SATURDAY
7:30 PM
Amanda Key, soprano
Alice Anne Light, mezzo-soprano
Richard Troxell, tenor
Gerald Dolter, baritone
Christopher Markgraf, bass
David Cho, conductor
RESPIGHI Fountains of Rome
RESPIGHI The Birds
VERDI Selections from Rigoletto
PROGRAM
A LETTER FROM THE PRESIDENT & CEO
Hello Friends of the Lubbock Symphony,
Welcome back to the Buddy Holly Hall of Performing Arts & Sciences for the LSO’s Masterworks 3 Concert. We’re thrilled to present one of the most beloved masterpieces in the operatic repertoire: Verdi’s Rigoletto. Whether you’re experiencing this opera for the first time or reconnecting with it as an old friend, prepare to be captivated by the extraordinary artistry on stage and the profound emotional power of Verdi’s music.
On March 8, we’ll showcase Tchaikovsky’s First Piano Concerto, a masterpiece that the composer famously refused to alter despite harsh criticism from his peers, who deemed it “worthless.” Undeterred, Tchaikovsky stood by his work, becoming not only one of his most celebrated compositions but also one of the most popular piano concertos in history. We hope that you will join guest conductor Peter Bay, guest pianist Jon Kimura Parker, and the LSO in the Helen Devitt Jones Theatre for this spectacular program. We extend our heartfelt thanks to tonight’s sponsor, Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock, whose generous support helps to make world-class symphonic music in Lubbock a reality. The support of patrons and donors is critical to Lubbock Symphony, as ticket sales cover only about 30 percent of the Symphony’s budget. Visit lubbocksymphony. org/annual-fund to learn more or make your gift today.
Thank you again for joining us.
Galen Wixson President & CEO Lubbock Symphony
A LETTER FROM THE MUSIC DIRECTOR
Dear Friends of the Lubbock Symphony,
Welcome to the Masterwork Series! We feature the Italian Masters in both symphonic and operatic mediums.
Respighi’s brilliant depiction of “The Fountains of Rome” and “The Birds” are the most exhilarating scores penned.
One of Verdi’s most notable operas, “Rigoletto”, is performed by your talented cast, in a concert form; as they highlight the memorable arias, duets and quartet. Spearheaded by the incredibly talented soprano Amanda Key, we look forward to presenting essential operas in abridged forms; which will ignite operatic interests in our community.
In addition to the amazing local talents of Alice Anne Light, Gerald Dolter and Christopher Markgraf, we are delighted to welcome back Richard Troxell who will sing the role of Duke of Mantua.
Thank you from the bottom of my heart for your continued support for the Lubbock Symphony, as we do justice to the meaningful symphonic and operatic music that have been bequeathed to us.
Sincerely yours,
David Cho Music Director Lubbock Symphony
Hands-Free KTTZ
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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!
IN HONOR OF
Founding Conductor of the Lubbock Symphony Orchestra
1946-1987
WILLIAM A. HARROD
Amanda Key, Soprano
Amanda Key is known for her “wonderful light lyric voice with a smashing top.” The American Soprano graduated from Texas Tech University with a Bachelor’s degree in Vocal Performance and after she finished her Master’s degree at the Conservatory in Amsterdam, she co-founded and was named artistic director of a Dutch opera company called B.O.O.M! Bold Opera on the Move.
She was blessed to sing in 11 different countries while living and working in Europe for 12 years. Amanda has performed various opera roles in productions such as Le Nozze di Figaro (Susanna) in Greece and the Netherlands, Vivaldi’s Ottone in Villa-Macht Oder Liebe (Tullia) with Oper Oder Spree in Germany, Cosi fan tutte (Despina) in Italy, Rigoletto (Gilda) in the Netherlands, Un Ballo in Maschera (Oscar) in Spain, Die Zauberflöte (Königin der Nacht and Erste Dame) in the Netherlands, Die Verkaufte Braut (Esmerelda and Kathinka) in the Netherlands, Dialogues of the Carmelites with Austin Lyric Opera, and L’Elisir D’Amore with the Dutch National Opera Academy.
She also participated in many international masterclasses such as the International Opera Academy in Schwerte, Germany under the direction of Yamina Maamar and Norbert Schmittberg, performing Zerbinetta’s aria in Strauss’s Ariadne auf Naxos, the International Masterclass Circolo della Lirica di Padova, performing scenes from Rossini’s Il turco in Italia (Fiorilla) in Italy with director Stefano Vizioli, and performing Die Fledermaus (Ida) at the International Vocal Arts Institute in Tel Aviv, Israel directed under Joan Dornemann of the New York Metropolitan Opera’s young artist program. She also attended the European Music Academy in Prague, Czech Republic under the direction of Maestro Wolfgang Scheidt and was a finalist in the 2016 Beethoven Award performing highlights from Mozart’s Le Nozze di Figaro (Susanna and Barbarina) and Cosi fan tutte (Despina) with the North Czech Philharmonic at the world-famous Smetana Hall, Prague Municipal House.
Amanda also performed oratorio and church music as a soloist in more than 200 cathedrals throughout the Netherlands and Belgium, including repertoire from The Messiah by George Frideric Handel, Matthäus Passion by Johann Sebastian Bach, Ein deutsches Requiem by Johannes Brahms, Johannes Passion by Johann Sebastian Bach, Sacred Songs by Karl Jenkins, Die sieben Worte unseres Erlösers am Kreuz by Joseph Haydn, Requiem by John Rutter, Symphony No. 3 in D minor by Anton Bruckner, Brahm’s Requiem, and the Requiem by Wolfgang Amadeus Mozart with the Arnhems Oratorium Koor, Dordrecht Opera Koor, Belgian Vox Amicorum, Volendams Opera Koor, Groot Omroepkoor, and as a guest artist of the Lubbock Symphony Orchestra.
Alice Anne Light, Mezzo-Soprano
Praised by Opera Today for her “sumptuous mezzo . . . beautifully even tone, a very wide range, and a sound technique,” mezzo-soprano Alice Anne Light possesses a versatile and colorful voice that has led her to success in opera, musical theatre, art song, oratorio, and concert repertoire. Recent engagements include Rosina in Il barbiere di Siviglia with Opera in the Rock and the Arkansas Symphony Orchestra, Augusta Tabor in The Ballad of Baby Doe with Central City Opera, Thisbe in La Cenerentola with the Bar Harbor Music Festival, Erika in Vanessa at Utah Festival Opera and Musical Theater, as well as Dorabella in Cosi fan tutte and Jo in Little Women at the UMKC Conservatory. Other appearances include roles in Dido and Aeneas, Madame White Snake, Cendrillon, A Midsummer Night’s Dream, Street Scene, Carmen, The Sound of Music, and Camelot. Favorite concert performances include Mozart’s Requiem, Duruflé’s Requiem, Vivaldi’s Gloria, and Beethoven’s Choral Fantasy and Mass in C. Dr. Light holds degrees from Harding University, the University of Mississippi, and the University of Missouri-Kansas City Conservatory of Music and Dance. She has served on the faculties of Northwestern Mississippi Community College, William Jewell College, and joined the faculty of Texas Tech University in the fall of 2018.
