Hot Summer Nights 2019 Program Book

Our Sponsors

Table of Contents Board of Directors............................................................. 4 2019 Festival Season Schedule........................................... 5 Letter from the Board President........................................... 6 Letter from the Maestro..................................................... 7 Conductor, Kirk Trevor, Biography....................................... 8 Assistant Conductor........................................................ 10 Missouri Symphony Orchestra.......................................... 12 Free Family Concerts....................................................... 15 Musician Chair Sponsors.................................................. 17 Music Sponsors.............................................................. 19 It’s a Grand Night for Singing!........................................... 21 Buster Keaton in The General............................................ 27 Chamber Recital Series.................................................... 29 Dvořák and Brahms......................................................... 31 Harry Potter meets Luke Skywalker.................................... 37 Paul D. Higday Mozart Music Trust..................................... 38 Carmen......................................................................... 39 Patriotic Pops................................................................. 55 The Texas Tenors............................................................. 57 Orchestral Fireworks....................................................... 61 Membership Form........................................................... 66 Missouri Symphony Members........................................... 68 Donors & Supporters....................................................... 72 Missouri Symphony League.............................................. 76 Past Presidents............................................................... 80 Mission & History............................................................ 82 Patron Services & Helpful Information................................ 85 Directory of Advertisers................................................... 86

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Board of Directors OFFICERS

DIRECTORS

PRESIDENT Shelter Insurance

Modern Media Concepts

Brendon Steenbergen

University of Missouri

Courtney Bouska

Nancy Griggs

EXECUTIVE DIRECTOR

State of Missouri - Retired

Rachael Norden

Arlene Heins

OFFICE COORDINATOR

Carrollton High School Retired

Sarah Williams

Tina Workman

Brandon Banks

VICE PRESIDENT University of Missouri

Janice A. Harder SECRETARY Law Office of Janice A. Harder

Julia Gaines

Michael Kateman

Garry Weiss

STAFF

Kirk Trevor MUSIC DIRECTOR AND CONDUCTOR

CONSERVATORY COORDINATOR

University of Missouri

TREASURER Weiss Financial Innovations, LLC

Julie Middleton University of Missouri Retired

Gwen Jones PAST PRESIDENT VA Hospital - Retired

Dale Parker State Farm Insurance

Nicolette Robovsky Pletz and Reed Law Firm

Jolene Schulz

In Memory of

Hugo Vianello 1970-2018 Founder and Conductor Laureate

Dr. Arthur E. Rikli 1994-2015 President Emeritus

Columbia Public Schools Retired

Tom Stone Flat Branch Home Loans

Lucy Vianello Co-founder - The Missouri Symphony

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Season Schedule AN AMBUSH OF CONDUCTORS! Sat., June 1 7:00 pm Missouri United Methodist Church

FREE FAMILY CONCERT: MR. BEETHOVEN VISITS COLUMBIA Wed., June 5 7:00 pm Missouri Theatre

FREE COMMUNITY CONCERT: STRIKE UP THE BAND! Thurs., June 6 7:00 pm Stephens Lake Amphitheater A GRAND NIGHT FOR SINGING! Sat., June 8 8:00 pm Missouri Theatre

STRIKE UP THE BAND! – TAKE 2

DVOŘÁK AND BRAHMS Sat., June 15 7:30 pm Missouri Theatre

FREE COMMUNITY CONCERT: SHELTER GARDENS Sun., June 16 7:00 pm Shelter Gardens

RESIDENT OPERA ARTISTS RECTIAL Mon., June 17 7:00 pm Broadway Christian Church

FREE FAMILY CONCERT: AROUND THE WORLD IN 80 MINUTES Wed., June 19 7:00 pm Missouri Theatre

HARRY POTTER MEETS LUKE SKYWALKER Fri., June 21 8:00 pm Missouri Theatre

FREE COMMUNITY CONCERT: LUNCH IN THE PARK Thurs., June 27 12:00 pm Douglass Park

OPERA: CARMEN BY BIZET Sat., June 29 7:30 pm Missouri Theatre

PATRIOTIC POPS Tues., July 2 7:30 pm Missouri Theatre

MSO WITH THE TEXAS TENORS Sat., July 6 8:00 pm Missouri Theatre

ORCHESTRAL FIREWORKS Sun., July 7 4:30 pm Missouri Theatre

Sun., June 9 7:00 pm Lake Ozarks Amphitheater CHAMBER RECITAL Mon., June 24 CHAMBER RECITAL 7:00 pm Mon., June 10 Broadway Christian 7:00 pm Church Broadway Christian Church FREE FAMILY CONCERT:

BUSTER KEATON IN THE GENERAL Wed., June 12 7:00 pm Missouri Theatre 573. 875. 0600 themosy.org

TALES & SCALES Tues., June 25 6:30 pm Daniel Boone Regional Library

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Message FROM THE Board President Welcome, On behalf of the Missouri Symphony Board of Directors, I welcome you to the sixteenth annual Hot Summer Nights Music Festival!

The Missouri Symphony was co-founded by Hugo and Lucy Vianello forty-nine years ago, which means this organization is approaching our fiftieth anniversary! Maestro Kirk Trevor has been conducting the Missouri Symphony Orchestra (MSO) for nineteen years and this year has put together some of the best performances yet.

Our Festival will feature the flagship Masterworks Series with the greatest orchestral classics performed by our international orchestra and world class soloists. Be sure to check out music to die for with Carmen and consider an outfit to match. The Pops series will include a semi-staged production of Rodgers and Hammerstein music (think Sound of Music or Oklahoma!), The Texas Tenors (which includes dancing and a street party), come dressed as your favorite character for Harry Potter Meets Luke Skywalker, as well as Patriotic Pops and Orchestral Fireworks. There will also be Chamber Series concerts, Community Concerts, Free Family Series (fun for all ages) and check out the trains in a Silent Film accompanied by the MSO. This festival, our Conservatory, and many other events throughout the year would not be possible without the wonderful support of our membership, our donors, our volunteers, our corporate sponsors, and advertisers. Thank you for allowing us to offer the largest classical and pops music festival in the region. Every year we try our best to bring you the quality of experience you deserve as a music lover. A big thanks to you, our audience, for being here to breathe life into Maestro Trevor’s vision of a world class festival. Also thank you to the staff of the Symphony for you countless hours on the Symphony’s behalf.

If you love the music we offer, please consider joining as a member (form available on page 66) or providing an additional donation.

President, MOSY Board of Directors

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Message FROM THE Maestro Welcome to the 2019 Hot Summer Nights Music Festival. As Music Director of the Missouri Symphony, I am proud to lead this wonderful orchestra you will hear tonight and throughout the duration of the festival.

Hot Summer Nights, as one of the largest music festivals in the Midwest, has developed a following throughout the state, as a place where an eclectic mix of music styles and tastes will come together in an intense and exciting cultural and entertaining experience. Whether you choose just one concert or multiple events during the festival, I hope that we are able to bring to you an evening or afternoon that makes you want to return for more.

This year we welcome back old friends (or young friends really!) like Angie Zhang who has been performing with us almost since high school. Now she is a major artist in the classical music field, and we are delighted to see her again.

Our opening Pops concert is a project I have been wanting to do for years but could never find the way to do it in such a short period of time. Fortunately, an old friend who sang with the orchestra several years ago, reached out to me about the very same idea. So Melissa Bohon and I have been putting together this potpourri of Rodgers and Hammerstein musicals starting with his first and ending with his last. Melissa reached out to friends of hers who could join us to produce a semistaged production of the best of R&H. My thanks to Melissa and her dad Bob for all their work on this project.

Old friends, The Texas Tenors return to celebrate their 10th Anniversary together, and we are proud to present the first concert of their Anniversary tour.

How about new friends? This past March I was honored to be on the jury for the Texas Young Artists competition in Houston, an intense four-day national competition for young singers and instrumentalists under thirty years old. It was just an amazing competition with more then sixty contestants. In the end as a winner we chose cellist Luke Goodman, and I immediately asked him if he would consider performing in Hot Summer Nights, so now you will get to hear a young performer at the beginning of what we hope will be a distinguished career.

I hope you will consider becoming a supporter of the Missouri Symphony as outlined in many places in this program book. Through your support, not only does Hot Summer Nights thrive, but our educational programs with the Missouri Symphony Conservatory, and the Columbia public schools thrive also. Our mission to educate and nurture young listeners and young performers, as well as bringing the best symphonic music to the Columbia region is not only a noble goal, but an important one to enhance the cultural life of our community. With your help, that mission can be achieved.

