Madame Butterfly

madame

Buddy Holly Hall

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.

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 story of Cio-Cio-San.

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

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

P. Soape

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.

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.

Hands-Free

You love Bach in black tie, but have you tried Sibelus in slippers? Beethoven à la bubble bath? Dvořák with your favorite doggo?

Locally-curated classical content is now available via voice command— wherever you are. Just tell your smart device to play KTTZ-HD2, and start that soaker!

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.

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.

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.

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.

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.

VIOLIN I

Annie

VIOLA

Conrad

Principal Mary M. Epps and Ralph E. Wallingford Endowed

Sera

Mirll

Marian

Stacy

Diekemper

Adan

VIOLIN II

Lauren

Principal Justice Phil

Principal Mary Francis Carter

Chair Danny Mar Alejos

Madeline

Neemias

Yuhan Shi Suyeon

DOUBLE BASS Mark

Principal Eugene and Covar

Endowed

Stuart

Principal Crew of Columbia, STS-107

Tech

PICCOLO

OBOE

Amy Anderson

Principal Lubbock Symphony Guild Endowed Chair

Alex Hyde

ENGLISH Horn

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

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

bass Trombone

Darin Cash

Cimbasso

Kevin Wass

Principal Diekemper Family Foundation Endowed Chair

TIMPANI

John Frederick Principal

Lubbock Symphony Guild Endowed Chair

percussion

Erin Martysz

PrincipalLisa Rogers/Alan Shinn Endowed Chair

Taylor Burks Mariah Taller

Joshua Watkins Javier Garza Harp

Rachel Mazzucco

Principal Rachel Jean Armstrong Thomas Endowed Chair

Sopranos

Tenors

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!

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

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

is the soul's music; all its songs are symphonies.”

Matshona Dhliwayo

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.

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

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

The Lubbock Symphony Orchestra would like to express gratitude to and

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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

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

MEMORIALS & HONORARIUMS

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

Memorials:

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

Honorariums:

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

Jack M. Lewis

W.P. Clement

Charles E. Maedgen, Jr.

Roy Bass

Rex Webster Marion Key W.R. Sewell

J.C. Reynold

James L. Quicksall, Jr. Asher Thompson

Richard G. Richards Jack Kastman Joe J. Moise

J. Harmon Jenkins George C. Miller

Lonnie Langston John Witcomb O.W. English Asher Thompson Troy Myers

Arthur E. Gamble Charley Pope C.B. Carter

Robert E. Norris Dean James Allen Robert L. Stripling Charley Pope

John R. Kreiger

1946 1947 1948 1949 1950 1951 1952 1953 1954 1955-56 1957 1958 1959 1960 1961 1962 1963 1964 1965-68 1969 1970 1975-77 1978 1979 1980-81 1982 1983-84 1985

Roger Key

Edwin E. Merriman Owen McWhorter, Jr.

Frank Newton

Frank Anderson Kay Sanford

Paul Meyer

Robert L. Stripling Jim Ratliff

Coffee Conner Alan Henry

William D. Armstrong Susan Boling Curtis Griffith

DeWayne Pierce

Mike Cunningham Margaret Lutherer Chris Barnette

Catherine S. Porter Ray Fargason Emily Ratcliff Brad Green

Peter G. Daia Kirk McLaughlin Harry Zimmerman Shannon Taliaferro Heather Hocker

1986 1987 1988 1989 1990-91 1991 1991-92 1992-93 1993-94 1995-96 1996-97 1997-98 1998-99 1999-00 2000-01 2001-02 2002-03 2003-05 2005-06 2006-08 2008-09 2009-11 2011-13 2013-15 2015-17 2017-19 2019-21

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

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

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

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

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.

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

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

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

There are those of us who make the music.

LUBBOCK SYMPHONY GUILD (font - Novocento Wide/Adorn Pomander Custom

PANTONE 8383 METALLIC

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