welcome to
THE VERDI R EQ U I E M Thursday, October 15, 2026
jo i n us on d e c . 1 fo r
H O M E FO R T H E H O L I DAY S Presented by UMC Health System, Texas Tech University Health Sciences Center, and the SS Foundation: Celebrate the magic of the holidays in a vibrant program featuring festive classics, contemporary favorites, and timeless traditional hymns. Featuring Amy Owens (soprano), First United Methodist Church Chancel Choir, The Lubbock Chorale, and West Texas Children’s Chorus, and a holiday sing-along for all to enjoy!
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Dr. Kelly Robinson, Dr. Jake Malone, Dr. Jaci Campo Kelly S. Robinson, D.D.S.
Jake Malone, D.D.S.
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l e t t e r f ro m t h e p r e s i d e n t & c e o Dear Lubbock Symphony Orchestra Patrons, Welcome to tonight’s special 80th Season concert of Giuseppe Verdi’s Messa da Requiem! On behalf of the Lubbock Symphony Orchestra Board of Directors, our musicians, and staff we are excited to welcome you to The Buddy Holly Hall of Performing Arts and Sciences to experience a night of both beautiful symphonic music and demanding vocal solos. We are grateful you are here with us tonight and invite you to join us on Tuesday, December 1st for our Home for the Holidays Concert featuring Amy Owens. A special thank you to the C & A McDonald Family Foundation for their commitment and unwavering support of the Lubbock Symphony this season. Additionally, this evening’s performance is made possible by our Presenting Sponsor: Armstrong Plumbing, Air and Electric, and Co-sponsors Alan Henry Insurance, Robinson and Malone Dentistry, Chicken Express, Evensky & Katz/Foldes Wealth Management – Katie and John Salter, Principals, and Casserole Beans. We are so grateful for these community collaborations and shared commitment to cultivating classical music throughout the region. Additionally, a sincere thank you for the continued investment of our partners: The CH Foundation, the Helen Jones Foundation, Texas Commission of the Arts, Civic Lubbock, Inc., and the Lubbock Symphony Guild. Their generous support sustains our education programming and Masterworks series and ensures that the Lubbock Symphony continues to thrive in West Texas. For additional history regarding Giuseppe Verdi’s Messa da Requiem, be sure and read the program notes included in this program. A sincere thank you to Dr. Neil Kurtzman for his time and talent in producing these notes and we hope you find this information both informative and enjoyable. All the best,
Heather Hocker President & CEO hhocker@LubbockSymphony.org
l e t t e r f rom t h e b oa r d c h a i r Dear Symphony Friends, On behalf of the Board of Directors, I am excited to welcome each of you to tonight’s concert of the Lubbock Symphony Orchestra’s 80th season. Thank you for joining us as we recognize this special season. Our vision this season is realised by the longstanding support of the Helen Jones Foundation, The CH Foundation, Texas Commission of the Arts, Civic Lubbock, Inc., and the Lubbock Symphony Guild. I would also like to thank the sponsors for tonight’s concert, Presenting Sponsor: Armstrong Plumbing, Air and Electric and Co-Sponsors: Alan Henry Insurance, Robinson and Malone Dentistry, Casserole Beans, Chicken Express, and Evensky & Katz/Foldes Wealth Management – Katie and John Salter, Principals. A special thank you to the C & A McDonald Family Foundation for their partnership this concert season. Tonight’s powerhouse lineup includes Caroline Corrales, Raehann Bryce-Davis, John Matthew Myers and Donovan Singletary. We are so fortunate to have these talented vocalists in Lubbock to join us in this “opera in disguise” and hope you enjoy this work. This evening would not have been possible without the incredible vision of Maestro David Cho and our amazing LSO musicians. Their passion, talent, and artistry bring audiences to concerts year after year. My sincere appreciation also goes out to President and CEO Heather Hocker and the dedicated team at the LSO. Finally, I thank all of you, our patrons, subscribers, and donors, for attending tonight’s concert and joining us as we embark on this journey through the 80th season. Your continued support and concert attendance is invaluable and will drive the LSO to 80 more years. With gratitude,
Jill Stangl Chair LSO Board of Directors
l e t t e r f ro m t h e m us i c d i r e c t o r Dear Friends of the Lubbock Symphony, Tonight, we welcome you to an extraordinary program that features our local partner, The Lubbock Chorale who recently celebrated its 50th season. Giuseppe Verdi is the most revered opera composer of all time. His sense of humanity saturated all his operas and in his everyday life. Verdi was truly an Italian national treasure. He dined and walked the towns of Italy like an ordinary citizen and yet no one dared to bother him to take selfies. Everyone knew there was a unicorn in their realm. Verdi was an excellent businessman. He knew that the survival of his music depended on the successes of the box office. Because his operas were geared to resonate with everyday stresses of ordinary humans, people loved and sang the Verdi melodies by heart. Verdi also was keen to assisting those who weren’t as fortunate as he was. He created a Rest Home for Musicians (Casa di Riposo per Musicisti), a retirement community for aging opera singers and classical musicians. When Italy’s greatest novelist Alessandro Manzoni died, Verdi volunteered to write a requiem, as a tribute to a literary artist who was wholly responsible for the Florentine dialect becoming the national language of Italy. Verdi took the forces of the requiem to all parts of Europe to astounding successes. Verdi’s 85 minutes, which revels in the awe of human destiny and glimmer of hope: is arguably the greatest musical attainment of the 19th century. It employs a full orchestra, large chorus, four vocal soloists and balcony trumpets which will instill fear, gratitude, redemption, and hope. We are immensely grateful to the sponsors who allowed such meaningful collaboration to fruition. Joining the vocal forces are four of the most celebrated vocalists in the industry: Caroline Corrales, Raehann Bryce-Davis, John Matthew Myers, and Donovan Singletary. We are truly grateful for your presence tonight. Your love for active participation in live symphonic concerts supports an incredible legacy to your LSO. Our particular thanks to the families of Lubbock Symphony’s Founding Conductor William A. Harrod. Thank you, Jan Ledbetter and Margo and Gary Harrod, you have travelled far to be with us on this meaningful evening.