I hope you have a wonderful summer and thank you for your support.

With musical best wishes, Kirk Trevor, Music Director.

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Kirk Trevor Music Director & Conductor

Internationally known conductor, recording artist, and teacher Kirk Trevor is a regular guest conductor in the world’s concert halls. Born and educated in England, he graduated cum laude in cello performance and conducting. He furthered his conducting studies with the late Sir Adrian Boult and cello with Paul Tortelier. He came to the United States in 1975 on a Fulbright grant and subsequently became resident conductor of the Dallas Symphony Orchestra. He then served as music director of the Knoxville Symphony Orchestra for eighteen years until 2003, when he became conductor laureate.

With the Knoxville Symphony, Trevor achieved record ticket sales eleven consecutive years. Innovative programming and a focus on reaching new audiences, whether Generation Z or baby-boomers, enabled Trevor to reach first time concert-goers with programs that were entertaining, engaging, and educational. It is part of his life-long philosophy to make classical music relevant within 21st century culture.

Maestro Trevor also served as music director of the Indianapolis Chamber Orchestra for twenty-seven years until 2015, leading the orchestra in a variety of subscription programs orchestral and choral. He now serves as music director laureate.

In 2000, Trevor became music director of The Missouri Symphony Orchestra. He has led the orchestra in the summer music festival since 2001 and in 2004, transformed it into the Hot Summer Nights Music Festival, expanding the program to include classical, pops, family and chamber series, as well as silent movies.

In 2011, he created and conducted the first Symphony of Toys Holiday Concert, which is now an annual tradition. These concerts support the Toys for Tots program and are sponsored by Shelter Insurance.

In 2007, Trevor founded The Missouri Symphony Conservatory, a new initiative to train, educate, and inspire young musicians in a variety of activities through the Children’s Chorus (founded in 2002). Trevor also founded and directs the four orchestras within the Conservatory: Overture Strings, Junior Sinfonia, Young Artists Philharmonic, and Chamber Players. He strives to create a program that nurtures and develops the total musician within

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each student and inspires them to achieve extra-musical and communicative goals rather than just performance-related goals. The award-winning Conservatory now numbers nearly one hundred students.

It has been through Maestro Trevor’s devotion to music education and his involvement in the training and development of new generations of listeners, that he has developed an international following from other musicians and conductors. He is widely recognized as one of the leading conducting teachers in the world. His International Workshop for Conductors is in its twenty-seventh year and draws more than fifty conductors from around the world to study with him. He also teaches annually in Brazil and recently has taught in Hong Kong, Norway, Czech Republic, Bulgaria, Switzerland, and throughout the United States. His unusual conducting technique is based on the physics of the tennis ball and has made him the technique “guru” to more than seven hundred students worldwide.

As a guest conductor, Maestro Trevor has appeared with more than forty orchestras in sixteen countries. He made his London Symphony Orchestra debut in 2002 and his Carnegie Hall debut in 2007. From 1995 to 2000 he was music director of the Martinu Philharmonic Orchestra in the Czech Republic, and from 2002 until 2005 he was principal guest conductor of the Slovak Radio Symphony Orchestra.

Since 2001, Trevor has been a regular fixture in the recording studios of the world.

He has made more than one hundred and fifteen recordings of music, ranging from the Baroque to the current day and from choral requiems to video game scores, including Diablo II. His latest project has been for the Amazon Prime TV series Mozart in the Jungle, where he has recorded the music as well as served as a conducting teaching model for the actors. He records for EMI, Naxos, Albany, Navrona, and Crystal labels, with a special emphasis on new American composers and on accompanying many of the world’s great soloists including Richard Stoltzman, Joshua Pierce, John Manasse, Phillipe Quint, and Chloe Hanslip among others. He is one of the world's most recorded conductors of the past thirty years with more than 110 CDs. In Columbia, Maestro Trevor has an active cello studio with twelve students each year.

He enjoys working with young cellists, to find their inner musical soul, while developing a technical base that serves and enhances the musical needs of each student.

Maestro Trevor is an avid collector and has an extensive collection of 19th-century British stamps and an unusually fine collection of antique powder compacts. As an even more avid sportsman, he plays golf, tennis, and soccer, and is a fanatical Cavaliers fan hoping for another championship winning season! He is married to Slovak harpist, Maria DuhovaTrevor, with whom he has a harp-cello duo Fifty-One Strings. They have four children. His daughter Chloe Trevor frequently appears as a solo violinist on the world’s concert stages, often with her father as conductor. The Trevors maintain homes in Columbia and Bratislava.

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David Štetch Assistant Conductor David Štech is the Artistic Director of the New York Conducting Institute and Assistant Conductor at Sarasota Opera and Opera Southwest. He has conducted the Florida Orchestra, the Bohuslav Martinů Philharmonic, the New Symphony Orchestra (Bulgaria), and others. He’s also worked with Charlottesville Opera, St. Petersburg Opera, Opera Theater of Lucca Italy, Opera in Williamsburg, and dell’Arte Opera Ensemble. Štech’s Carnegie Hall debut was in 2013 conducting Puccini’s Madama Butterfly, and he made his Lincoln Center debut conducting Wagner’s Die Walküre in 2014, both with New York Lyric Opera.

After completing his masters in conducting at Northwestern University, Štech was selected as a conducting fellow with the American Symphony Orchestra League, the Chicago Civic Orchestra, and the Chicago Symphony Chorus. He was invited to Tanglewood where he was awarded the Leonard Bernstein Conducting Fellowship. He was appointed Associate Conductor of the Chicago Youth Symphony Orchestra, and Music Director of both American Opera Group and Chicago Choral Artists. He became the Associate Conductor of the Astoria Symphony and New York Lyric Opera. Štech’s primary instruments are the piano and the organ. He also received formal training as a young singer in the church and was appointed as organist and choirmaster at his local Lutheran parish at age 15. He has since held posts at various churches of several denominations and continued to conduct and sing in professional choral ensembles, including the Chicago Symphony Chorus and the William Ferris Chorale. He is currently the organist and choirmaster of St. John’s Anglican Episcopal Church in Passaic, NJ. Such a broad foundation has allowed Štech to follow in the footsteps of great maestri of the past, who knew the breadth of choral, operatic, and orchestral literature. Moreover, Štech also has served as a vocal coach for opera singers for decades, allowing him to know the art song and operatic canon inside and out. A proponent of music education, Štech has brought interactive performances to public schools and is a respected adjudicator for high school music festivals and competitions. Along with his wife Mun-Tzung Wong, he established the New York Conducting Institute, which produces professional conducting workshops, symposia, and conferences, designed to provide opportunities for conductors at all levels of experience to study with exceptional pedagogues, network with colleagues, and to connect with publicists and artist managers. Among NYCI’s initiatives is strong advocacy for female conductors, who are vastly underrepresented, especially on the opera podium.

Maestro Štech has served on the faculty of DePaul and Roosevelt Universities, the University of Illinois in Chicago, and the prestigious Manhattan School of Music, where he has taught since 2009. Štech’s own mentors include Kurt Masur, Gustav Meier, Paul Nadler, Larry Rachleff, Robert Gutter, and Kirk Trevor. He is an alumnus of the Pierre Monteux School for conductors.

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Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor

Missouri Symphony Board of Directors Hugo Vianello Conductor Chair

David Štech, Assistant Conductor VIOLIN Felicia Brunelle Concertmaster ( FL) Dr. R.C. & Caroline Arnold Concertmaster Chair

Graham Woodland (CT)

Dr. David & Nancy Bedan Violin Chair

Sarah Ann Harmsworth (OH)

CELLO David Machavariani, Co-Principal (Rep. Georgia & IN) Alice Havard, Cello Chair

Shannon Merciel , Co-Principal (MA) Linda K. Lyle, Cello Chair

Dr. Ronald & Dorothy Sprouse IMMVAC, Inc. Violin Chair

Adrian Gomez (Spain & IA)

Alex Norris (TX) Carolina Neves Merritt (Brazil & MO)

Mary Manulik (MO)

Elizabeth Ramos (CT)

BASS Sean O’Hara, Principal (TN)

Jane Crow, Violin Chair

Edward & Judith Chmielewski Violin Chair

Pedro Ramiro (Brazil & MO) Solveig Geenen (MO) Siri Geenen (MO)

Bob Suits Memorial Cello Chair

Alexander Smith (MO)

Rex & Jeanne Sinquefield Principal Bass Chair

Diego Martinez (TN) Nathan Raney (MO)