Richard Troxell, Tenor
Metropolitan Opera tenor, Richard Troxell’s beautiful lyric tenor voice has been thrilling audiences in leading roles in opera houses and on concert stages around the world.
Not your “normal” opera singer, Richard’s career has ranged from the starring role of Pinkerton in Martin Scorcese’s Sony Film of Madama Butterfly, to being a recurring guest on The Tonight Show starring Jimmy Fallon, to climbing out of the sewers of Seville as Don José at the Sydney Opera House in Carmen, to sharing the stage with Opera stars Denyce Graves and Roberto Alagana, to costarring on Broadway with the beloved Broadway soprano, Melissa Errico, to singing the role of the dwarf in Zemlinksy’s Der Zwerg at New York’s Avery Fisher Hall.
An extremely versatile singer, Richard runs the gamut of musical genres from his recordings of Jazz, Broadway and Opera to performing at Carnegie Hall and the Metropolitan Opera. He has worked with Yannick Nézet-Séguin, Placido Domingo, James Conlon, Lorin Maazel, Steven Mercurio, Georges Preˆtre, Quest Love and the Roots and the list goes on....
Gerald Dolter, Baritone
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 created the musical theatre production company, Lubbock Moonlight Musicals, in 2006. The company has produced many, grand-scale musicals in the outdoor setting of Lubbock’s Moonlight Musicals Amphitheatre.
Christopher Markgraf, Bass
Christopher Markgraf is a bass from Midland, Texas, who is currently earning his Bachelor’s degree in Vocal Performance and Music Education at Texas Tech University under the instruction of Dr. Rebecca Hays. Christopher is a current scholarship singer in various ensembles in Lubbock and is also a member of the Texas Tech University Choir. In December of 2023, Christopher was granted first place in the Charleston International Romantic Music Competition. In the near future, he will be performing as Superintendent Budd in Albert Herring and as Frank in Die Fledermaus.
In the spring of 2023, Christopher performed the role of Il Commendatore in Don Giovanni. In addition, he has performed the roles of Dr. Bartolo and Antonio in Le Nozze di Figaro and Sarastro from Die Zauberflöte. In recent years, he has done chorus work in La Clemenza di Tito, Die Fledermaus, and, most recently, L’Elisir d’Amore. He also performed the bass solo from Beethoven’s Ninth Symphony. Upon earning his degrees, Christopher intends to perform opera or teach voice.
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
Assistant Concertmaster
Lazaro Gonzalez
Adan Flores
Shawn Earthman
TTU School of Music
Endowed Performer Chair
Radman Rasti
Kea Beasley
Josenir Alves Cerqueira Junior
VIOLIN II
Evgeny Zvonnikov
Principal
Justice Phil and Carla Johnson
Endowed Chair
Saikat Karmakar
Assistant Principal
Brennan Lowrey
Martha Perez
James Ellis
Shirley Wigley
Cassidy Forehand
Carroll Jane Goodyear
Savannah Sharp
VIOLA
Gwendolyn Matias-Ryan
Principal
Mary M. Epps and Ralph E.
Wallingford Endowed Chair
Israel Mello
Sharon Mirll
Ryellen Joaquim
Vivian McDermott
Jasmin Caldera
CELLO
Michael Newton Principal
Mary Francis Carter Endowed Chair
Danny Mar
Alejos Anaya
Madeline Garcia
Daria Mi ś kiewicz
Justin Barnwell
Jeremy Couture
DOUBLE BASS
Mark Morton Principal
Eugene and Covar Dabezies
Endowed Chair
Hannah Macgillivray
Stuart Anderson
Christopher Arcy
Gregory Faught
Nodier Garcia
FLUTE
Kim Hudson Principal
Crew of Columbia, STS-107
Endowed Chair
Eric Leise
PICCOLO
Spencer Hartman
OBOE
Kathleen Bell
Principal
Lubbock Symphony Guild
Endowed Chair
Wesley Barton
ENGLISH HORN
Jordan Hastings
Janeen Drew Holmes
Endowed Chair
CLARINET
David Shea Principal
Christine Polvado and John Stockdale Endowed Chair
Hamed Shadad
BASS CLARINET
Ryan Rodarte
BASSOON
Vince Ocampo Principal
Nancy and Tom Neal Endowed Chair
Adam Drake
HORN
Quentin Fisher Principal
Anthony and Helen Brittin Endowed Chair
Esteban Chavez
Clark Hutchinson
Palmer Biggers
TRUMPET
Gary Hudson Principal
Stacey and Robert Kollman
Family Endowed Chair
Joe Vandiver
Nathalie Mejia-Zec
TROMBONE
Bruce Keeling Principal
Larry and Lucy Landusky Endowed Chair
BASS TROMBONE
Darin Cash
Tim and Mary Jane Sampson Endowed Chair
TUBA
Arturo Galvan Principal
Diekemper Family Foundation Endowed Chair
TIMPANI
Lisa Rogers Principal
Lubbock Symphony Guild Endowed Chair
PERCUSSION
Christopher Mehrafshan Principal
Lisa Rogers/Alan Shinn Endowed Chair
Erin Martysz
Javier Garza
HARP
Jennifer Miller Principal
Rachel Jean Armstrong Thomas Endowed Chair
Rachel Mazzucco
PIANO
Richard Fountain Principal
Edward R. and Jo Anne M. Smith
Endowed Chair
CELESTA
Helen Kim-Sills
PERSONNEL MANAGER
Gary Hudson
LIBRARIAN
Israel Mello
A Symphony inspires, educates & captivates us all.