Most gratefully,
David Cho, Music Director
ca rol i n e c or r a l e s | s opr a no
Caroline Corrales Soprano Caroline
Corrales makes her role and house debut with Utah Opera as Donna Anna in Mozart’s Don Giovanni and appears as Nedda in I Pagliacci with Opera Naples during the 2026–2027 season. In concert, she bows with the Lubbock Symphony in Verdi’s Requiem and the Santa Rosa Symphony in Orff’s Carmina Burana. She also continues her relationship with the San Francisco Opera as principal cover for the title role in Thea Musgrave’s Mary, Queen of Scots. In the 2025-2026 season, Caroline performed as the Fifth Maidservant in Elektra with San Francisco Opera and joined the Spokane Symphony as the soprano soloist in Verdi’s Requiem. While with the San Francisco Opera that season, Caroline made role debuts as Countess Ceprano in Rigoletto; Kitty Hart in Jake Heggie’s Dead Man Walking, and the sixth Flower Maiden in Parsifal. During the 20242025 season with the San Francisco Opera, she bowed as Moira in The Handmaid’s Tale and covered Erste Dame in Die Zauberflöte. She performed Mimì in Opera Naples’ production of La bohéme, conducted by Ramón Tebar. Recent stage credits include Ma Zegner in Missy Mazzoli’s Proving Up and Anne Trulove in The Rake’s Progress. Caroline has trained at the nation’s most prestigious programs. Prior to her residency as an Adler Fellow with San Francisco Opera, she trained as a Young Artist with the Merola Opera Program, an Apprentice Singer with Santa Fe Opera, and a Young Artist with the Boston University Opera Institute.
R a e h a n n Bryc e -Dav i s | m e z z o - s opr a no
Raehann Bryce-Davis has been
hailed by The New York Observer as “one of the best mezzo-sopranos of this generation.” This season, Ms. Bryce-Davis will sing Verdi’s Requiem with the Lubbock Symphony and Amarillo Symphony and Mahler’s Kindertotenlieder with the Charlotte Symphony. Recent highlights include Mahler’s Das Lied von der Erde with Boston Lyric Opera and Verdi’s Requiem with the Oakland Symphony and Winston-Salem Symphony. Other concert highlights include Mahler’s Symphony No. 3 with the Melbourne Symphony Orchestra, Paul Moravec’s Sanctuary Road at Carnegie Hall, Verdi’s Requiem with Orchestre Symphonique de Montréal, and the Oratorio Society of New York, and Elgar’s Sea Pictures at the Musikverein Vienna. Career highlights include her Metropolitan Opera debut as Baba the Turk in The Rake’s Progress conducted by Susanna Mälkki, and her debut at La Monnaie de Munt in Brussels as La zia principessa in Suor Angelica. She premiered the roles of Lizzie in Rene Orth’s Ten Days in a Madhouse at Opera Philadelphia and Big Stone in Matthew Aucoin’s Eurydice at Los Angeles Opera. As a recording artist, she released her debut album, Evolution, via Lexicon Classics in April 2025. Ms. Bryce-Davis is a recipient of the George London Award; First Place and Audience Prize-winner of the Concorso Lirico Internazionale di Portofino; and winner of the Richard F. Gold Career Grant at the Merola Opera Program. She holds a Master of Music and Professional Studies Certificate from the Manhattan School of Music and a Bachelor of Music from the University of Texas at Arlington.
joh n m at t h e w m y e r s | t e nor
John Matthew Myers Praised for
his “strong, pleasant timbre with textual command and expressiveness” (Opera Magazine), John Matthew Myers has garnered acclaim for his “lovely, warm tenor of considerable promise” (Opera News). His critically acclaimed solo debut album titled Desiderium with pianist Myra Huang was released on AVIE Records in 2022. This season, Myers joins the North Carolina Symphony for excerpts from Beethoven’s Fidelio and the 9th Symphony, the Minnesota Orchestra for Rachmaninoff’s The Bells, the Grant Park Music Festival for Beethoven’s 9th Symphony, the Euskadiko Orkestra for Berlioz’s Requiem, the Harvard Radcliffe Orchestra for Das Lied von der Erde, and the Lubbock Symphony Orchestra for Verdi’s Requiem. He also joins Gustavo Dudamel and the Simón Bolívar Symphony Orchestra on tour in Asia as Florestan in Fidelio. Myers made his surprise Los Angeles Philharmonic debut in 2017 as Mao in John Adams’s Nixon in China conducted by the composer. He made his Metropolitan Opera debut as Tenor 1 in the Pit Ensemble of Brett Dean’s Hamlet and covered Siegmund in Wagner’s Die Walküre with the Fort Worth Symphony. He made his New York Philharmonic debut in the world premiere of David Lang’s Prisoner of the State, directed by Elkhanah Pulitzer. Originally from Southern California, Myers received his graduate and undergraduate degrees from the Manhattan School of Music, was a Gerdine Young Artist with Opera Theatre of Saint Louis, an Apprentice Artist with Santa Fe Opera, an alumnus of the Verbier Festival Academy, and a fellow with Music Academy of the West.