Amy Appold (MO)

Jeanne Sinquefield (MO)

Amanda Bradshaw (MO)

FLUTE Katie Velasquez Principal (TX)

Renan Leme (Brazil & MO) Hans Bridger Heruth (MO) Johanny Veiga Barbosa (Brazil and MO) Annika Moser (MO)

Edward & Judith Chmielewski Conservatory Apprentice

Linnea Geenen (MO) Missouri Symphony League Conservatory Apprentice

Eric Kwon (MO)

Missouri Symphony League Conservatory Apprentice

VIOLA Jenwei Yu, Principal (Taiwan & IL)

Edward & Judith Chmielewski Viola Chair

Missouri Symphony League Lucy Vianello Flute Chair

Allison Parramore (MA)

John and Heather Darby Flute Chair

Tamila Frietas de Souza (Brazil & MO) Doris C. Brandt Memorial Piccolo Chair

OBOE Luca de la Florin (UT)

Dr. Bruce and Kathy Gordon Oboe Chair

Chanmi Kim (NY) Dr. H. Jerry Murrell Oboe Chair

Lauren Hynes (MO) Dan Willett (MO)

Julian Graef (OH)

Dr. James and Anne Campbell Viola Chair

Dustin Frieda (MO)

CLARINET Chris Chance, Principal (TX)

Briana Frieda (MO)

Marianne Shifrin (AZ)

Grant Bradshaw (MO)

Wes Warnhoff (MO)

Morgan Owen (MO)

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BASSOON Taylor Smith (NY)

Stephen and Joan Mudrick Bassoon Chair

PERCUSSION Matt Richards (TX)

Dave and Nancy Griggs Percussion Chair

Austin Way (KS)

Brianna Trainor (MO)

HORN Scott Millichamp, Principal (TX)

Julia Gaines (MO)

Elizabeth Peters Horn Chair

Nick Auer (TX)

Dr. Lawrence Morehouse Memorial Horn Chair

Marcia Spence (MO)

HARP Maria Duhova Trevor (MO & Slovakia)

Dr. James & Judy Elliott, Dr. and Mrs. John Van Stone and Dr. Gilbert & Donna Ross Harp Chair

Sonja Kassal (TX)

PIANO Ketevan Badridze (IN)

TRUMPET Alan Evans, Principal (FL)

Mun-Tzung Wong (NY)

Benjamin Fairfield (TX) Iskander Akhmadulin (MO) Chris Farris (MO) TROMBONE Joshua Bledsoe (FL) Wes Lebo (TN) Johanna Griffiths (MO) Tim Howe (MO) Todd Yatsook (MO) Jared Smith (MO) TUBA Luke Vetter (MO) Ryan Matejek (MO) TIMPANI Brian Tate (MO)

LIBRARIANS David Å tech, Maria Trevor, Morgan Owen PERSONNEL MANAGER Brianna Trainor PRODUCTION MANAGER Wes Lebo ASSISTANT STAGE MANAGER Brian Tate

Missouri Symphony League Timpani Chair

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Tell Us Your Story Person-centered senior care

At Cedarhurst of Columbia, we understand that each resident has a unique story. We want to hear yours.

Together, we’ll build a relationship centered on an individualized care plan supported by community, trust, safety and dignity.

To learn more about the senior living community that helps you achieve the right balance of independence and support, please contact us at (573) 273-9124.

Cedarhurst of Columbia 2333 Chapel Hill Road Columbia, MO 65203 CedarhurstColumbia.com

Free Family Concerts Each family program includes fun, hands on events including the “Parade of Semi-Conductors” where all children are invited to the stage to conduct the orchestra. Additionally, on June 19, discover our post-concert instrumental “petting zoo” where children can get up close and personal with various orchestra instruments.

Wednesday, June 5 at 7:00 pm Missouri Theatre

MR. BEETHOVEN VISITS COLUMBIA

A look at Mr. Beethoven; his life and struggles with deafness. With the orchestra performing works from his earliest pieces on, we will also meet some young local pianists performing some of his favorite piano works! Little ones can participate in the “Parade of SemiConductors” during this concert event!

Wednesday, June 19 at 7:00 pm Missouri Theatre

AROUND THE WORLD IN 80 MINUTES

A diverse and fun program that takes us around the musical world in 80 minutes! We will travel by hot air balloon, boat, jet airplane, and electric car, to many different countries and meet the most famous composers of each country. Children can participate in the “Parade of Semi-Conductors” during this concert event and the instrument petting zoo after the show!

Tuesday, June 25 at 6:30 pm Daniel Boone Regional Library

TALES & SCALES

We read story book tales to just the right musical accompaniment!

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OCA AD Find a festival, take in a show, explore a museum, get lost in a gallery, discover public art...

Arts guides and events calendar available at WWW.COMOARTS.COM

OtoCast Download the dio app for an au public tour of all the art in CoMo! 16

Musician Chair Sponsors Dr. R.C. and Caroline Arnold, Concertmaster Chair Dr. David and Nancy Bedan, Violin Chair Doris C. Brandt Memorial, Piccolo Chair Dr. James and Anne Campbell, Viola Chair Ed and Judith Chmielewski, Viola Chair Ed and Judith Chmielewski, Violin Chair Jane Crow, Violin Chair Dr. James and Judy Elliott, Dr. Gilbert and Donna Ross, Dr. and Mrs. John Van Stone, Harp Chair Dave and Nancy Griggs, Percussion Chair Alice Havard, Cello Chair Linda K. Lyle, Cello Chair The Missouri Symphony Board of Directors, Hugo Vianello Memorial Conductor Chair Missouri Symphony League, Lucy Vianello Flute Chair Dr. Lawrence Morehouse Memorial, Horn Chair Stephen and Joan Mudrick, Bassoon Chair Elizabeth Peters, Horn Chair Rex and Jeanne Sinquefield, Principal Bass Chair Dr. Ronald and Dorothy Sprouse IMMVAC, Inc.,Violin Chair Missouri Symphony League, Conservatory Apprentices Missouri Symphony League, Timpani Chair Dr. H. Jerry Murrell, Oboe Chair Dr. Bruce and Kathy Gordon, Oboe Chair Bob Suits Memorial, Cello Chair

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10th annual

Mizzou International

Composers Festival July 22-27, 2019 Columbia, Missouri Alarm Will Sound

“…one of the most vital and original ensembles on the American music scene” presents works by guest composers Donnacha Dennehy, Amy Beth Kirsten, and more.

Thursday, July 25 7:30pm • Missouri Theatre

Mizzou New Music

Featuring the Mizzou New Music Ensemble and Mizzou Percussion Friday, July 26 7:30pm • Missouri Theatre

Dismal Niche Presents: Eli Keszler

"For more than a decade, Eli Keszler has dismantled the idea of what a drum can be and how it should sound..." -Pitchfork Friday, July 26 9:30pm • Cafe Berlin

Khemia Ensemble

Formed by eight performers and two composers, Khemia incorporates poetic, visual, and interactive technology into its compelling performances of music by living composers.

Saturday, July 27 11:00am • Whitmore Recital Hall

Eight World Premieres

More than 250 composers from around the world applied, the top eight are here for world premieres, performed by Alarm Will Sound.

Saturday, July 27 7:30pm • Missouri Theatre

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Music Sponsors These Missouri Symphony supporters have generously contributed to provide the music for the following works for the 2019 Hot Summer Nights Music Festival.

SPONSOR

PIECE OF MUSIC

Drs. Joss and Kristen Fernandez and Terry and Arlene Heins Beethoven, Prometheus Overture Edward Coe Dvořák, Cello Concerto Eric Laux and Courtney Bouska Rodgers and Hammerstein selections from The King and I Donna Rice Sousa, Powhatan’s Daughter March Patricia Gulmez Sousa, Semper Fidelis March Lynn and Patricia Hostetler

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Verdi, Overture to La forza del destino

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PRESENTED BY

POPS

It's a Grand Night for Singing!

Saturday, June 8• 8:00 pm • Missouri Theatre

Central Bank of Boone County presents

It’s a Grand Night for Singing!