PROUD SUPPORTER OF
Lubbock Symphony Orchestra
I. “The Fountain of Valle Giulia at Dawn” (La fontana di Valle Giulia all’alba)
II. “The Triton Fountain in the Morning” (La fontana del Tritone al mattino)
III. “The Trevi Fountain at Noon” (La fontana de Trevi al meriggio)
IV. “The Villa Medici Fountain at Sunset” (La fontana di Villa Medici al tramonto)
Respighi Gli uccelli (The Birds), P. 154
I. “Preludio” (Prelude, after Bernardo Pasquini)
II. “La colomba” (The Dove, after Jacques de Gallot)
III. “La gallina” (The Hen, after Jean-Phillipe Rameau)
IV. “L’usignuolo” (The Nightingale, after Jacob van Eyke)
V. “Il cucù” (The Cuckoo, after Bernardo Pasquini)
INTERMISSION
Giuseppe
Verdi (1813-1901)
Highlights from Rigoletto
Preludio
Duetto
“Quel vecchio maledivami!”
Rigoletto, Sparafucile
Scena e Duetto
“Pari siamo!”
Rigoletto
Continued on next page
Program continued
“Figlia! … Mio padre! ...”
Rigoletto, Gilda, Giovanna
Scena e Duetto
“Giovanna … ho dei rimorsi - Signor ne principe”
Gilda, Il Duca di Mantova, Giovanna
“Gualtier Maldé! ... Caro nome che il mio cor”
Gilda
Scena ed Aria Il Duca di Mantova
“Ella mi fu rapita! - Parmi verder le lagrime”
Il Duca di Mantova
Preludio, Scena e Canzone
“E l’ami? - La donna e � mobile”
Rigoletto, Gilda, Il Duca di Mantova, Sparafucile
Quartetto
“Un dí, se ben rammentomi”
Il Duca di Mantova, Gilda, Maddalena, Rigoletto
Amanda Key - Gilda
Alice Anne Light - Giovanna, Maddalena
Richard Troxell - Il Duca di Mantova
Gerald Dolter - Rigoletto
Christopher Markgraf - Sparafucile
Helen Jones Foundation, Inc.
PROGRAM IS MADE POSSIBLE IN PART THROUGH A GRANT FROM THE CITY OF LUBBOCK, AS RECOMMENDED BY CIVIC LUBBOCK, INC.
PROGRAM NOTES
Ottorino Respighi (1879-1936)
Ottorino Respighi was the only important Italian composer of his era better known for his instrumental works than for his operas. Though he wrote nine operas, they are almost never performed. His orchestral compositions, on the other hand, are part of the standard concert repertory.
Respighi was born in Bologna to a family that encouraged his early interest in music. In 1891, he enrolled at the Liceo Musicale di Bologna, where he studied the violin, viola, and composition. He then became principal violinist at the Russian Imperial Theater, and studied briefly with Nikolai Rimsky-Korsakov. His subsequent brilliant orchestrations show the influence of Rimsky the master of orchestral color.
He moved to Rome in 1913 to become professor of composition at the Liceo Musicale di Santa Cecilia. A decade later he resigned his professorship to devote himself to composition. In 1935, he contracted sub-acute bacterial endocarditis which in the pre-penicillin era was a death sentence. He died the following year. This was the same disease that took Gustav Mahler’s life in 1911.
His first orchestral tone poem, The Fountains of Rome, premiered on March of 1917. It was not successful. Arturo Toscanini conducted the piece in February 1918 to great acclaim. This performance established Respighi as a leading Italian composer. Respighi wrote two more Roman tone poems: The Pines of Rome (1924) and Roman Festivals (1928). After the last of these he felt he could no longer write pieces for large orchestra and thereafter wrote for smaller ensembles.
The Fountains of Rome: The piece is in four movements, each depicting four of Rome’s fountains. While it is interesting to know what the composer was inspired by, if the music is good it can be enjoyed on its own without knowledge of its program. Each of the four fountains are portrayed at a specific time of day. Starting at dawn, then morning, noon, and concluding at sunset.
I. The Fountain of Valle Giulia at Dawn - This fountain in the Valle Giulia area of Rome. It is best known because of Respighi’s tone poem. It is a pastoral piece intending to suggest the movement of sheep in a humid dawn. Perhaps there were sheep grazing in Rome more than a century ago.
II. The Triton Fountain in the Morning - Created by the Baroque sculptor Gian Lorenzo Bernini it was commissioned by his patron, Pope Urban VIII, the fountain is located in the Piazza Barberini. Naiads and Tritons appear, pursuing each other and mingling in an energetic dance beneath the fountain’s spray.
III. The Trevi Fountain at Noon - An 18th century fountain designed by architect Nicola Salvi; it is the largest fountain in Rome. It is also the most famous. Toss a coin into it and… well, you know the rest. It’s located at the junction of three roads (tre vie) - hence its name. This section has the work’s most robust music. It assumes a triumphal character. The titan Oceanus who is at the fountains center could be riding by on a shell chariot drawn by two-seas horses. He then vanishes. The movement ends quietly with soft chimes in the distance.
IV. The Villa Medici Fountain at Sunset - This fountain is modest compared to the gargantuan one of the previous section. It is made of red granite dating back to ancient Rome. The Villa Medici was founded by Ferdinando I de’ Medici, Grand Duke of Tuscany in 1576. The music is soft and melancholy. Day ends, birds twitter, and night looms.
The Birds: A suite for small orchestra in five parts, The Birds was written in 1928. It is constructed on little known music from the 17th and 18th centuries. It is an attempt to transcribe birdsong into musical notation.
The first movement Prelude is a harpsichord piece by Bernardo Pasquini (1637-1710) transcribed for orchestra. It hints at a few of the musical themes and melodies played in later movements.
The second movement, The Dove, is a transcription of a lute piece by Jacques Gallot (1625-1695). It uses an oboe to resemble a dove.
The third movement, The Hen, is taken from a harpsichord composition by the French master Jean-Philippe Rameau (1683-1754). It uses violins which are said to be “clucking” in imitation of the eponymous fowl.
The fourth movement, The Nightingale, is based on the folk song “Engels Nachtegaeltje” transcribed by the recorder virtuoso Jacob van Eyck (1590-1657). Here woodwinds over strings represents the nightingale.
The last movement, The Cuckoo is again based based on the music of Pasquini.
The Birds is a delicately wrought suite showing Respighi’s great mastery of past styles while retaining the attention of a modern audience. It is scored for 2 flutes (2nd doubling piccolo), oboe, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, celesta, harp, 1st and 2nd violins, violas, cellos, and double basses.
Giuseppe Verdi (1813-1901)
Giuseppe Verdi is opera’s supreme master. In the theater, his 26 operas are comparable only to Shakespeare’s 37 plays. He was born in Le Roncole, a hamlet so small that Muleshoe seems a metropolis alongside it. The house he was born in has been a national monument since the year of his death. Le Roncole is near the town of Busseto where Verdi spent most of his life.
