Tif Holmes Photography T L C E Charitable Fund TTU eLearning TTU Talkington College of Visual and Performing Arts TTU Theatre and Dance United Supermarkets University Medical Center Yellow House Dental & Implant Center Youth Orchestras of Lubbock YWCA

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BEHIND THE MUSIC OFFICERS

Brian Willcutt Chair Toni E. Wallingford Chair Elect Katie Salter Treasurer Terri Byrne Secretary Heather Hocker Immediate Past Chair

DIRECTORS

Steve Balch Dolle Barker Dustin Baucom Gilbert Berdine Leen Borno David Cho Patty D’Alise Michael Epps Stephen Faulk Elias Ghandour Gurdev Gill Matt Grannan Brad Green Erin Gregg Amy Grisham Sandy Henry Bobbye Hrncirik Leslie Huckabee Alena Ilyushyna Tiva Kasemsri Neil Kurtzman Melissa Lewis Paula Loveless Amanda Mead Barry McCool Mallory Miller Brenda Parrish Judy Poffenbarger Melissa Pridmore Peter Reed Abi Rhoades Tim Sampson Phil Sizer Andrew Stetson

2022-2023 SEASON

Robin Talbert Davor Vugrin Pat Wheeler Lola Windisch Galen Wixson

ADMINISTRATION

Galen Wixson President & CEO David Cho Music Director Mason Webb Box Office & Education Coordinator Emily Gavaghan Marketing Coordinator Amelia Jamieson Graphic Designer Corey Dolter Operations Manager Gary Hudson Personnel Manager Leslie Breslin Director of Development Kea Beasley Education Director Suzanne Rasco Director of Accounting Vaughan Hennen Librarian Callie Watson Graphic Design Intern Jordan Parks Marketing Intern Anterian Gee Marketing Intern Rachel Vickery Librarian Intern

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Learn more about our 2022-2023 season!

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A WORD FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT Welcome Patrons, Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. The 2022-2023 “Symphonic Scenes” season promises to be outstanding. We are so excited to experience the wonder of music with you.

Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 70 years, the Guild members have donated their time and resources to keep symphonic music thriving in West Texas.

I hope you enjoy the incredible talent of our remarkable Orchestra and value the educational and cultural contributions they provide to our community. I invite you to consider becoming a member of our Lubbock Symphony Guild. For more information, please visit our website at www.

LubbockSymphonyGuild.com.

Sincerely,

Amanda Mead, President Lubbock Symphony Guild

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Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Madeline Matthews, Emily Keister, Tatum Brown, Payton Harrison, Katherine White 2nd Row Left to Right - Maggi Underwood, Portia Clary, Madison Bigham, Anna McClendon, Blakely Biggs, Abby Harris 3rd Row Left to Right - Sydney Cranfill, Ava Hounshell, Sydney Lowe, Halle Henthorn, Ashtyn Bartley, Kaitlyn Caswell Back Row Left to Right - Macy Hamel, Abigail St Clair, Emily Payne, Kathryn Kinnison, Chloe Conover, Elizabeth Kinnison, Natalie Caswell, Campbell Howe Not Pictured -Regan Andrews, Adisyn Elrod, Ellis Fox, MaeAlice White

Dallen Ricks, DDS & Mary Glasheen, DDS

er

Proud support  

  

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y Orchestra

ck Symphon s of the Lubbo

 

﹐  806 ¾ 7 97 ¾ 0341

www.yell

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Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Alayna Bayouth, Hannah Feist, Kathryn Kothmann, Addison Burnett, Avery Schilling, Emme Hocker, Anna Everett, Jessica Foley 2nd Row Left to Right - Jillian Jones, Annabelle Bennett, AbiGayle Mills, Ava Campbell, Claudia Tepper, Campbell Carper, Reghan Rose 3rd Row Left to Right - Ava Lansdell, Skylar Tidwell, Emma Feist, Preslie Tarver, Berkley Bird, Olivia Needham, Christiana McCourt, Kathryn Cardelli, Jewel Naegele Back Row Left to Right - Ella Scolaro, Mya Ballou, Lydia Carter, Alexandra Dannemiller, Madison White, Jeye Johnson, Olivia Phillips, Mia Capodagli, Kennedy Venable Not Pictured - Kendall Cathey, Hannah Cooper, Preslee Edwards, Amelia Rodriquez, Emeri Tran

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Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - ALondon Carlisle, Brentley Preston, Tierni Green, Ryann Grissom, Emory McCain, Ella Mendez, Emily Roark 2nd Row Left to Right - Ashlyn Simek, Kamryn Chandler, Claire Ancell, Maya Al-Hmoud, Sadie Callison, Camden McDougal, Jayci Lentz, Addison Kitten, Rylan Belle Raley, Olivia Elliott, Reece Watson, Taylor Harrison, Anne Edwards, Grace Gerwig, Aubrey White 3rd Row Left to Right - Bella Lampe, Brynlee Hogg, Madelyn Caswell, Teema Sharif, Reece Riddle, Haleigh McKee, Raegan Reed, Jencee Thompson, Maya Vermillion, Rylee Rose, Hope Hancock, Ella Murphree, Lauren Casey 4th Row Left to Right - Shiloh Roach, Elizabeth Johnson, Hannah Harvey, Sydney Smothers, Morgan Parker, Blair Belew, Remington King, Zimri Buckley, Olivia Mudd, Emily White, Bradie Smith, Lydia Pesterfield, Riley Newberry Back Row Left to Right - - Anastyn Greaser, Raegan Lee, Hannah Pharies, Cambelle Fannin, Viviana Ziegner, lndie Williams, Bryleigh Norman, Kristen Mitchell, Ella Grace Bennett, Cora Clifford, Camryn Howe, Mia Chacon, Gabrielle Scherpereel Not Pictured - Emma Claire Womble

TOP HIGH SCHOOL IN TEXAS TAPPS 2A Winner of the 2021-2022 Henderson Championship Cup

All Saints Episcopal School allsaintsschool.org

806-745-7701

64 revised 2022-2 023 all saints episcopal school ballet lubbock ad_converted.indd 1

8/31/2022 12:20:54 PM

The Lubbock Symphony Guild has contributed more than $500,000+

There are those of us who make the music.

to the Lubbock

...then there are those of us

Symphony Orchestra since 1999.

who help make the music possible.

For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com LUBBOCK SYMPHONY GUILD

PANTONE 7624 (font - Novocento Wide/Adorn Pomander Custom-

PANTONE 8383 METALLIC

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