The Classics of Rodgers and Hammerstein Missouri Symphony Orchestra, Kirk Trevor, Music Director Columbia Chorale, Emily Edgington Andrews, Conductor HSN Rodgers and Hammerstein Ensemble, Bob Bohon & Trent Rash, Conductors Vocal soloists Melissa Bohon, Soprano • Cary Miller, Mezzo-soprano, Will Sevedge, Tenor • Jazz Rucker, Baritone Director and Choreographer, Melissa Bohon ACT 1 Interlude – Overture.....................................................................Orchestra Oklahoma (1943) Oh What a Beautiful Mornin’.................................................... Will Sevedge People Will Say We’re In Love........................... Melissa Bohon & Will Sevedge Out of my Dreams........................................................... Women’s Ensemble Oklahoma.................................................................................... Ensemble Carousel (1945) The Carousel Waltz.......................................................................Orchestra If I Loved You...............................................................................Jazz Rucker June Is Bustin’ Out All Over..................................... Cary Miller and Ensemble Soliloquy....................................................................................Jazz Rucker You’ll Never Walk Alone...........................................Joy Powell and Ensemble ACT 2 State Fair (1945) It’s A Grand Night For Singing.................................Jazz Rucker and Ensemble South Pacific (1949) Younger Than Springtime.........................................................Will Sevedge A Wonderful Guy........................................................................ Cary Miller There Is Nothing Like A Dame.............................................. Men’s Ensemble Some Enchanted Evening............................................................Jazz Rucker King and I (1951) Hello, Young Lovers...............................................................Melissa Bohon I Whistle a Happy Tune.......................... Melissa Bohon and Cooper Rainwater I Have Dreamed.................................................Will Sevedge and Cary Miller The Sound of Music (1959) The Sound of Music..................................................................... Cary Miller Do-Re-Mi............................................ Melissa Bohon with Von Trapp Children My Favorite Things..........................................Melissa Bohon and Cary Miller Climb Every Mountain.............................................Joy Powell with Ensemble 573. 875. 0600 themosy.org

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POPS

A Grand Night for Singing!

CAST: Director/ChoreographerMelissa Bohon Music Director-Bob Bohon Costume Designer-Victory Mongillo Lead Soloists: Soprano-Melissa Bohon Tenor-Will Sevedge Mezzo-Cary Miller Baritone-Jazz Rucker Liesl Von Trapp-Abby Rainwater Friedrich Von Trapp-Spencer Rainwater Louisa Von Trapp-Laykin Leitnaker Kurt Von Trapp-Cooper Rainwater Brigitta Von Trapp-Katarina Connor Marta Von Trapp-Laila Lovelady Gretl Von Trapp-Sophia Canepa Guest: Dr. Joy Powell

Ensemble: Trent Rash Bob Bohon Julian Foley Matt Howard Sean Garfias Russ Wayne Boyer Ryan Kenney Taylor Stewart Jeani Stannard Kourtnei Tucker Sarah Ehlmann Adriannah Silvey Helen Fletcher Joey Belmore Anthony Blatter

Katrin Hunter Dani Major Joel Rodriguez Dacia Slater Preston Wilson Jr. Anna Yanessa Gabby Ewert Mia Gayle Lexi Holder Cat Lemmon Emily Madsen Alyssa Meisenheimer Danielle Simpson Julia Vuolo Ella Witt

Special Thanks to: Trent Rash and Stephen’s College Nollie Moore and Columbia College Joy Powell and University of Missouri Hallie Reives-Rainwater and RBHS

Melissa Bohon-Director/Choreographer/Soprano Melissa Bohon is so grateful to Maestro Trevor for the unique opportunity to direct this piece with such a talented group and to be singing with the incredible MOSY once again! A Columbia native, Melissa grew up on the Lyceum Theatre stage where she played the role of Helen in the “Miracle Worker,” Scout in “To Kill a Mockingbird,” Zaneeta in the “Music Man,” and recently Mrs. Mayor in “Suessical!”

After graduating form RBHS Melissa headed to Cincinnati College Conservatory of Music, where she received her BFA in Musical Theatre. After graduation she moved the NYC and was cast in the Broadway revival of ‘Fiddler On the Roof” where she performed the role of Chava with Alfred Molina, Harvey Fierstein and Rosie O’donnell. It was on this very stage that her highschool sweetheart proposed! Of course, she said yes!

Melissa has also performed the role of Glinda in the First National Tour of ‘Wicked’ with a stop in Kansas City and toured with Tokyo Philharmonic as a featured Soloist. Other roles include, Ado Annie in “OK!” Minnie Fay in “Hello Dolly!” Little Sally in “Urinetown,” the Narrator in “Joseph” at Maple Rep. and more! Now residing back in Columbia with her hubby, Melissa has been keeping busy as Hallmarks “Hug Lovin’ Hippo,” shooting multiple commercial for Columbia College, Feliway, Lending Tree, Academy Bank, Mercy Children’s Hospital, Complete Home Concepts, etc as well as being mommy to 3 amazing kids! She has also directed “And a Guitar” (Maples), “Into the Woods,” “The Secret Garden,” “Charlie

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Brown,” “Assassins” (CC) and “Joseph” (TRYPS). And finally, Melissa has written and produced her first production of “Home For the Holidays!” coming again in Dec of 2019 with the illustrious Boonslick Chordbuster’s of Columbia! Unending thanks to God, her incredible parents and in-laws (without which, none of this would be possible), and her beloved and supportive husband, Corey!

Bob Bohon-Music Director Bob Bohon lives in Columbia, Missouri. After a distinguished career as a music educator, he has toured as a performer in 41 states and internationally. Bob holds a Masters degree in Music Education from the University of Missouri, and has been recognized as an outstanding educator with Columbia Public Schools in 2000 as well as the Hall of Leaders Award in 2011. During his tenure at Rock Bridge Senior High School he served as music director/conductor for over 50 musicals, established the Tech Theatre classes, designed and supervised set building, established the Musical Theatre class, Concert Choir, Chamber Choir, Women’s Chamber Choir, three competition shows choirs (City Lights, Satin n' Lace, Green Machine), and initiated the Rock Bridge Show Choir Festival. In addition to his duties at Rock Bridge, Bob has directed and performed in numerous musicals for local community theatre, TRYPS Children’s Theatre, Stephens College, Columbia College, and the Swinney Conservatory of Music. He has been a performer and musical director regionally at the Lyceum Theatre in Arrow Rock, the Maples Repertory Theatre in Macon and the Sandbox Theatre in upstate New York. A few of his roles include: Nicely, Nicely in “Guys and Dolls”, Neal Tildon in “1940’s Radio Hour”, Sancho in “Man of La Mancha”, Emile in “South Pacific”, John Adams in “1776”, Harold in “The Music Man”, Beadle Banford in the national tour of “Sweeney Todd” (John Doyle director/advisor, David Loud music director), Old Deuteronomy in “Cats” at the Arizona Broadway Theatre in Phoenix, and Scrooge, Fezziwig, and Ghost of Christmas Present in three consecutive national tours of “Scrooge in Concert” with New York Stage Originals, and The Police Commissioner in the Ivan Jacobs production of “Phantom of the Opera” in Jakarta, Indonesia, and most recently Hipockets Duncan in the Laguna Beach Playhouse production of “The Buddy Holly” musical, Marcus Lycus in”A Funny Thing Happened on the Way to the Forum”, and Teddy in “Arsenic and Old Lace”.

Cary Miller-Mezzo Cary grew up in Grandview, Missouri and is a graduate of the University of Missouri where she earned a BS in Human Environmental Sciences with an emphasis in Child Life Therapy. She was a member of Kappa Alpha Theta and Omicron Delta Kappa, and in 1997 was crowned Homecoming Queen. In the summers she performed at Worlds of Fun in Stax of Wax and at the Tivoli. After her internship at Children’s Mercy Hospital, Cary decided to follow a life long dream of her’s and move to NYC and become an actress. She lived in NYC for 13 years and traveled around the country performing. Some of her favorite credits include: The National Tours of Seussical starring Cathy Rigby and Little Women starring Maureen McGovern; Linda Mason in Holiday Inn; Peter Pan in Peter Pan, Alice in Matilda; Sister Mary Robert in Sister Act; Wednesday Addams in Addams Family; Dainty June in Gypsy, Chava in Fiddler on the Roof starring Paul Sorvino; Olive in Spelling Bee; Maggie in A Chorus Line; Margy Frake in State 573. 875. 0600 themosy.org

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POPS

A Grand Night for Singing Fair; Carrie in Carousel; Little Red Ridinghood in Into the Woods; Penny in Hairspray; Smitty in How to Succeed In Business Without Really Trying; Deb in Elf; Miss Lark in Mary Poppins and Sandra in Big Fish.