At about the age of 10, he moved to the house of Antonio Barezzi, in Busseto. Barezzi became Verdi’s patron and sponsor. When the teenage Verdi was denied admission to Milan’s Royal Conservatory, Barezzi arranged private lessons for him in Milan under the tutelage of Vincenzo Lavigna who was the concertmaster at La Scala. Without Barezzi there would be no Verdi. Incidentally, the conservatory is now the Conservatorio Giuseppe Verdi. When life deals you a bad hand, remember that Giuseppe Verdi couldn’t get into the Giuseppe Verdi Conservatory
Not only was Verdi supported by Barezzi, he married his patron’s daughter. The couple had two children who died in quick succession followed by their mother. Verdi’s austere persona was doubtless shaped by these personal tragedies. He was more like a Roman of the early republic than a modern Italian. The writer of some of the world’s most glorious love duets left behind not a single love letter.
Verdi’s works are usually divided into early, mid, and late periods with a final one added. The three final works are the Requiem Mass dedicated to the great novelist Alessandro Manzoni one of Verdi’s two cultural heroes - the other was Rossini - and his last two operas Otello and Falstaff. The Mass and the two operas were composed after Verdi had retired. Sixteen years separate Aida from Otello. He was 74 and 80 when his final operas were first performed they are both among the greatest works in this genre.
Program notes, continued
Rigoletto marks the beginning of his mid period. It was his 16th opera. Unlike Victor Hugo’s play Le Roi s’amuse which opened and closed on the same evening, Rigoletto based on Hugo’s play was a huge success, a status it has enjoyed ever since. Hugo was upset that Verdi had made an opera out of his play, but when he attended a performance of it declared the opera a masterpiece. I can find no evidence that Verdi ever paid for the rights to set to music, the plays by living authors that he used. By the time Puccini came along the copyright laws were well established and he had to obtain permission from and pay royalties to the authors of the plays he made into operas.
La Fenice in Venice commissioned the opera in 1850. Verdi had trouble with the libretto before he composed a note. The Austrian censors had numerous objections to the story, Austria controlled Northern Italy at the time of the opera’s composition. The censors wouldn’t allow an unfavorable depiction of a king, thus King Francis I became the Duke of Mantua.
To satisfy the censors, Francesco Piave the librettist made many other changes. Verdi completed the score in February 1851. Rigoletto was premiered a month later. Verdi withheld the music for the opera’s most famous number ‘La donna è mobile’ (Act 3) from the tenor as he knew that it would prove so popular that the stagehands would learn it and it would spread throughout Venice resulting in Verdi being accused of stealing the tune.
When asked later in life, but before his late masterpieces, what his best opera was he named Rigoletto. The opera is unlike anything that had come before it. It marks the end of the bel canto era. It is through composed (one number moves to the next without a pause). It has no hero. The title character is a hunchback jester newly arrived in Mantua to serve in the duke’s court. He is a tragic anti-hero. The tragic hero of the great classical Greek plays, is undone by a tragic flaw. Rigoletto is undone by his only virtue - his love for his teenage daughter. Otherwise he’s a nasty piece of work. Parental encounters are a frequent theme in many Verdi operas, but Rigoletto has the most tragic father/daughter relationship found in any of his operas.
Rigoletto’s driving motive is a curse hurled at the duke and Rigoletto by Monterone, in Act 1, the father of a girl abused by the duke. He condemned the father to death for remonstrating against the assault of his daughter. Rigoletto mocked the father as he was on his way to the executioner, hence the curse. It doesn’t faze the duke - nothing does. Rigoletto is very superstitious and is aghast at being cursed.
The scene (Act 1 Scene 2) in which Sparafucile, a professional hit man, offers his services to Rigoletto is unlike anything in opera prior to this point. The melodies are in the orchestra as an extended dialogue between the two continues. Rigoletto turns down the assassin’s offer, but later takes him up on a murder for hire.
Rigoletto’s daughter (Gilda) is a hormone-crazed girl who falls for the duke disguised as a poor student. His courtiers thinking her Rigoletto’s mistress kidnap her and give her to the duke. He rapes her and then discards her. She still loves him despite his lying and assault. She loves even after seeing him pursue a prostitute in a tavern run by her brother Sparafucile - she loves him no matter what. When she realizes that her father has hired Sparafucile to kill the duke to avenge the duke’s rape of his daughter, she decides to die in his place. The duke has so charmed the prostitute that she convinces her brother to kill the next person who enters the tavern as a substitute for the duke whose true identity is unknown to her. Gilda knowingly enters the tavern during a furious storm, is stabbed and put in a sack.
The sack is given to Rigoletto. He’s delirious with joy thinking the duke’s body is in it. When he hears the duke singing a phrase from ‘La donna è mobile’ he opens the sack to find his mortally wounded daughter in it. The opera ends with Rigoletto crying “The curse.”
The duke is one of opera’s most repellent characters. He’s a despot, a murderer, and a rapist; he’s a psychopath. Like many of his kind he’s attractive at first encounter. That’s how Verdi paints him. His misdeeds are set to some of Verdi’s most beautiful music. He’s a monster, but a superficially charming one. He destroys the lives of everyone he touches. Every leading tenor wants to sing this role of an attractive villain who never pays for his misdeeds.
Verdi wrote more great music for the baritone than any other composer of operas. He invented a new type of baritone, one whose vocal center is placed in the top third of the baritone’s range. Rigoletto is the summa of all baritone roles. It has the most challenging singing for baritone in opera coupled with the requirement that the singer portray a hunchback restricting his posture and breath control. If a baritone can master Rigoletto he has mastered Italian opera.
The part of Gilda needs a high soprano who can handle the difficult aria ‘Cara nome’ as well as her half of the numerous duets she sings with Rigoletto and the duke. She’s also part of the famous quartet in the last act.
This quartet is actually a double duet and is the first use of the ‘split screen’ technique. Gilda and Rigoletto are outside the tavern mentioned above observing the duke flirt with Maddalena the prostitute. The quartet is the most accomplished ensemble in opera. It combines beauty with dramatic thrust as it also advances the plot. The duke has already concluded his business with Maddalena as he goes upstairs to sleep after the quartet ends. She’s obviously satisfied with his performance as she wants to save his life.