d onova n s i ng l e ta ry | b a s s -b a r i t on e
Donovan Singletary GRAMMY
Award-winner Donovan Singletary has appeared with leading opera companies and orchestras, including The Metropolitan Opera, English National Opera, Berlin Philharmonic, Teatro alla Scala, and Glyndebourne Festival. He is acclaimed for his versatile repertoire and commanding stage presence. Recent highlights include Crown in Porgy and Bess with Lyric Opera of Kansas City, Elder John Lewis in a presentation of Good Trouble with Cincinnati Opera, Escamillo in Carmen with the Sioux City Symphony Orchestra, and Father Trulove in The Rake’s Progress with Opera Omaha. In 2022–2023, he debuted with the Berlin Philharmonic, returned to English National Opera for It’s A Wonderful Life, sang Crown in Porgy and Bess with North Carolina Opera and Opera Carolina, appeared with Orchestra Iowa in Verdi’s Requiem, and gave concerts and residencies across the U.S. Following the acclaimed 2021–2022 opening of The Metropolitan Opera in Terence Blanchard’s Fire Shut Up In My Bones, Singletary made debuts with Glyndebourne and the BBC Proms. He has also been featured in Anthony Davis’ Pulitzer Prize-winning The Central Park Five with Portland Opera. He has portrayed Jake and Crown in Porgy and Bess across leading houses worldwide, including The Metropolitan Opera, English National Opera/ Dutch National Opera, Atlanta Opera, Grange Park Opera, Opera Carolina, and Lyric Opera of Kansas City. On the concert stage, Singletary has performed with the Deutsche Radio Philharmonic, Latvian National Opera, Orchestre Lamoureux, and multiple appearances at Carnegie Hall. A Grand Prize winner of the Metropolitan Opera National Council Auditions, he was the youngest male in the competition’s history and received the distinguished Joseph Volpe Award.
a l a n z a br i s k i e | C horus m a s t e r
Alan Zabriskie is Director of Choral
Studies and Professor of Music at Texas Tech University, where he leads the University Choir and cultivates the next generation of choral artists through his work with graduate and undergraduate conductors. He also serves as Artistic Director of the Lubbock Chorale, guiding a community of singers in performances that celebrate both artistic excellence and shared human expression. Equally at home on the stage and in the classroom, Zabriskie has shaped a career defined by expressive programming and collaborative artistry. His ensembles have appeared at national and regional conferences of the American Choral Directors Association, the Texas Music Educators Association, and the Missouri Music Educators Association, as well as in multiple performances at Carnegie Hall including an upcoming one in April 2027. These appearances reflect a commitment to repertoire that resonates deeply with both singers and audiences. A passionate advocate for the connective power of choral music, Zabriskie has led honor choirs, festivals, and residencies across the United States and internationally throughout Europe, Africa, and Asia. Recent projects include a Baltic tour with the University Choir in Estonia, Latvia, and Lithuania, another in Mexico, and a teaching residency in Kampala, Uganda. Before joining the faculty at Texas Tech, he served for seven years as Director of Choral Activities at the University of Central Missouri and began his career teaching middle and high school choir in the Clark County School District. He holds degrees from Florida State University, Brigham Young University, and the University of Utah.
lu b b o c k sy m p h on y o rc h e st ra
CONDUCTOR
VIOLA
David Cho, Music Director The CH Foundation Endowed Conductor’s Podium
Timothy MacDuff, Principal Mary M. Epps and Ralph E. Wallingford Endowed Chair Israel Mello Jordan Stubblefield Libby Herring Vivian McDermott Jasmin Caldera Adelle Paltin Panella Tyler Chen
ASSISTANT CONDUCTOR Stephanie Burton
VIOLIN I Annie Chalex Boyle, Concertmaster Jones-Saathoff Family Endowed Chair Asher Rove Associate Concertmaster Abi Rhoades Assistant Concertmaster Abreal Whitman Josenir Alves Cerqueira Junior Grace Marín Aguilar Adan Flores Guillermo Uribe Laudino Isabella Rollans Savannah Sharp Kynlee Cook Camila Zanetti
VIOLIN II Evgeny Zvonnikov, Principal Justice Phil and Carla Johnson Endowed Chair Saikat Karmakar Assistant Principal Cassidy Forehand Christine Tao James Ellis Shirley Wigley Martha Perez Malik Winston Héctor Marchant Shih-Ying Chou Orion Mckenzie Erick Valle
CELLO Michael Newton, Principal Mary Francis Carter Endowed Chair Alejos Anaya Madeline Garcia John Marshall Sean Kelliher Patricia Lopez
BASS Mark Morton, Principal Eugene and Covar Dabezies Endowed Chair Stuart Anderson Gregory Faught Lucas Rocha, TTU School of Music Endowed Performer Fernando Almeida
FLUTE Kim Hudson, Principal Crew of Columbia, STS-107 Endowed Chair Eric Leise Spencer Hartman
PICCOLO Spencer Hartman
lu b b o c k sy m p h on y o rc h e st ra
OBOE
BALCONY TRUMPET
Susetta Rockett, Principal Lubbock Symphony Guild Endowed Chair Jordan Hastings Associate Principal
Scott Strovas Nathalie Mejia-Zec Bradley Swanson Richard Jorgenson
CLARINET David Shea, Principal Christine Polvado and John Stockdale Endowed Chair Aaron Maczak
BASSOON Ian Resurreccion, Principal Nancy and Tom Neal Endowed Chair Adam Drake Andrew Bell Sarah Boyd
HORN Quentin Fisher, Principal Anthony and Helen Brittin Endowed Chair Josh Graves Clark Hutchinson Or Natan Caleb Dent
TROMBONE James T. Decker, Principal Larry and Lucy Landusky Endowed Chair Bruce Keeling
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 Guild
TRUMPET
PERCUSSION
Gary Hudson, Principal Stacey and Robert Kollman Family Endowed Chair William Takacs Donald Burks David Lough