In 2009 while playing Peter Pan in RI at Theatre by the Sea, she met Aaron, who was music directing the show. They quickly hit it off and two years later were married and four years after that welcomed their daughter, Maddie, into their lives. After a stint in Lancaster, PA they now reside in Philadelphia where Cary continues to perform on stage and play the most exciting role of Mommy. She’s so excited and honored to be back in Columbia. M-I-Z!!!

Will Sevedge-Tenor Will Sevedge is beyond proud to be returning to his home state for this concert. Born and raised in Columbia, Will went to Rock Bridge Senior High School where he participated in several solo and ensemble performances. Spending most of his summers at The Arrow Rock Lyceum Theatre, you may have seen Will in shows such as ‘The Fantasticks’ and ‘1776’. Since leaving Missouri Will graduated from the Hartt School Theatre Conservatory at The University of Hartford, Connecticut. He was a featured soloist with the Hartford Symphony Orchestra as well as The Goodspeed Opera House. Now an actor in New York City, Will has been seen more recently performing at the famous Birdland Jazz Club and in the Bound for Broadway Concert Series at Lincoln Center hosted by Liz Callaway. Many Thanks to our director Melissa and so much love to Will’s family and friends who made it to the beautiful Missouri Theatre.

Jazz Rucker-Baritone Jazz Rucker, Baritone, is excited to be joining the Missouri Symphony this summer. He serves as a Lee’s Summit North choir director and vocal director for the musical. He has worked as a vocal director and production director for over 10 years. Mr. Rucker was awarded the Missouri Choral Directors Association “Prelude Award” for excellence in teaching in the vocal arts. Mr. Rucker has performed as the title role in Frank Wildhorn’s Dracula and Seaweed in Hairspray. Jazz also played a few operatic roles for the Show-Me Opera. He was Maestro Spinelloccio in Puccini’s Gianni Schicchi, 2nd Priest in Mozart’s The Magic Flute and Dr. Falke in Strauss’s Die Fledermaus. Jazz would like to think his wife, Tara Rucker and their two children, Brynlynn and Berkley for their endless care and support.

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FALL AUDITIONS August 17, 2019 10 AM to 2 PM BROADWAY CHRISTIAN CHURCH MUSIC CENTER 2601 WEST BROADWAY COLUMBIA MO

All instrumentalists are welcome to audition with two scales and a piece of their own choice.

For details and an audition time, contact: Conservatory Coordinator 573.

875. 0600 conservatorycoordinator@themosy.org 573.875.0600 themosy.org

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POPS

Buster Keeton Silent Film Wednesday, June 12 • 7:00 pm • Missouri Theatre

The General Directed by.......................................Clyde Bruckman/Buster Keaton Produced by......................................Joseph Schenck/Buster Keaton Written by.................................................................... Al Boasburg Based on.............................................. The Great Locomotive Chase ....................................................................... by William Pittenger Cinematography........................................................... Bert Haines Distributed by.............................................................United artists Release date......................................................... February 5, 1927 Cast: Johnnie Gray, Buster Keaton Annabelle Lee, Marion Mack Union Captain Anderson, Glen Cavender General Thatcher, Jim Farley Annabelle’s Father , Charles Henry Smith Annabelle’s Brother, Frank Barnes Music composed and orchestrated by Carl Davis (1987)

The Missouri Symphony Orchestra Conducted by Kirk Trevor

The General (1927) is an imaginative masterpiece of dead-pan "Stone-Face" Buster Keaton comedy, generally regarded as one of the greatest of all silent comedies (and Keaton's own favorite) - and undoubtedly the best train film ever made. The Civil War adventure-epic classic was made toward the end of the silent era. Posters describing the slapstick film heralded: "Love, Locomotives and Laughs." However, Keaton's greatest picture (arguably) received both poor reviews by critics (it was considered tedious and disappointing) and weak boxoffice results (about a half million dollars domestically, and approximately one million worldwide) when initially released in the late 20s, and it led to Keaton's loss of independence as a film-maker and a restrictive deal with MGM. It would take many decades for the film to be hailed as one of the best ever made.

573. 875. 0600 themosy.org

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POPS

Buster Keeton Silent Film Filled with hilarious sight gags and perfectly timed stunt work, the chase comedy was written and directed by Buster Keaton and Clyde Bruckman, and filmed with a huge budget for its time ($750,000 supplied by Metro chief Joseph Schenck). It is memorable for its strong story-line of a single, brave, but foolish Southern Confederate train engineer doggedly in pursuit of his passionately-loved locomotive ("The General") AND the woman he loves.

His stoic, unflappable reactions to fateful calamities, his ingenious and resourceful uses of machines and various objects (water tanks, a large piece of timber, a cowcatcher, a rolling artillery cannon on wheels, and unattached railroad cars), and the unpredictable forces of Nature, provide much of the plot.

The film's fictionalized plot was based on Lieut. William Pittenger's Daring and Suffering: A History of the Great Railway Adventure (aka The Great Locomotive Chase), a true Civil War story of the daring raid/seizure by a group of about two-dozen Union spies (led by civilian spy James J. Andrews) of a Confederate train near Atlanta (at Marietta, Georgia) in April of 1862. They attempted to ride "The General" back into the Union, meanwhile wrecking communications, tracks, and bridges along the return way to Union-occupied Chattanooga (about 140 miles away). Within just 10 miles of safety at the border, the Union group was captured and Andrews and seven of his Raiders were later hanged as spies in Atlanta in June, 1862. Congress created the Medal of Honor in 1861-62 and posthumously awarded it to some of the Raiders (James Andrews, leader of the raiders, was not in the military and therefore not eligible).

The original tale (told from a Northern perspective) was reworked for the film - the tale was told from the point of view of the South and a Southern engineer, a second return train-chase was added, and a heroine named after Edgar Allan Poe's Annabelle Lee was also introduced.

A second film was also made to depict the raid - Walt Disney's The Great Locomotive Chase (1956), with Fess Parker as mastermind Union spy James J. Andrews.

The General displays marvelous technical and structural perfection, playful comic inventiveness and realistic romance, and non-chalant graceful, fluid athleticism on the part of Keaton - the Great Stone Face. Realistic stunts (without stuntmen to double for Keaton), uncontrived, free-flowing set-pieces, non-stop motion, and a preoccupation with authenticity make parts of the film a visual history of the American Civil War, with each shot looking like a Matthew Brady photograph. Part of the film was shot near Cowan, Tennessee, between Nashville and Chattanooga. Another locale for the film was around Cottage Grove, Oregon alongside Oregon's Row River, where a half-mile stretch of narrow-gauge track was found for the two ancient, wood-burning, steam locomotives that figured prominently in the film (the General and theTexas). [Note: The original antique locomotive, the General, on display in Chattanooga at Union Station since 1911, was not used in the film. The Texas was the locomotive that used for the river-gorge crash sequence.]

Each half of the film is predominantly composed of two train chases over the same territory.

Each scene in the chase of the first half has a counterpart in the film's second half. In the first chase, loyal Southern engineer Johnnie pursues the blue-coated spies who have stolen The General and escaped to the North. In the second half, the Union spies chase Johnnie in his re-possessed General back to the South. The film concludes with a climactic battle at a river gorge, with the dramatic crash of the pursuit train into the Rock River in the film's most spectacular scene - and the most expensive shot of the entire silent era.

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Chamber Series

PRESENTED BY

Missouri Symphony Orchestra musicians perform in small groups with a wide range of repertoire from the baroque to the very newest works. Chamber Recitals offer audience members a unique opportunity to get close to the musicians and meet with them after the concerts.

Monday, June 10 Monday, June 17

A very special choral and instrumental concert with the Resident Opera Artists and the Missouri Symphony Orchestra.

Resident Opera Artist biographies begin on page 46.

Monday, June 24

ALL CONCERTS BEGIN AT 7:00 pm Broadway Christian Church 2601 West Broadway, Columbia, Missouri

Thank you to our Chamber Recital Sponsors!