Rigoletto has been a favorite with audiences from its first performance until today. The critics were more cautious. They were put off by its easy accessibility and plethora of tunes. Verdi said that the only critic that counted was the audience and that critic has delivered its verdict. Today nobody disputes Rigoletto’s place at the top of the operatic canon. Igor Stravinsky wrote “I say that in the aria ‘La donna è mobile’, for example, which the elite thinks only brilliant and superficial, there is more substance and feeling than in the whole of Wagner’s Ring cycle.”
Verdi lived until his 88th year. He was vigorous and active until until the stroke that killed him in a few days. He spent most of the eight years following the premiere of his final opera Falstaff supervising the construction of a home for retired musicians who are down on their luck. Officially called Casa di Riposo per Musicisti (Rest Home for Musicians), everyone calls it the Casa Verdi. He insisted that each guest have a private room and left the home all the royalties from his operas. When they expired in 1951 the supervisors of the home had invested much of these royalties in real estate so that the home was financially independent and not in need of a government subsidy. Verdi and his second wife the soprano Giuseppina Strepponi are buried in the home.
Verdi wrote: “Of all my works, that which pleases me the most is the Casa that I had built in Milan to shelter elderly singers who have not been favoured by fortune, or who when they were young did not have the virtue of saving their money. Poor and dear companions of my life!” There’s a pun here. The Italian word “opera” translates to “work.”
When Verdi’s body was transported from its temporary resting place, 300,000 Milanese lined the streets that went to the Casa Verdi. It’s still the largest public
Program notes, continued
gathering in the history of Italy. They spontaneously started to sing the great chorus ‘Va pensiero’ from Verdi’ third opera and first success Nabucco
Verdi’s place in Italian life is akin to that of George Washington in America. He is a national hero. Before Italy converted to the euro, Verdi’s picture was on the 1,000 lira note the equivalent of our dollar bill. During the peninsula’s struggle for independence, the Risorgimento, ‘Viva Verdi’ was everywhere shouted and written on almost every wall. It was an acronym for “Viva Vittorio Emanuele Re D’Italia.” Vittorio Emanuele was the King of Sardinia under whose rule Italy was united.
When Verdi died, the soldier, journalist, poet, and playwright Gabriele D’Annunzio wrote: “He gave a voice to all our hopes and struggles, he wept and loved for all of us.”
On the 200th anniversary of his birth the noted conductor James Conlon wrote: “The king of empathy, social perception and emotional intelligence - Giuseppe Verdi.”
The excerpts performed this evening are:
1. The opera’s brief and ominous Prelude.
2. The duet between Rigoletto and Sparafucile mentioned above.
3. ‘Pari siamo’ (We are the same). Rigoletto compares himself to the assassin. “He kills with a sword, I with my tongue.”
4. Figlia!... Mio padre! (Daughter…My father) Rigoletto enters his house and I greeted by Gilda. He has hidden his daughter from the duke and the rest of the city; she does not know her father’s occupation. He has forbidden her to appear in public, she has been nowhere except to church and does not even know her own father’s name. Like all overprotective fathers he fails, for at church she meets the duke posing as a poor student.
5. When Rigoletto leaves the duke enters and he and Gilda declare their love. She means it.
6. When the duke leaves Gilda sings ‘Gualtier Maldé! (the duke’s pseudonym)...Caro Nome’ (Dear name)
7. After Gilda’s kidnapping the duke sings ‘Ella mi fu rapita!…Parmi verder le lagrime’ (She was stolen from me!…I seem to see tears). For a brief moment the duke seems capable of real emotion, but he’s only thinking of himself.
8. ‘La donna e mobile’ (A woman is fickle). This sung by the inconstant duke.
9. The Quartet
ANNUAL FUND
The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between December 2023 and December 2024.
MAESTRO’S DIAMOND CIRCLE
($50,000+)
Sandra and Neil Kurtzman
MAESTRO’S PLATINUM CIRCLE
($25,000-$49,999)
Herb and Evan Armstrong
Ann and Craig McDonald
Jana and Sam Scheef
MAESTRO’S GOLD CIRCLE
($15,000-$24,999)
Maureen Chadwick
Deena and Harold Evensky
The Honorable and Mrs. Phil Johnson
Susan and Don Maddox
Nancy and Thomas Neal
Ralph Tamper and Don Shrum
MAESTRO’S SILVER CIRCLE
($7,500 – $14,999)
The Advisors Group
The Randy Andrews Family Anonymous Donor
Armstrong Mechanical
Dolle Barker
Leen and Mounir Borno
Covar Dabezies
Birgit and Brad Green
Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock
Betsy and Thivakorn Kasemsri
Michael Postar
Katie and John Salter
Jo Anne M. Smith
Jill and Fred Stangl
MAESTRO’S CIRCLE
($5,000 – $7,499)
Gilbert Berdine
David Cho
Michael Epps
Stephen L. and Melissa A. Faulk
Leslie and Adrian Huckabee
Rebecca and Kwang Kim
Maestro’s Circle,
continued
Sharon and Rick Martin
Mary Jane and Tim Sampson
Mark Stoll
Shanna and James St. Clair
Toni E. Wallingford
Jean and Edson Way
Darya White
VIRTUOSO’S CIRCLE
($3,500 – $4,999)