Christopher Mehrafshan, Principal Lisa Rogers/Alan Shinn Percussion Endowed Chair
REHEARSAL PIANIST Charles Whitehead
t h e lu b b o c k c h o ra l e Alan Zabriskie, Artistic Director/Conductor Stephanie Burton, Associate Graduate Conductor Charles Whitehead, Collaborative Accompanist Anh Van Collins, Business Manager
SOPRANO Parker Aviles Katie Ball Natalie Bandini Betsy Bass Lynn Brinckmeyer Stephanie Burton** Gabrielle Carley* Addy Davis Oxana Davis Eliza Delgado Jennifer Furey Hannah Gossett Madison Hanson Paula Hunter Dara Hutchison Karen Hybner Makenzie Hyde Chris Kimbler Hannah Lammert Wen Li Kiana Love Emily Meador Samantha Mendoza Pam Moore Katie Nielsen Mimi Pappas Kensly Peck Rebecca Puckett Claire Randolph Julie Ray Glenda Reynolds Christina Rielo Addison Rives Lindsey Sumner Christine Vanginault Kristian Villalovos Carol Ward Stephani Whaley Madeline Willis
Heidi Winkler Abby York* Kate Zabriskie
ALTO Mandi Almager Landrie Almquist* Sofia Altamirano Gwendolyn Bain Elizabeth Carroll Natalie Chandler Jo Crum Robbi Crumpler Kylie Davis Heather Dillard Carolyn Eaks Patty Freier Joy Geria* Tina Glosson Amberlynn Gonzales Haley Guenther Alyssa Guerra Beth Haney Yanadi Hernandez Aveline Hewetson Dana Hinds Stephanie Infante Patsy Jackson Ella Lacombe Faith La Lande Lizzie Lambert Maggie Lansford Erin Lich Wendy Lindsey Elizabeth Logan Bridget Mann Nicole Martens Celestina Martinez Rachael McCutcheon Destiny Pace
Samantha Pearce Kelsey Peck Emily Phillips* Kate Poudrier Lillie Ray Jessica Smith Katherine Smith* Connie Spicer Tatum Stephens Jeri Strange Linda Tyler Kate Vasquez Cynthia West-Ward Rashell Wilhoit Kayla Wimberley Saundra Wimberley Karen Wood Izzy Wright Kallie Zabriskie Lauren Ziegenhorn*
TENOR Darrell Bateman Jacob Briggs* Tyler Castillo Charlie Correa Daniel Davidson Randall Hinds Preston Hitt* Tim Hollis Weston Marshall Peter Martens Tonny Nsubuga Rolla Randel Joseph Sena* Ken Smith Chuck Starnes Ryken Tucker* Zaiden Worley*
t h e lu b b o c k c h o ra l e
BASS Kayden Bawa* Carlos Camarena Don Collier Terry Forbes James Gauna Justin R. Glosson Ken Haney Jake Hemmle* Nathan Henstrom Jared M. Hill
Connor Jenkins* Naehyeog Kang Melvin Laski Ethan Nguyen Kyle Pace Collin Smith Deushesne Ventris Walter Wilhoit Skipper Wood Kerry Wright
*Denotes TTU Scholarship Singers **2026-2027 Recipient of the Lottie Hilton and Judge Pat Moore Altrusa Club Music Scholarship
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Masterworks Program Giuseppe Verdi (1813 –1901) Messa da requiem I.Requiem Introit (chorus) Kyrie (soloists, chorus) II.Dies irae Dies irae (chorus) Tuba mirum (chorus) Mors stupebit (bass) Liber scriptus (mezzo-soprano, chorus) Quid sum miser (soprano, mezzo-soprano, tenor) Rex tremendae (soloists, chorus) Recordare (soprano, mezzo-soprano) Ingemisco (tenor) Confutatis maledictis (bass, chorus) Lacrymosa (soloists, chorus) III.Offertory (soloists)
IV.Sanctus (double chorus)
V.Agnus Dei (soprano, mezzo-soprano, chorus)
VI.Lux aeterna (mezzo-soprano, tenor, bass)
VII.Libera me (soprano, chorus) Caroline Corrales, soprano Raehann Bryce-Davis, mezzo-soprano John Matthew Myers, tenor Donovan Singletary, bass-baritone The Lubbock Chorale, Alan Zabriskie David Cho, conductor
This program is approximately 1 hr and 24 minutes; with no intermission.
WE ARE A PROUD SUPPORTER OF THE
Lubbock Symphony Orchestra
PIANSE ED AMO TUTTI ( H E W E P T A N D LOV E D FO R E V E RYO N E )
GABRIELE D’ANNUNZIO On the occasion of Verdi’s death D’Annunzio (a poet and playwright) understood that Verdi’s subject was ultimately not kings, courtesans, gypsies, jesters, or Moorish generals. It was mankind. Giuseppe Verdi’s Messa da Requiem occupies a unique place in the musical literature. It is a setting of the Roman Catholic Mass for the Dead, yet it is also unmistakably the work of the greatest Italian operatic composer of the nineteenth century—perhaps the greatest of any time or place. Monumental in scale, intensely theatrical in expression, and extraordinarily demanding of its four soloists, chorus, and orchestra, the Requiem confronts death not with serene detachment but with terror, grief, supplication, and finally an uncertain hope for deliverance. Verdi thought that 19th-century Italy had produced two cultural giants – Gioachino Rossini (1792-1868) and Alessandro Manzoni (1785-1873). The former literally invented 19th-century Italian opera. He produced a sound so new and inventive that Europe literally went Rossini-mad. Even Beethoven was jealous of the attention Rossini’s operas received. The latter produced the great Italian novel I Promessi Sposi (The Betrothed), which is renowned not only for its literary merit, but also as the work that helped establish contemporary Florentine as the principal model for standard modern Italian. This linguistic transformation began with Dante and ended six centuries later with Manzoni. That Manzoni was a Lombard but chose to write in Florentine sealed the language deal. When Rossini died in 1868, Verdi, usually the most practical of great composers, got the hair-brained idea of honoring the first anniversary of his fellow composer’s death with a requiem mass written by 13 different Italian musicians—each to write a separate part of the whole mass. The piece was completed (Verdi wrote the Libera me) but not performed until more than a century later. After Manzoni’s death (May 22, 1873), Verdi proposed to the mayor of Milan that he, and only he, write a requiem mass to commemorate the first anniversary of the author’s death. Manzoni was born and died in Milan. The mayor readily assented. Manzoni’s funeral had been held in Milan Cathedral, but the San Marco church was chosen for the requiem’s