The Missouri Symphony League Dr. Jiri and Mrs. Gloria Beranek Paul and Marta Miceli

573. 875. 0600 themosy.org

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MASTERWORKS

Dvořák and Brahms Saturday, June 15 • 7:30 pm • Missouri Theatre

Dvořák Cello Concerto and Brahms 4 Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor David Štech, Assistant Conductor

Lukas Goodman, cello

Strauss...................................................... Overture to Die Fledermaus David Štech, conductor Dvořák............................................. Cello Concerto in B Minor, Op.104 1. Allegro 2. Adagio ma non troppo 3. Finale: Allegro moderato Lukas Goodman, cello

INTERMISSION Brahms...................................................... Symphony No. 4 in E minor 1. Allegro non troppo 2. Andante moderato 3. Allegro giocoso 4. Allegro energico e passionato

573. 875. 0600 themosy.org

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MASTERWORKS

Dvořák and Brahms Lukas Goodman Lukas Goodman began playing the cello at the age of 11, studying with Anne Bennett at the community music school in his hometown of Winchester, Massachusetts. Goodman was a member of the Boston Youth Symphony and the Boston Philharmonic Youth Orchestra while in high school. This fall Goodman will begin his fourth year at Rice University’s Shepherd School where he studies with Desmond Hoebig. While at Rice, Goodman has won First Prize in the Shepherd School Concerto Competition, as well as a Gold Medal at the 35th annual Young Texas Artists Music Competition. Goodman has performed in masterclasses for renowned musicians such as Laurence Lesser, Lynn Harrell, Carter Brey, and members of the Brentano Quartet. Additionally, Goodman has studied with cellists such as Frans Helmerson, Hans Jensen, Steve Doane, Yeesun Kim, and Paul Katz. A devoted chamber musician, Goodman has attended the Perlman Music Program’s Chamber Music Workshop and Winter Residency, as well as the Heifetz International Music Institute, and the Meadowmount School of Music, where he has worked with coaches such as Merry Peckham, Joel Krosnick, Roger Tapping, David Geber, and members of the Borromeo Quartet. This summer Goodman will be attending the Young Artists Program at the National Arts Center in Ottawa, as well as the Aspen Music Festival on a full scholarship where he will study with Richard Aaron and Wolfgang Emanuel Schmitt. Upcoming concerts include performances of the Dvořák Cello Concerto with the Shepherd School Symphony Orchestra under Maestro Larry Rachleff and the seasoning opening recital for the Verreaux Collective in the Woodlands.

Strauss Overture to Die Fledermaus The hugely prolific Johann Strauss II was not even meant to be a composer: Papa Strauss tried to convince him to undertake a more secure career. Yet by the time of Die Fledermaus ("The Bat") in 1874, Johann junior was internationally acclaimed. In 1872, he'd even undertaken a concert tour of the United States. The work has long been regarded as a classic example of the Viennese operetta, a genre that initially emerged in mid-century Paris.

Superficially, the mixture of spoken text and musicalized numbers is also reminiscent of the format of the Singspiel (in contrast to Italian opera) that Mozart perfected in The Magic Flute. Die Fledermaus drew on both German and French theatrical sources for its story of farcically confused identities at a Viennese masked ball. The premiere was in April of 1874, but, like Handel's Messiah, Die Fledermaus has become irrevocably associated with a particular time of year: New Year's Eve. The Overture is formally similar to the "potpourri"-type of overture that would later become familiar on Broadway: essentially a parade of tunes to come within the stage work it introduces, with the perky, chromatic three-note motif heard at the very top serving as binding material.

There's an echt Strauss waltz vigorously scored for strings, which recurs, while overall Strauss manifests an unerring feel for just the right rate of change. And the operetta's moral? Blame it all on the champagne.

Dvořák Cello Concerto in B minor, Op. 104 Written at the end of Dvořák's three-year tenure as director of the National Conservatory in New York, the Cello Concerto reflects some of the composer's American experiences but is at the same time filled with the spirit of his beloved Bohemia where he longed to return.

The idea of writing a cello concerto certainly had something to do with American experiences: Dvořák was inspired by the example of his colleague at the National Conservatory, cellist-composer Victor Herbert, who performed his own Second Cello Concerto with Anton Seidl and the New York Philharmonic in March 1894. As a young man, Dvořák had already written a cello concerto; however, that work was never orchestrated. And in the case of a cello concerto, orchestration is a matter of crucial importance, since the low pitch of the instrument makes

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it more difficult for it to stand out against a full orchestral texture. The 24-year-old Dvořák may not have been prepared to meet this challenge, but three decades later, the mature composer knew how to solve the problem.

He solved it not simply by reducing the volume of the accompaniment, but by placing the solo cello into a variety of constantly changing combinations with selected wind soloists from the orchestra. This results in a delicate, almost chamber music-like instrumental writing in which the timbre of the cello comes into full display.

It is remarkable that despite this chamber-music quality, the concerto has a certain symphonic grandeur one doesn't find in most other Romantic cello concertos (Schumann, Saint-Saëns).

Dvořák continues the Beethoven-Brahms tradition in which solo passages (including several prominent ones for the flute) are balanced by full-fledged orchestral statements. The orchestra's role is not restricted to mere accompaniment: it always shares the limelight with the soloist and often even takes center stage. That is because, clearly, this concerto is much more than a virtuoso showpiece for the soloist. It is in many ways a dramatic, even tragic, work, from its somber opening to the unprecedented closing section of the finale. We have a great deal of evidence to show that Dvorák was grappling with important life issues as he was writing it. Musicologist Michael Beckerman has discussed some of these issues in a highly readable and illuminating book that every Dvořák lover would read with pleasure.

The concerto memorializes Dvořák's sister-in-law Josefina Kaunitzová, who became seriously ill shortly after the composer had begun work on the concerto. It is no secret that, as a young man, Dvořák was deeply in love with Josefina but their union was not to be; instead, the composer ended up marrying Josefina's sister.

In the second movement of his cello concerto, Dvořák quoted one of his own songs ("Lasst mich allein" [Let Me Be Alone], Op. 82, No. 1) which, according to leading Dvořák biographer Otakar Šourek, was a favorite song of Josefina's and its appearance here is a personal tribute. This view is supported by the fact that this melody returns at the end of the concerto, in the part that Dvořák revised after his return to Bohemia, and after Josefina's death. Here Dvořák made the almost unheard-of decision of inserting a wistful and elegiac slow section in the middle of a finale that has up to this point been dominated by a spirited dance melody.

What is more, the solo cello is joined here by a second solo voice coming from the concertmaster: the combination of violin and cello (high and low) creates unmistakable associations with an operatic love duet. Precisely at the moment when one would expect a final presto to begin, the music drifts more and more into sadness. The dramatic first theme of the opening movement is recalled, as is a variant of Josefina's song. It is apparently only with some effort that Dvořák gathers up enough momentum for a few measures of Allegro vivo to end the concerto.

- Notes, by Peter Saki Brahms Symphony No. 4 in E minor, Op. 98 “I shall never write a symphony!” Johannes Brahms famously declared in 1872. “You can’t have any idea what it’s like to hear such a giant marching behind you.” The giant was Beethoven, of course, and although his music provided essential inspiration for Brahms, it also set such a high standard that the younger composer found it easy to discount his own creations as negligible in comparison. Four more years passed before Brahms would finally sign off on his First Symphony. But once he conquered his compositional demons he moved ahead forcefully. Three symphonies followed that first effort in relatively short order: the Second in 1877, the Third in 1882–83, and the Fourth in 1884–85. Each is a masterpiece and each displays a markedly different character. The First is burly and powerful, flexing its muscles in Promethean exertion; the Second is sunny and bucolic; and the Third, though often introspective and even idyllic, mixes in a hefty dose of heroism. With his Fourth Symphony, Brahms achieves a work of almost mystical transcendence born of opposing emotions: melancholy and joy, severity and rhapsody, solemnity and exhilaration. Brahms’s friend and musical confidant, Clara Schumann, recognized this play of duality already in the first movement, observing, “It is as though one lay in springtime among the blossoming flowers, and joy and 573. 875. 0600 themosy.org

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MASTERWORKS

Dvořák and Brahms sorrow filled one’s soul in turn.” Brahms was well aware of his distinct achievement in this work. He composed it during two summer vacations at the Mürzzuschlag in the Styrian Alps — the first two movements in the summer of 1884, the second two in the summer of 1885. On many occasions he was known to suggest that his compositions reflected the places in which they were written. In this case he wrote from Mürzzuschlag to the conductor Hans von Bülow that his symphony-in-progress “tastes of the climate here; the cherries are hardly sweet here — you wouldn’t eat them!”

Brahms was given to disparaging his works — he once described this symphony as “another set of polkas and waltzes” — but in this case he perfectly evoked the bittersweet quality that pervades many of the Fourth Symphony’s pages. Although it is cast in the same classical four-movement plan as his earlier symphonies, Brahms’s Fourth seems more tightly unified throughout (largely through the pervasive insistence on the interval of the third — especially the minor third), and its movements accordingly proceed with a terrific sense of cumulative power.