Gilley Griffith
Dr. Doug Klepper and Terry Hawkins
Amanda Kuhn
Mary McCrary
Brenda and Curtis Parrish
Drs. Nadene and Roger Tipton
CONCERTMASTER’S CIRCLE
($1,500 – $3,499)
Elizabeth and Will Ashmore
Barb and Nathan Baie
Betsy and Mark Bass
Kasi and Chris Boutwell
Cathy and Ray Box
Ruth and Aubrey Bridges
Terri and Michael Byrne
Evelyn Davies
Bryan Dunn
Martha Fregia
Patricia Lynn Freier
Erin and Elgin Gregg
Sandy and Alan Henry
Bobbye Hrncirik
John Hunter
Virginia Kellogg
Stacey and Robert Kollman
Amanda Kuhn
Kuykendall Family Foundation
Grace and Robert Lin
Barry McCool
Peggy and Terry McInturff
Stephanie Rogers
Tina and Tommy Sansom
Sue and Jim Sexton
Dr. Charles and Patricia Wheeler
Drs. Lola and Thomas Windisch
Cindy and Harry Zimmerman
Family Owned Since 1931
MUSICIAN’S CIRCLE
($1,000 – $1,499)
Pam and Rob Allison
Joan Baker
Maria and Stephen Balch
Judith Baldwin
Dustin Baucom
Cindy Best
Leen and Mounir Borno
Klattenhoff Bridges
Mr. Anthony and Dr. Helen Brittin
Bobbe Crawford
Richard Gale
Amy and Jason Grisham
Elizabeth Haley
Robbie Harbison
LaVelle and Tommy Hawkins
Jennifer and Patrick Hughes
Richard Jorgensen
Cynthia Jumper
Roger Karr
Larry and Lucy Landusky
Paula and Kurt Loveless
Paula Loveless
Patti and James Lupton
Mallory Miller
Thomas Neal
Thomas J. Nichols
Sharmon and Keith Owens
Janeen Patterson
Cathy Porter
Melissa and Tim Pridmore
Dr. Wael and Hana Qubti
Melanie and Mike Ragain
Kelly Robinson
Judy and Paul Rostad
Mary and Roger Saathoff
Carrie and Kevin Sedberry
Debbie Sims
Michelle Stephens
Kristian Tsokanov
Sally Walton
Joyce and Scott White
Ruth Wilkerson
Brian A. Willcutt
YOUNG ARTIST’S CIRCLE
($500 - $999)
Jane Baker
Gisele Bazan
Amanda Bourland
Beverly and Dana Butler
Julie Cordero
Cari and Dennis Dillon
Joe Dominey
Patrick Dunne
Lisa Garner Santa
Nicole George
Stephen Glenn
Ellen and Dennis Harp
Glenda and George Helfrich
Jane Henry
Heather and Mark Hocker
Lynnita and Don Hufstedler
Courtney and Doug Jordan
George Keeling
Janice and Morris Knox
Fran Koch
Lucy Lanotte
Wyatt Leavell
Helen and Ted Liggett
Kit and Ben Linton
Norman Orr
Penelope and Gerald Pipkin
Kathrin Lee Price
Dona Richardson
Janice and Lowry Schaub
Texas Tech School of Music
Scott Spore
Janice Stachowiak
Dianne White
John and Mary Zias
PATRON’S CIRCLE
($275 - $499)
Mary Cato
Reyhan and Richard Crider
Sandra and Robert Crosier
Karl and Robin Dent
David Hodges
Janeen Drew Holmes
Wendell Leatherwood
Sally Murray
Jill Nelson
Gwen and Thomas Nichols
Janet and Davis Price
Jana and Sam Scheef
Joe Sharp
Carol K Walker
Gay Word
SUSTAINER’S CIRCLE
($125 - $274)
H. Allen Anderson
Shelley and Ian Barba
Nancy and Alwyn Barr
David Box
Sustainer’s Circle,
Jamila and Samuel Branch
Krista and Matthew Bumstead
Kathleen Burrell
Kim Burrows
Neill Carter
Chris Castleberry
Chez Sami
William Choe
Kathy and Chris Claus
Christopher Collins
Amy and Josh Corbin
Alex Driggars
Dorothy Glenn
Sue and Curtis Griffith
Alena Ilyushyna
Marcus Borhani and Dawn Kelley
Judy and Gary Linker
Carolyn Moore and Allan MacKenzie
Cindy and Mark McBrayer
Beverly and Don McBeath
Joe McFerrin
James McNabb
Kishor Mehta
Leslie Mihal
Sue Mooney
Thinh Nguyen
Dona Nussbaum
Thomas Parsons
Justin Price
Suzanne Rasco
Carlos Ricaldi
Carol Robertson
Neva Rousselot
Karen Savage
Steve Synck
Jim Tapp
Paul Thornton
Kathleen Weed
Alice V White
Susan Wilson
Donna and Hugh Wilson
Martha and Robert York
Steve Synck
Jim Tapp
Paul Thornton
Kathleen and Ray Weed
Donna and Hugh Wilson
Martha and Robert York
LUBBOCK CHAMBER ORCHESTRA SPONSORS
Anonymous Donor
Grey Hare Analytics, Inc.
MTS Kimbell
LUBBOCK YOUTH ORCHESTRAS SPONSORS
The CH Foundation
Civic Lubbock
Double T SmilesDrs. Nadene and Roger Tipton
ESO Fan Wear
Helen Jones Foundation
Western Bank
SS Foundation
SEASON SPONSORS
*Lubbock Youth Orchestras and Lubbock Symphony Education Sponsors
MAESTRO’S PLATINUM CIRCLE
($25,000+)
City Bank
The United Family
MAESTRO’S GOLD CIRCLE
($15,000-$24,999)
Covenant Health Systems
FirstBank & Trust
MAESTRO’S SILVER CIRCLE
($7,500 – $14,999)
Armstrong MechanicalBeth and Chris Carpenter
*Double T SmilesDrs. Nadene and Roger Tipton
Hill & Ioppolo Oral & Dental Implant
Surgery of Lubbock -
Lory and Dr. Robert Ioppolo
MWM Architects
Overton Hotel & Conference Center
MAESTRO’S CIRCLE
($5,000 – $7,499)
Chappell, Lanehart & Stangl P.C.
Friends of Trout Fishing in America
Tiva Kasemsri
Lowry Schaub
Scott Spore
Roger Tipton
Lola Windisch
John Zias
*Western Bank
Visual Edge IT
VIRTUOSO’S CIRCLE
($3,500 – $4,999)
Grey Hare Analytics, Inc.
MTS Kimbell
CONCERTMASTER’S CIRCLE
($1,500 – $3,499)
Alan Henry InsuranceRyan Henry and Alan Henry
Blue Layer
Chicken ExpressStacey and Robert Kollman
Evensky & Katz/Foldes Wealth
Management - Katie and John Salter
GRACO Real Estate Development, Inc.The Randy Andrews Family
Office Wise Commercial Interiors
Prosperity Bank
Tricia and Dr. Peter Reed
Tucker Floral
MUSICIAN’S CIRCLE
($1,000 – $1,499)
Cathy and Dr. Scott Porter
Our Crescendo fund aims to AMPLIFY Lubbock’s performing arts culture by raising $500,000 to bring popular musical artists to perform alongside the Lubbock Symphony Orchestra.
$0
$500k Help us reach our goal of $500,000!
$105,000 raised so far
Help us bring the next big artist to Lubbock!
THANK YOU TO OUR CRESCENDO DONORS!