premiere because of its size and acoustics. As the work’s premiere was held in a church, the audience could not applaud or show their appreciation for the piece. When the Requiem was performed at La Scala three days later it received a tumultuous reception. At this point in his life Verdi considered himself retired. He was a rich man and was devoting most of his time to the management of the huge estate he had acquired outside of his hometown of Busseto. But he was a practical man; so he took his requiem on the road. He led performances in Paris, London, Vienna, Cologne, and later Milan, making even more money in the process. The initial reaction to Verdi’s mass was mixed. Wagner hated it, but he hated anything by any living composer other than himself. Some criticized it for being too operatic. To know why the Verdi Requiem turned out the way it did, you must understand its composer’s approach to music. Verdi said that he had to write for the theater. Accordingly, almost all his compositions are operas. Furthermore, there are no gods or goddesses and almost no magic in them. They are filled with people subjected to the same emotional stresses as their audiences, and Verdi depicts them in music of striking aptness. That is why these characters remain so compelling. Verdi’s artistic focus was on those emotions and states of consciousness common to all of humanity. Love, hate, anger, jealousy, the relationship of parent to child, the clash of private and public obligations – all fill his works. His response to the great concerns expressed in the requiem text was therefore inevitable; it was certain how he would react to the greatest concerns of human beings depicted so vividly in the text of the Catholic Requiem Mass – death, eternal judgment, damnation, salvation, the fate of our souls. He had the greatest libretto he could ever find. And he rose to this challenge with a musical cyclone unique in liturgical music. Verdi approached the ancient Latin text with precisely the dramatic imagination that had made Rigoletto, La traviata, Don Carlos, and Aida masterpieces of the theater. Yet the Requiem is not simply an opera without scenery. Its drama is internal. The protagonist is humanity itself, standing before death and judgment. Its initial stillness is shattered by the most famous music in the score—the Dies irae, the Day of Wrath. Four blows from the full orchestra announce catastrophe. The chorus erupts with terrifying force as Verdi depicts the Last Judgment not as an abstract doctrine but as an immediate physical reality. Bass drum, brass, and blazing orchestral sonorities create one of music’s most overwhelming evocations of fear. The Dies irae returns repeatedly throughout the work, functioning almost like a recurring memory of judgment that cannot be escaped. Around it Verdi constructs a succession of sharply contrasted episodes. In the Tuba mirum, trumpets positioned both onstage and at a distance summon the
dead from their graves. In the Mors stupebit, the bass soloist contemplates death itself standing astonished before the Judge. The mezzo-soprano and soprano join in the grave, searching Recordare, while the tenor’s Ingemisco brings one of the work’s most recognizably operatic moments—a lyrical plea from the individual sinner for mercy. The bass aria Confutatis maledictis moves between images of the damned consigned to flames and the singer’s quiet prayer to be counted among the blessed. Then, almost without warning, the Dies irae returns with renewed violence. The sequence reaches its emotional center in the Lacrimosa. The Day of Judgment has become a day of tears. Instead of cosmic terror, Verdi gives us human sorrow. Soloists and chorus join in music of extraordinary simplicity and pathos, ending with an “Amen” that seems less an affirmation than an exhausted appeal for mercy. The Offertorio provides a striking change of atmosphere. The four soloists sing largely without the chorus, their intertwined lines creating a chamberlike intimacy. Here Verdi’s writing becomes contemplative, even luminous, as the souls of the departed are commended to God. The Sanctus, by contrast, bursts forth with dazzling energy. Written as a brilliant double fugue for chorus, it demonstrates that Verdi—sometimes condescendingly portrayed by contemporaries as merely a man of the theater—possessed complete command of the most rigorous contrapuntal techniques. Yet even here scholarship never becomes academic display. The music dances with joy. In the Agnus Dei, soprano and mezzo-soprano sing an austere melody first in bare octaves, answered by the chorus. Its almost archaic simplicity is among the score’s most haunting effects. The Lux aeterna, entrusted to mezzo-soprano, tenor, and bass, offers a darker and more mysterious vision of eternal light. Then comes the final Libera me, the section whose origins predate the rest of the work. The soprano stands almost alone before the abyss: “Deliver me, O Lord, from eternal death on that awful day.” The chorus responds. The terrifying music of the *Dies irae returns one final time, as though the fear that has haunted the entire work can never entirely be banished. Verdi then does something extraordinary. The chorus launches into a great fugue on the words Libera me. The music gathers momentum and confidence, seemingly moving toward a triumphant conclusion. But Verdi refuses to provide one. The fugue collapses. The soprano returns, repeating her plea in a whisper. The chorus joins her almost inaudibly, and the work ends not with certainty but with supplication.