Brahms conducted the World Premiere of his Symphony No. 4, leading the Meiningen Ducal Chapel Orchestra, and he subsequently took the work on tour with that group to several cities in Germany and the Netherlands — but not before the orchestra’s conductor, Hans von Bülow, conducted a second performance in Meiningen. Von Bülow was one of the most prominent conductors and pianists of the day — and a champion of Brahms’s music. He offered effusive praise of the symphony during initial rehearsals, jotting these notes: “Difficult, very difficult. No. 4 gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last.”

Brahms included a real scherzo in a symphony, quite a contrast to the lighter, even wistful allegretto intermezzos that had served as the third movements of his first three. And for his finale, Brahms unleashes a gigantic passacaglia, a neo-Baroque structure in which an eight-measure progression (here derived from the last movement of Bach’s Cantata No. 150) is subjected to 32 variations of widely varying character. As soon as he completed the work, Brahms sent copies to several of his trusted friends and was miffed when they all responded with concern over this or that.

His confidante Elisabet von Herzogenberg insisted that she respected the piece, but she allowed of the first movement that “at worst it seems to me as if a great master had made an almost extravagant display of his skill!” His friend Max Kalbeck suggested he throw away the third movement entirely, use the finale as a free-standing piece, and compose two new movements to replace them. Brahms did not cave in, but he anticipated the symphony’s premiere with mounting apprehension. His music had long been criticized as “too intellectual,” and Brahms knew that his Fourth Symphony was at least as rigorous as anything he had previously composed. To his amazement, the symphony proved a success at its premiere and audience enthusiasm only increased in subsequent performances.

Today it stands as a monument to the majestic craftsmanship, that we see developing through four distinctly different symphonies. Having struggled to come to terms with writing a first, he goes on to give us four of the greatest works in the symphonic form. For me as a young boy and student, the fourth was always the first of his symphonies. It was always the one that Youth Orchestras in England played, and the list of popularity was almost inverse to the American order. Whereas I grew up playing the fourth followed by three and two, I had never heard the first symphony until I came to the US, such was its lack of popularity in Britain at the time. I still see the fourth as a giant of the genre, but with repeated performances and learning the others in depth, I have a new appreciation for the first and second. But the fourth is still my favorite that brings back so many memories of learning about Brahms. As a cellist in a professional piano trio, I was performing as much Brahms chamber music as any composer, and that later taught me how to conduct music that so clearly speaks for itself, without the need for extra emotional outpouring from the conductor. It is a work that teaches conductors, that our greatest gift to music is to be a composer’s advocate. Offer what we feel the composer has to say, rather than what we have to say about the composer.

-Kirk Trevor

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Book by Terrence McNally Music and Lyrics by Lynn Ahrens and Stephen Flaherty Director Dr. Joy Powell Musical Director Christine Jarquio Nichols

Rhynsburger Theatre on the MU campus 6:00 pm: July 13 7:00 pm: July 11 - 12, and July 18-20 2:00 pm: July 14, 17, 21 Tickets: Rhynsburger Theatre box office Mon - Fri, 2p - 5p (573) 882-PLAY (7529) online at theatre.missouri.edu

POPS

PRESENTED BY

Harry Potter Meets Luke Skywalker Friday, June 21 • 8:00 pm • Missouri Theatre

Compass Chiropractic presents

Harry Potter Meets Luke Skywalker

Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor Act 1 Music from Harry Potter Movies Harry Potter and the Sorcerer’s Stone (2001)...................... John Williams Harry Potter and the Chamber of Secrets (2002)................. John Williams Harry Potter and the Prisoner of Azkaban (2004)................. John Williams Harry Potter and the Goblet of Fire (2005)...........................Patrick Doyle Harry Potter and the Order of the Phoenix (2007)........... Nicholas Hooper Harry Potter and the Half-Blood Prince (2009).............. Nicholas Hooper Harry Potter and the Deathly Hallows: Part 1 (2010)......Alexandre Desplat Harry Potter and the Deathly Hallows: Part II (2011)......Alexandre Desplat

INTERMISSION

Act 2 Music from Star Wars Movies John Williams, composer Star Wars: Episode 4: A New Hope (1977) Star Wars: Episode 5: The Empire Strikes Back (1980) Star Wars: Episode 6: Return of the Jedi (1983) Star Wars: Episode 1: The Phantom Menace (1999) Star Wars: Episode 2: Attack of the Clones (2002) Star Wars: Episode 3: Revenge of the Sith (2005) Star Wars Episode 7: The Force Awakens (2015) Star Wars Episode 8: The Last Jedi (2017) 573. 875. 0600 themosy.org

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Paul D. Higday Mozart Music Trust The Missouri Symphony Board of Directors recognizes the generosity of the Paul D. Higday-Mozart Music Trust. For the past 30 years, the Trust has brought the finest in classical performers to the Missouri Theatre, from the Dover Quartet and the Academy of St. Martin in the Fields to violinist Philippe Quint, the Juilliard String Quartet and The King’s Singers. Concerts are offered as Paul Higday’s gift to the community. Ticket prices are reasonable so that all community members can attend the concerts. Proceeds benefit the The Missouri Symphony’s efforts.

Paul D. Higday Paul D. Higday is an excellent example of a person who wished to share his passion for fine music and art with this community. He did so through gifting to the Museum of Art & Archeology at the University of Missouri an original Renoir painting “Femme Portrait Un Seau” and, most significantly, by establishing a Trust commonly referred to as the “Higday Mozart Music Trust” by which he generously funded outstanding cultural musical performances for this community since 1987. This Trust also provides classical music over KBIA radio and in other ways, such as through a music outreach program for area elementary and high school students administered through the School of Music at the University of Missouri, so those students will be exposed to classical music at an early age.

Higday maintained a life-long love of classical music, particularly for the music of Wolfgang Amadeus Mozart with whom he felt a deep kinship. “Mozart was a special individual who can communicate to everyone. It is this feeling for the music and for the man that I wish for every person to experience.”

My first attachment to the music of Wolfgang Amadeus Mozart is recalled as clearly as though the experience had happened earlier today. I was in my car driving, listening to classical music. I recall parking at home, listening to the remainder of the selection being played. I realized how truly unusual and beautiful it was, and it created an emotional experience for me unlike any other I had ever had. I loved nearly all types of music, but from the moment the selection had ended and the composer was announced as being Mozart, I was a total captive and lover of his music. This love has continued until the present. We have discovered the precious quality in his music that is not to be found in that of any other composer. It is this feeling for the music and for the man that I wish for every person to experience. It is a feeling which is indescribable and it has to be an ultimate of human experience.

- Paul D. Higday (1909-1984)

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PRESENTED BY

MASTERWORKS

&

Carmen

Saturday, June 29 • 7:30 pm • Missouri Theatre

The Paul D. Higday Mozart Music Trust and Commerce Trust Company present

Carmen

By Georges Bizet Libretto by Henri Meilhac and Ludovic Halévy Based on the novel by Prosper Merimée First performed at Opéra Comique, Paris, France, March 3, 1875

Directed by Christine Seitz Lighting Design by Megan Baum Scenic Backdrops by J. Galt Design

Missouri Symphony Orchestra Conducted by Kirk Trevor Opera Coach and Pianist Mun-Tzung Wong Orchestral edition by Bryan Higgins, by arrangement with Motet Music Publishing Company CAST IN ORDER OF VOCAL APPEARANCE

Moralès, a soldier....................................................Samuel Wright Micaëla, a village girl ............................................ Anna Mandina* Don José, a soldier....................................... John David Nevergall* Zuniga, a Captain................................................... Jeremy Wagner Carmen, a gypsy..................................................... Sarah Nordin* Frasquita, friend of Carmen...................................... Cassandra Gal Mercédès, friend of Carmen........................................Martha Allen Escamillo, Toreador.............................................José Maldonado* El Dancaïro, a smuggler................................................ Evan Babel El Remendado, a smuggler........................................ Truman Grant *2019 Resident Opera Artist 573. 875. 0600 themosy.org

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MASTERWORKS

Carmen

OPERA CHORUS Tara Boydston Madison Lombardo Mariah Dale Kate Mosier Tâmila Freitas de Souza Madison Myers Stevenson Forsythe Morgan Owen Amanda Furtick Alice Anna Reese Allyson Gortmaker Donna Walter Alicia Isdes Denise Weigand Priya Jaconson Emeline Yort

Synopsis There will be two 15-minute intermissions, after Act I and after Act II.

Act I In a square in the city of Seville, a group of soldiers pass the time watching people go by.