FORTISSIMO
($10,000+)
Evan and Herb Armstrong
Nancy and Thomas Neal
Ralph Tamper and Don Shrum
FORTE
($5,000 - $9,999)
Michael Epps
Don and Susan Maddox
Sharon and Rick Martin
Shanna and James St. Clair
Toni Wallingford
MEZZO FORTE
($1,000 - $4,999)
Pam and Rob Allison
Beth and Will Ashmore
Ruth Ann and Aubrey Bridges
Bobbe Crawford
Covar Dabezies
Stephen L. and Melissa A. Faulk
Patricia Lynn Freier
Birgit and Brad Green
Robbie Harbison
Sandy and Alan Henry
The Honorable and Mrs. Phil Johnson
Richard Jorgensen
Betsy and Thivakorn Kasemsri
Stacey and Robert Kollman
Grace and Robert Lin
Gwen and Tom Nichols
Sharmon and Keith Owens
Brenda and Curtis Parrish
Prosperity Bank
Dr. Wael and Hana Qubti
Tricia and Peter Reed
Judy and Paul Rostad
Mary and Roger Saathoff
Mary Jane and Tim Sampson
Tina and Tommy Sansom
CRESCENDO
Mezzo Forte, continued
Debbie Sims
Jill and Fred Stangl
Pat and Charles Wheeler
Darya White
MEZZO PIANO
($20 - $999)
Trudy Gamble
Carol Giblin
Alena Ilyushyna
Amanda Kuhn
Kit and Ben Linton
James McNabb
Jill Nelson
Mary Parra
Kathrin Price
Cloyce Stetson and Janice Stachowiak
Ross Waggoner
Susan Wilson
For over 78 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.
The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra. Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin. These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.
Did you know that only one-third of our annual budget comes from ticket sales? The remaining funds mainly come from music supporters in the community, like yourself. Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.
You can add your name today to the expanding list of benefactors, who are leaving their mark on the Hub City and building a legacy of performances for generations to come.
Please join us with your gift to Crescendo today!
HONORARIUMS
The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2024-2025 Season in honor of the following:
Bess Haley In Honor Of Toni Wallingford
Evelyn Davies In Honor Of Toni Wallingford
The Randy Andrews Family In Honor Of David Cho
William Choe In Honor Of David Cho
Sue Sexton In Honor Of David Cho
Virginia Kellogg In Honor Of David Cho
Dean Kilmer In Honor Of David Cho
Rock Thoms In Honor Of David Cho
David J. Tobin In Honor Of David Cho
G3 In Honor of Stephen L. and Melissa A. Faulk
Michael Epps In Honor Of Stephen L. and Melissa A. Faulk
Robin and Don Walker In Honor Of Stephen L. and Melissa A. Faulk
Toni E. Wallingford In Honor Of Stephen L. and Melissa A. Faulk
Patricia and Charles Wheeler In Honor Of Stephen L. and Melissa A. Faulk
Twentieth Century Club In Honor Of Dr. Elissa Stroman
Jim Smith In Honor Of Donna Smith
In honor of Dawn Kelley & Marcus Borhani Musicians Support Endowment
James and Luann Beardemphl
Scott and Jessica Beardemphl
Crystal Borhani
Rahim and Martha Borhani
Tutti Burkett
David Cho
Bryan and Linda Dunn
Richard and Rebecca Gale
Larry and Susan Hess
Sheryl House
George R. Keeling Insurance
Doug Klepper and Terry Hawkins
Leslie Mihal
Allan Mackenzie and Carolyn Moore
Steve and Peggy Reinhart
Susan and Chris Seiter
Tom and Judy Spoonts
Priscilla Stennis
Cloyce Stetson and Janice Stachowiak
Lloyd and Betti Whetzel
Patricia and Charles Wheeler
MEMORIALS
Jo Anne M. Smith In Memory Of Norton Baker
Michael Epps In Memory Of Eva and Walter Beets
Thivakorn Kasemsri In Memory Of RADM Stephen K. Chadwick
Toni E. Wallingford In Memory Of Dickie and Fritz Epps
Martha Fregia In Memory Of Justin Fregia
Connie Goodwin In Memory Of Grace and Frank Goodwin
Allan MacKenzie In Memory Of Ruth Lauer
Peggy Dyess In Memory Of Audrey McCool
Carolyn Wooten In Memory Of Ricky Rasco
Suzanne Rasco In Memory Of Ricky Rasco
Jim Smith In Memory Of Donna Smith
Eric and Janis Blackwell In Memory of Dr. Roy Wilson
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
Christine Polvado and John Stockdale Principal Clarinet 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
Tim and Mary Jane Sampson Bass 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
Dawn Kelley and Marcus Borhani Musicians Support Endowment
FINANCIALLY SAVVY WAYS TO GIVE TO THE LUBBOCK SYMPHONY ORCHESTRA
Your support enables the LSO to offer grand musical experiences, whether in concert with world-renowned guest artists or in classrooms sharing the wonder of music with students.
Below is a list of ways you can support your LSO:
Traditional Donation
Mail a check, payable to the Lubbock Symphony Orchestra, or make an online gift. See the QR Code below to make a gift.
Matching Gifts
Many businesses will match employees’ charitable gifts. A donation may be matched dollar-for-dollar or at a percentage. Check with your company to see if they participate in a matching program.
Qualified Charitable Distribution (QCD)*
Beginning at age 70½, you may contribute up to $100,000 annually directly from your IRA to the LSO through a QCD and avoid the distribution as income.
Donor-Advised Fund (DAF)*
You may contribute to the LSO through a donor-advised fund. The LSO can also be the beneficiary or successor advisor to your DAF.
Stock and Securities*
You can donate appreciated stocks and securities to the LSO, saving capital gains taxes while providing a deduction of the entire donation.
Bequests/Legacy Gifts*
Remembering the LSO in wills and trusts helps ensure we continue creating quality symphonic performances and educational experiences.
*To ensure your gift meets proper tax requirements and to determine the best method of gifting for your unique situation, we recommend reviewing guidelines and discussing with your tax and/or financial advisor and legal professional for bequests and legacy gifts.
For additional information or questions, contact Courtney Jordan, Director of Development, at 806.642.5228 or courtney@lubbocksymphony.org
Lubbock Symphony Orchestra
601 Avenue K | Lubbock, TX 79401
EIN #75-6001993
The LSO is a 501c(3) nonprofit organization.
MICHAEL POSTAR’S
ADVISORY COUNCIL, PAST CHAIRS
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
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
Brian Willcutt
The Lubbock Symphony Orchestra would like to express gratitude to and
PROUD TO FEED
Artistic Spirit
Market Street knows the art of creating lives in all of us and loves to support local arts and entertainment.