That ending tells us much about Verdi’s conception of the requiem. He was not conventionally devout, and the work offers none of the serene assurance found in many sacred compositions. Its deepest subject is the human response to mortality—the instinctive fear of extinction, the grief of those who remain, and the desperate hope that death may not be the final word. As mentioned above, the Verdi Requiem was composed when Verdi thought his operatic career was over. Ironically, this was the time when the great British composer Benjamin Britten later said that the aging Verdi seemed to have “discovered the secret of perfection.” Always a ferociously hard worker, Verdi put everything his skill and great experience could muster into what he thought would be his last major work. Of course, two more masterpieces Otello (1887) and Falstaff (1893) were still ahead of him. Verdi’s mass is unlike any other requiem. It is a sacred opera and makes no attempt to sound “ecclesiastical.” Its connection to the listener is direct and immediate. Verdi’s failure to conform to what was expected of sacred music was the cause of contemporary criticism of his mass. After its initial success the Requiem was regularly, but not frequently, performed over the next 50 years. The Verdi Requiem can only be compared with a non-musical work – Michelangelo’s Last Judgment. Both are overpowering and evoke awe, though Verdi seems to offer a bit more hope than his fellow countryman from Florence. Verdi’s God is more forgiving and sensitive to the failings of humanity, though the horror of his Dies irae is without musical precedent. Though the Verdi Requiem is liturgically correct, the requirement of a chorus, four soloists, and a large orchestra, plus its length (about 90 minutes), has ensured that it is typically performed in the opera house or concert hall rather than in a church. The Met didn’t get to it until 1901. The company has performed it 57 times since then. The last was in 2023. It is probably the most frequently performed major choral work composed since Mozart’s Requiem. The theatrical power of the Requiem has sometimes led critics to question whether it is truly religious music. The distinction would probably have meant little to Verdi. His operas repeatedly address the most fundamental matters of human existence: love, loss, guilt, sacrifice, injustice, and death. In the Requiem those concerns are concentrated into a single overwhelming confrontation with mortality. Few composers could make the terror of judgment so frightening, the grief of the Lacrimosa so immediate, or a whispered prayer so compelling. Verdi’s Requiem does not ask its listeners merely to contemplate death. It makes
them experience, for roughly ninety minutes, the fear, sorrow, grandeur, and hope with which human beings have always faced it. In the Requiem, Verdi gathered into a single work the qualities that made him one of the supreme artists of the nineteenth century: his incomparable melodic gift, his instinct for drama, his compassion for human suffering, and his ability to speak directly to an audience’s deepest emotions. The Mass may be Catholic in text, but its reach is universal. Its terror is the terror of death; its grief is the grief of loss; its pleas for mercy express humanity’s ancient hope that death is not the final word. Verdi offers no easy reassurance. The final Libera me subsides not into triumph but into an urgent, whispered appeal for deliverance. That uncertainty is precisely what makes the work so profoundly human. D’Annunzio’s words quoted above are perhaps the simplest and truest description of the composer who gave voice to humanity’s hopes and sorrows. Program Notes by Dr. Neil Kurtzman
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MAESTRO’S CIRCLE $7,499 - $5,000
Herb and Evan Armstrong C & A McDonald Family Foundation
Elizabeth and Will Ashmore Maureen Chadwick Sue and Curtis Griffith Betsy and Thivakorn Kasemsri Dawn Kelley and Marcus Borhani Mary Jane and Tim Sampson Jo Anne M Smith Toni E. Wallingford Dr. Charles and Patricia Wheeler
MAESTRO’S PLATINUM CIRCLE $99,999-$25,000 Deena and Harold Evensky Terry Hawkins and Doug Klepper Shari and Randy Holloway Sandra and Neil Kurtzman Drs. Nadene and Roger Tipton MAESTRO’S GOLD CIRCLE $24,999 - $15,000 Patricia and Donnie Hicks Lory and Rob Ioppolo Susan and Don Maddox Laura and Monte Monroe Tricia and Peter Reed Drs. Lola and Thomas Windisch MAESTRO’S SILVER CIRCLE $14,999 - $7,500 Dolle Barker Dr. Rebeccah & Mr. Dustin Baucom Jill and Gilbert Berdine Leen and Mounir Borno Covar Dabezies Melissa and Stephen L. Faulk Patricia Freier Birgit and Brad Green Hacee and Michael Postar Katie and John Salter Shanna and James St. Clair Lyn and Mark Stoll Ralph Tamper and Don Shrum Jenny and Edson Way
MUSICIAN’S CIRCLE $4,999 - $2,500
Kasi and Chris Boutwell Dr. and Mrs. Joehassin Cordero Linda and Bryan Dunn Dr. and Mrs. Elias Ghandour John Hunter The Honorable and Mrs. Phil Johnson Virginia Kellogg Lucy and Larry Landusky Jan Ledbetter Grace and Robert Lin Sharon and Rick Martin Mary McCrary The Honorable and Mrs. Curtis Parrish Cindy and Harry Zimmerman YOUNG ARTIST’S CIRCLE $2,499 - $500
Barb and Nathan Baie Maria and Stephen Balch Nancy and Alwyn Barr Gisele Bazan Zwanetta and Walter Borst Cathy and Ray Box Mary Ann Bridges
Young Artist’s Circle, cont.
Dr. Helen and Mr. Anthony Brittin Krista and Matthew Bumstead Kathleen and Eric Burrell Cassie and Gordon Christopher Allison Clayton Sandra and Robert Crosier Joe Dominey Patti and Jim Douglass Clay Elliott Michael Epps Danielle and Mark Feist Martha Fregia Al and Jolene Gary Amy and Jason Grisham Ellen and Dennis Harp LaVelle and Tommy* Hawkins Sandy and Alan Henry Callum Hetherington Rhea and Sam Hill Janeen Drew Holmes Bobbye Hrncirik Nancy and Richard Jorgensen Julie and Joshua Kendrick Helen Kim-Sills Janice and Morris* Knox Stacey and Robert Kollman Amanda Kuhn Cindy and Kyle Laughlin Marcy Lawless Wyatt Leavell Patti and James Lupton Debbie and Conrad Lyford Carolyn Moore and Allan MacKenzie Cindy and Mark McBrayer Carla and Brad Moran Sally Murray Dr. and Mrs. Thomas Neal Robert Nebb and Cindy Kirk Tam Nguyen Gwen and Thomas Nichols Betty and Norman Orr Dr. and Mrs. Thomas Parsons Dr. and Mrs. Scott Porter Sherri and Chris Powell Melissa and Tim Pridmore Melanie and Mike Ragain Dona Richardson Stephanie and Kirk Rogers
Janice and Lowry Schaub Tracee and Dr. Scott Spore Diana and Chris St. Clair Janice Stachowiak and Cloyce Stetson Jill and Fred Stangl Karen and Randy Strange Susan Tarrant Tracy and David Tobin Jacqueline Vega and Chris Richards Teresa and Alejandro Verdugo Fred Wagner Sally Walton Darya White Joyce and Scott White FRIEND’S CIRCLE $499 - $50
Lynn and Ann Akin H. Allen Anderson Xochitl Anderton Kellie and Kenneth Blanchard David Box Jessica Brashear Dr. Ruth and Mr. Aubrey Bridges Lynn Brinckmeyer Kathy Britton Jan and Edward Broome Joana Brown Jeremy Brown Carla Burrus Kristina Butts Fedenflor Capulong Sandra Carter Mary Cato James Clopton Barry Cohen Bobbe Crawford Reyhan and Richard Crider Matthew Crow David Cummings Teri Davis Jan Davis Karl and Robin Dent Helen and Brady Duncum Gregory Fields Deborah and Craig Finlayson Mike Fisher Mark and Kim Flenniken Mark Franklin
T E X AS T E C H U N I V E RS I T Y S C H O O L O F M U S I C
FUELED BY MUSIC An unforgettable concert experience featuring the entirety of the Texas Tech School of Music
FRIDAY, NOVEMBER 6, 2026 8:00 PM BUDDY HOLLY HALL This concert is free and open to the public.
ttu.edu/music | 806.742.2274
Friend’s Circle, cont.