BEHIND THE MUSIC
OFFICERS
Toni Wallingford Chair
Jill Stangl Chair Elect
Melissa A. Faulk Treasurer
Terri Byrne Secretary
Brian Willcutt
Immediate Past Chair
BOARD OF DIRECTORS
Beth Ashmore
Steve Balch
Dustin Baucom
Gilbert Berdine
Leen Borno
Kasi Boutwell
Maureen Chadwick
David Cho
Covar Dabezies
Michael Epps
Stephen L. Faulk
Patricia Lynn Freier
Brad Green
Amy Grisham
Spencer Hartman
Sandy Henry
Bobbye Hrncirik
Leslie Huckabee
Carla Johnson
Tiva Kasemsri
Amanda Kuhn
Neil Kurtzman
Grace Lin
Paula Loveless
Brenda Parrish
Melissa Pridmore
Peter Reed
Carol Robertson
Stephanie Rogers
Katie Salter
Tim Sampson
Andrew Stetson
Nadene Tipton
Edson Way
Board of Directors, cont.
Darya White
Joyce White
Lola Windisch
Galen Wixson
ADMINISTRATION
Galen Wixson
President & CEO
David Cho
Music Director
Eric Allen
Lubbock Chamber Orchestra
Artistic Director
Suzanne Rasco
Director of Accounting
Courtney Jordan
Director of Development
Kea Beasley
Director of Education
Molly Ramirez
Director of Marketing and Communications
Amelia Jamieson
Graphic Designer
Nia’ Threatt
Patron Services Coordinator
Gary Hudson
Personnel Manager
Corey Dolter
Operations Manager
Israel Mello
Librarian
Callie Watson
Marketing and Communications Assistant
Jamie Shipp Education Assistant
A LETTER 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 2024-2025 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.
Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 72 years, the Guild members have donated their time, talent and resources to keep symphonic music thriving in West Texas.
I hope that 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 the Lubbock Symphony Guild, to join us in further supporting the efforts of the LSO. For more information, please visit our website at www.lubbocksymphonyguild.com.
Lubbock Symphony Guild Senior Debutantes
Front Row Left to Right - Anastyn Greaser, Mia Chacon, Bryleigh Norman, Hannah Pharies, Ella Mendez, Emily Roark, Rylan Bryant, London Carlisle, lndie Williams, Ella Bennett, Viviana Ziegner, Olivia Mudd
2nd Row Left to Right - Lauren Casey, Anne Edwards, Susannah Smith, Ella Murphree, Sadie Callison, Camden McDougal, Maya AI-Hmoud, Lydia Pesterfield, Reece Watson, Raegan Reed, Jayci Lentz, Olivia Elliott, Tierni Green ,Aubrey White, Teema Sharif
3rd Row Left to Right - Riley Newberry, Zimri Buckley, Kamryn Chandler, Jencee Thompson, Elizabeth Johnson, Blair Belew, Emory McCain, Gabrielle Scherpereel, Morgan Parker, Sydney Smothers, Remington King, Rylee Bea Rose, Cora Clifford
Back Row Left to Right - Reece Riddle, Addison Kitten, Maya Malouf Vermillion, Raegan Lee, Bella Lampe, Hannah Harvey, Emily White, Madelyn Caswell, Ashlee Jones, Brentley Preston, Camryn Howe, Kristen Mitchell
Not Pictured - Catherine Ancell, Grace Gerwig, Taylor Harrison, Ashlyn Simek
Lubbock Symphony Guild Junior Debutantes
Front Row Left to Right - Halley Reynolds, Elizabeth Nicholson, Ava Smith, Finnley Forero, Landry Allen, Joy Wischmeyer, Ellie Underwood, Katelyn Bollens, Madison Heider, Elly Norris, Campbell Beeler
2nd Row Left to Right - Chayce Johnson, EllaMaria Webb, Ashlyn Edwards, Kennedy Cowan, Emyrson Parrott, Blakeley Martin, Chayce Welborn, Payton Reed, Alice Everett, McKanna Garcia, Lauren King, Sadie Gillespie, Addison Neufeld
3rd Row Left to Right - Katelyn Glenn, London Bird, Meridith Bradley, Cassidy McKinnon, Natalie Sweat, Emery Fox, Campbell Franklin, Baylee Fillingim, Joleigh Reno, Danelle Mccourt
Back Row Left to Right - Emma Lane, Erin Brodbeck, Kathleen St. Clair, Harper Burrell, Georgia Kitten, Talitha Dalton, Addison Stewart, Adelaide Underwood, Angelia Liu
Not Pictured - Reya Felton, Heidi Helderlein, Sofia Martinez, Sarah Simpson, Brynlee Smith
Lubbock Symphony Guild Dates
LSG Board Meeting, Lubbock Women’s Club
Thursday, September 5, 2024
Senior Deb Meeting, Lubbock Women’s Club
Sunday, September 29, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, October 3, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, November 7, 2024
LSG Membership Meeting and Holiday Social
Thursday, December 5, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, January 2, 2025
Debutante Presentation Tea, Lubbock Country Club
Sunday, January 26, 2025
Lubbock Symphony Guild Senior Debutantes
Lubbock Symphony Guild Sophomore Debutantes
Front Row Left to Right - Elizabeth Williams, Sage Boyle, Marlee Thompson, Kate Harlien, Abbott Spitzer, Lula Biondi, Ellison Roberts, Campbell Wilson, Elizabeth Thane, Hannah Owen, Sophie Scolaro
2nd Row Left to Right - Presley Taylor, Kaylee Jordan, Riverson Sawyer, Kristine Wischmeyer, Carter Piland, Emersyn Cross, Kayci Cave, Kayleigh Lewis, Shelby Rivas
3rd Row Left to Right - Finley Cross, Sophie Carter, Rynn Riddle, Sarah Poe, Aubry Elrod, Alexis Gregory, Kaylee McKee, Lauren Brashear, Isabella Hernandez
Back Row Left to Right - Lola Latham, Hadley Payne, Ashlyn Neufeld, Addison Evans, Pamela Buckley, Hope Stonestreet, Kaelie Fincher
Not Pictured - Emily Aldinger, Elle Condra, Anzley Proffitt
Debutante Presentation and Winter Ball, Lubbock Memorial Civic Center
Saturday, February 1, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, March 6, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, April 3, 2025
LSG Membership Meeting and Annual Brunch
Thursday, May 1, 2025
“One Day More” from Les Misérables. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade
Pictured (L-R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), Maryrose Brendel (Karen Smith), and Natalie Shaw (Cady Heron) Photo by Jenny Anderson, 2023
01.19.2025
— Matshona Dhliwayo