Dawne Franks Cynthia and Mark Funderburk David Gibson Lisa Gilliland Rhonda Giussani Constance Goodwin Marian Gossett Tyler Graham Sherry Grusendorf Jane Henry Aveline Hewetson David Hodges Jimmy Hoodenpyle Aaron Huff Cherrie Jose Alycyn Keeling Stacy Keith Margaret Kemp Gay Kernan Chee-Yun Kim Jan and Terry Kireilis Wendell Leatherwood Greg Lightfoot Diane Lowell Keri Lynn Amanda McAfee Melissa McCauley Betty and Daniel McGrath Kishor Mehta Michael Mitchell The Mitchell Family
Sheri and Bryan Mudd Jill Nelson Petie and Thomas Nicholson Sharmon and Keith Owens Mary Ellen Perez Norma Perez Vanessa Pope Patrick Poradek George Porter Janet and Davis Price Christy Reeves Mark Ribaudo Darin Richards Christy and Joel Robinett Debra Rogers Gwen Scharp Sherril and Charles Skibell Jim Smith Carmen Stein Steve Synck Linda and Tom Tenner Dave Treat Carol K Walker Wayne Weslander Dianne White Rodney White Ben Williams Joanna and Larry Willis Gay Word Wei Zhang *Deceased
lu b b o c k sy m p h on y o rc h e st ra Thanks the following Season Supporters for their support!
Alan Henry Insurance
* Lubbock National Bank
Armstrong Plumbing, Heating & Air
Mighty Wash
Blue Layer
MTS Kimbell Manufacturing
Casserole Premium Quality Beans
Prosperity Bank
* The CH Foundation
The Rea Charitable Trust
Chappell, Lanehart & Stangl, P.C.
Robinson & Malone Dentistry
Chicken Express
SS Foundation
City Bank * Double T Smiles
Texas Tech University Presidential Lecture and Performance Series
Evensky & Katz / Foldes Wealth Management
Texas Tech University Health Sciences Center
Grey Hare Analytics
Texas Tech University - Office of the President
* Helen Jones Foundation, Inc. Patricia and Donnie Hicks Hill & Ioppolo Oral and Dental Implant Surgery Shari and Randy Holloway
The United Family University Medical Center
*Lubbock Symphony Education Sponsors
M E M O R I A LS AN D H ON O RA R I U M S Dinah and David Cummings In Honor of Sally and Sam Cummings Linda and Bryan Dunn In Honor of Dawn Kelley and Marcus Borhani Heritage Study Club In Honor of David Cho Betsy and Thivakorn Kasemsri In Honor of Sam Ioppolo Susan and Don Maddox In Honor of Covar Dabezies and Courtney Jordan Dr. and Mrs. Scott Porter In Honor of David Cho Leana Divine In Memory of Patricia Marx Martha Fregia In Memory of Justin Fregia LaVelle Hawkins In Memory of Tommy Hawkins Dr. Kenneth Ketner In Memory of Berti Ketner Janice Knox In Memory of Morris Knox Gwen Scharp In Memory of Craig Crews Jo Anne M Smith in Memory of Norton Baker
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.
Buddy Holly Hall is “IN THE GROOVE”
It has been said that "Architecture is Frozen Music" So from the Musicians at MWM to the Designers in the LSO:
Maestro, Music if You Please...
MWM Architects, Inc. 2022 Broadway Avenue Lubbock, Texas 79401 Phone (806)745-7707
To our Members Elizabeth and Will Ashmore Kasi and Chris Boutwell Canzada Bray Mary Ann Bridges Maureen Chadwick Dr. and Mrs. Joehassin Cordero Bobbe Crawford Teri Davis Michael Epps Deena and Harold Evensky Melissa and Stephen L. Faulk Danielle and Mark Feist Patricia Freier Birgit and Brad Green Dr. Doug Klepper and Terry Hawkins Shari and Randy Holloway The Honorable and Mrs. Phil Johnson Dawn Kelley and Marcus Borhani Diane Lowell
Carolyn Moore and Allan MacKenzie Ann McDonald Laura and Monte Monroe Dr. Thomas and Mrs. Nancy Neal Jill Nelson Melissa and Tim Pridmore Tricia and Peter Reed The Advisor's Group, Sherryle Russell Cantu Mary Jane and Tim Sampson Janice Stachowiak and Cloyce Stetson Jill and Fred Stangl Karen and Randy Strange Susan Tarrant Carol Walker Toni Wallingford Jenny and Edson Way Dr. Charles and Patricia Wheeler Drs. Lola and Thomas Windisch
We are dedicated to supporting the Lubbock Symphony Orchestra’s mission of education and outreach by underwriting Masterworks concerts each season, allowing groups of rural or underserved students the opportunity to experience the power of a full, live symphonic performance at no cost. If you are interested in joining the LSO’s Partners In Harmony, please contact Courtney Jordan at courtney@lubbocksymphony.org or call 806-762-1688
Built for Bold New Chapters
Where curiosity never retires Join our learning network, designed for adults aged 50 or better.
OLLI.TTU.EDU 806.742.6554 OLLI@TTU.EDU
LUBBOCK HIGHLAND LAKES ABILENE FREDERICKSBURG
Your local full service string shop since 1979! Fine Bows & Instruments Rentals, Repairs, & Supplies Makers Workshop Music Lessons
(806) 701-1744 5102 Salem Ave. Lubbock, TX 79414
robinsonstrings.com
a dv i s o ry c ou n c i l , pa st c h a i r s Jack M. Lewis 1946 W.P. Clement 1947 Charles E. Maedgen, Jr. 1948 Roy Bass 1949 Rex Webster 1950 Marion Key 1951 W.R. Sewell 1952 J.C. Reynold 1953 James L. Quicksall, Jr. 1954 Asher Thompson 1955-56 Richard G. Richards 1957 Jack Kastman 1958 Joe J. Moise 1959 J. Harmon Jenkins 1960 George C. Miller 1961 Lonnie Langston 1962 John Witcomb 1963 O.W. English 1964 Asher Thompson 1965-68 Troy Myers 1969 Arthur E. Gamble 1970 Charley Pope 1975-77 C.B. Carter 1978 Robert E. Norris 1979 Dean James Allen 1980-81 Robert L. Stripling 1982 Charley Pope 1983-84 John R. Kreiger 1985 Roger Key 1986
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 Toni Wallingford
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 2021-23 2023-25
b e h i n d t h e m us i c OFFICERS
Jill Stangl, Chair Dustin Baucom, Chair Elect Brad Green, Treasurer Stephanie Rogers, Secretary Toni Wallingford, Immediate Past Chair BOARD OF DIRECTORS
Beth Ashmore Steve Balch Kasi Boutwell Maureen Chadwick Cassie Christopher Allison Clayton Covar Dabezies Clay Elliott Melissa Faulk Stephen Faulk Patty Freier Elias Ghandour Sandy Henry Rhea Hill Bobbye Hrncirik Rob Ioppolo Carla Johnson Amanda Kuhn Neil Kurtzman^ Larry Landusky Grace Lin Laura Monroe Sheri Mudd+* Nancy Neal Brenda Parrish Melissa Pridmore Mike Ragain Abi Rhoades= Peter Reed Tim Sampson Phil Sizer Andrew Stetson#* Mark Stoll Nadene Tipton
Jacqueline Vega Alejandro Verdugo Edson Way Darya White Joyce White Brian Willcutt Lola Windisch Harry Zimmerman Heather Hocker, President & CEO* ADMINISTRATION
Heather Hocker, President & CEO Eric Allen, Lubbock Symphony Chamber Orchestra Artistic Director David Cho, Music Director Katy Christy, Director of Accounting Deborah Finlayson, Development Database Manager Julia Griffith, Education Outreach Manager Libby Herring, Librarian Assistant Gary Hudson, Personnel Manager Courtney Jordan, Director of Development Israel Mello, Librarian Lee Schrader, LYO Manager Callie Watson, Director of Patron Services / External Relations (Key) + LSO Symphony Guild Representative = LSO Musician Representative # Texas Tech University School of Music Representative * Ex-officio ^ Director Emeritus
lu b b o c k sy m p h on y e n d ow m e n t s
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 Helen and Anthony Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment Lucy and Larry Landusky Principal Trombone Endowment Mary Jane and Tim 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 Jo Anne M. and Edward R. Smith Principal Piano Endowment Dawn Kelley and Marcus Borhani Musicians Support Endowment
The Lubbock Symphony Guild has contributed $830,000
There are those of us who make the music.
to the Lubbock
...then there are those of us
Symphony Orchestra since 2015.
who help make the music possible.
For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com LUBBOCK SYMPHONY GUILD We need you to help make it happen!
PANTONE (font - Novocento Wide/Adorn Pomander Custom-
PANTONE
l e t t e r f r o m lu b b o c k sy m p h on y gu i l d p r e s i d e n t Welcome! On behalf of everyone in the Lubbock Symphony Guild, thank you for joining us this evening. Your presence and continued support help make live orchestral music possible in our community. We are truly pleased to share this experience with you. For more than seven decades, Guild members have generously shared their passion, leadership, and support to ensure that symphonic music continues to enrich lives across West Texas. The Guild’s commitment extends beyond supporting performances—it is about creating opportunities for the next generation to discover the arts and become leaders in our community. Through the Debutante and Beaux Program, young women and men participate in a three-year journey focused on leadership development, community service, and music appreciation. These programs introduce students to the importance of giving back while fostering a lifelong appreciation for the arts. The Guild’s dedication is also reflected in its fundraising efforts. The annual Winter Ball—our signature fundraising event and the formal presentation of senior debutantes and beaux—and creative community projects featuring local artists provide vital support for the Lubbock Symphony Orchestra. Together, these efforts help ensure that exceptional performances and music education opportunities remain available throughout our region. I hope tonight’s concert leaves you inspired by the exceptional musicianship of our Orchestra and reminds you of the vital role our Symphony plays in enriching our community through music and education. If you share our passion for the arts, we invite you to become part of the Lubbock Symphony Guild and help us continue this tradition for generations to come. To learn more about Guild membership and how you can get involved, please visit www.lubbocksymphonyguild.com. Warm regards,
Sheri Mudd, President Lubbock Symphony Guild
SENIOR DEBUTANTES
Front Row L to R Sophie Carter Kayci Cave Shelby Rivas Sage Boyle Kristine Wischmeyer Elle Condra Rynn Riddle Sarah Poe Lauren Brashear 2nd Row L to R Hannah Owen Finley Cross Sophie Scolaro Ellison Roberts Kayleigh Lewis
Emily Aldinger Aubry Elrod Alexis Gregory Pamela Buckley Campbell Wilson Marlee Thompson Kate Harlien Addison Evans 3rd Row L to R Isabella Hernandez Ashlyn Neufeld Hope Stonestreet-Rogers Kaylee McKee Alyssa Joiner Riverson Sawyer
4th Row L to R Presley Taylor Kaelie Fincher Lula Biondi Elizabeth Williams Lola Latham 5th Row L to R Carter Piland Emersyn Cross Kaylee Jordan Hadley Payne Elizabeth Thane
March 6, 2027 | 6:00PM | FRAZIER PAVILION
Featuring Elaine Hagenberg’s Illuminare and Aeterna Via
May 8, 2027 | 7:30PM | Hemmle Recital Hall
Tickets available now at 806-770-2000 or selectaseatlubbock.com