Moralès gets interested in the young, pretty, and obviously naïve Micaëla. She tells him she is looking for another soldier, Don José, and Moralès tells her he will come on duty shortly. Don José comes in and takes over guard duty. Zuniga, the Captain, comes out to watch the factory women when they come outside to have their morning break. After the women sing the lovely cigarette chorus, Carmen enters. She knows that all the men want her, and she plays to the crowd, singing the ‘Habañera.’ Carmen notices that Don José is not paying attention to her.

She throws a flower in his face, and then goes back into the factory with the rest of the women. Don José is thinking about her when Micaëla comes back, bringing him a care package and a message from his mother in their home town. After Micaëla leaves, José promises to himself that he will marry her. Suddenly, there is an uproar in the factory, and the women pour out into the street, fighting with each other. Zuniga realizes that Carmen started the fight, and he gestures to José to arrest her. Zuniga tries to interrogate Carmen, but she only sings ‘Tra la la…’ to him, and he leaves her for José to handle. Carmen converses with José, skillfully turning his disinterest for her into infatuation. He loosens her handcuffs, and she flees from the square. Zuniga arrests José for allowing the prisoner to escape.

Act II In Lillas Pastia’s tavern, Carmen and her two comrades, Frasquita and Mercédès, entertain the patrons with a gypsy song and dance. The ladies then try to get all the patrons, including Zuniga, to leave, but at that moment, the toreador Escamillo arrives with an entourage of adoring fans. Escamillo entertains the crowd with his ‘Toreador Song,’ and afterward, notices Carmen, who brushes him off. Escamillo and his fans leave, and Dancaïro and Remendado, two smugglers, enter and discuss the next caper with Carmen, Frasquita and Mercédès. Carmen refuses to leave with them, saying she is waiting for Don José. José sings from outside as he approaches the tavern, and Dancaïro tells her to try to get José to join their enterprise. The gypsies leave, and José enters. Carmen gives him a private show, and as she dances, José hears a bugle call in the distance, calling him back to his post. He tries to leave, and Carmen throws a fit. José draws a flower out of his uniform and shows Carmen that it has been next to his heart all the time that he was in prison. She tells him she won’t believe he loves her unless he runs away to the mountains with her and joins her comrades, and he refuses. Just as he is leaving to return to his regiment, there is a knock on the door. It is Zuniga, who has returned, hoping to find Carmen

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MASTERWORKS

Carmen

alone. Zuniga discovers José, and scorns him. As the two begin to fight, the gypsies enter and disarm Zuniga. They escort Zuniga away, and then José realizes that he has no choice but to join the gypsies, who revel in their freedom and their life under the open sky.

Act III & Act IV Carmen, José, and the smugglers arrive at their mountain hideout. José broods about leaving his home and his mother, and Carmen sarcastically tells him to leave. Frasquita and Mercédès lay out their cards and read their own fortunes. Carmen takes a turn, and all she can see in her cards is her death. After everyone has gone off to make camp and set up the watch, Micaëla arrives. She has journeyed into the mountains alone, on a search for Don José. She prays to God to help banish her fear and be able to stand up to Carmen. José shoots at someone moving in the distance, and shortly after, Escamillo enters. He has followed Carmen, and José challenges him to a knife fight. Carmen and the smugglers break up the fight, and before he leaves, Escamillo invites everyone to his next bullfight. The smugglers discover Micaëla hiding. She begs José to return home to visit his dying mother. After a standoff with the smugglers, José leads Micaëla away.

In a square in Seville, the crowd has gathered to watch the parade of the bullfighters approaching the arena. Escamillo arrives at the end of the parade, escorting Carmen. He enters the arena to wild acclaim from the crowd. Frasquita and Mercédès warn Carmen that Don José is lurking nearby. Carmen stays to confront him. José and Carmen have a brutal fight in the street while the crowd in the arena cheers for Escamillo’s victory. José finally stabs Carmen to death, as the crowd rushes out.

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MASTERWORKS

Carmen

Christine Seitz, Stage Director Christine Seitz has been the Director of the Resident Opera Artist Program since its inception in 2016, most recently directing the production of La Bohème in last summer’s Hot Summer Nights Festival. She has been Director of Show-Me Opera the University of Missouri since 2008, where she is currently Teaching Professor of Music and Voice Area Coordinator.

She was on the staff at Des Moines Metro Opera as a stage director for the Apprentice Artist Program from 2006 through 2013, and she was the founding Opera Director for the Pine Mountain Music Festival in Michigan’s Upper Peninsula, directing and producing operas there from 1992 through 2002. She has been a guest director for the University of Kentucky Opera Theatre, the Florentine Opera of Milwaukee (educational outreach productions), the University of Wisconsin-Madison and Luther College. She has created original translations and supertitles for productions at the Florentine Opera of Milwaukee, the Pine Mountain Music Festival, the University of Wisconsin-Madison, the Dubuque Symphony and the University of Nevada Las Vegas.

Christine Seitz is an established dramatic soprano, and she recently appeared with the MU Choral Union, singing the soprano solo in the Gloria from Beethoven’s Missa Solemnis.

She appeared with the Des Moines Metro Opera in their 2012 season, singing the role of Madame Larina (Eugene Onegin). She has also sung operatic roles with the Seattle Opera, the Dallas Opera, Madison Opera, the Los Angeles Opera, the Toledo Opera, Kentucky Opera, the Florentine Opera of Milwaukee, Central City Opera, and in Europe with the Wuppertaler Bühnen and the Stadttheater Bern. She has also sung in concert with the Waukesha Symphony, the Greater Lansing Symphony Orchestra, the Caramoor Festival, the Germanfest Symphony in Milwaukee, the Cincinnati May Festival and the Las Vegas Philharmonic.

Mun-Tzung Wong, Opera Coach and Pianist Hong Kong native, Mun-Tzung Wong, the founder and director of New York Conducting Institute, is on staff at the Manhattan School of Music.

A collaborative and solo pianist in New York City, she has appeared on WQXR and performed at venues such as Carnegie Hall, Symphony Space, Alice Tully Hall, Steinway Hall and Lincoln Center. She has worked with maestros Kurt Masur, Philippe Entremont, and George Manahan. She has been engaged with organizations as the assistant conductor including International Vocal Arts Institute, St. Petersburg Opera Company, New Rochelle Opera, Regina Opera, Norwalk Symphony Orchestra, Missouri Symphony Orchestra, Macau Youth Symphony, and Orchestra dell’Opera di Parma.

As a teaching artist, Wong maintains a private instrumental and vocal coaching studio in New York City. She studied conducting with maestros including Larry Rachleff, Don Schleicher, Kirk Trevor, and Paul Nadler. Recognized for her sense of style and musicality, as a mezzo-soprano, she has recently appeared as a concert soloist at performances of Mozart Requiem, Mass in C minor, Vivaldi Gloria, Bach Magnificat, and Duruflé Requiem, Bach St John Passion, Handel Messiah. Last May, she made her role debut as Zweite Dame in Die Zauberflöte at Opera America and a recent debut of Eboli in Verdi’s Don Carlo in Philadelphia.

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INTRODUCING OUR 2018 RESIDENT OPERA ARTISTs

Anna Mandina American soprano, Anna Mandina, recently made her mainstage debut as Liù in Sarasota Opera’s Diamond Anniversary production of Turandot.

Last summer, Anna performed with the Missouri Symphony where she debuted the role of Mimì in La bohème. Last season, Ms. Mandina understudied the role of Micaëla in Carmen with Sarasota Opera, and MASTERWORKS in summer of 2017, Anna performed the role of Eva Crowley in the East Coast premiere of Jack Perla's An American Dream with Opera Maine.

Other roles include Countess Almaviva (Le nozze di Figaro), Violetta Valéry (La traviata), Anne Trulove (The Rake’s Progress), Susannah Polk (Susannah), Fiordiligi (Così fan tutte), and Hanna Glawari (The Merry Widow). Her partially performed roles include Suzel (L’amico Fritz), Marguerite (Faust), Donna Anna (Don Giovanni), Die Marschallin (Der Rosenkavalier), and Rosalinda (Die Fledermaus). Anna has performed with the Missouri Symphony, Sarasota Opera, Opera Maine, Boston Conservatory Opera, Opera Company of Middlebury, Seagle Music Colony, the Houston Grand Opera Young Artist Vocal Academy, and the Show-Me Opera Program.

Ms. Mandina most recently received the Sarasota Opera Guild Leo M. Rogers Award for an Outstanding Apprentice Artist. She also received an Encouragement Award in the 2015 Kansas City District Metropolitan Opera National Council Auditions, and won the Music Teacher’s National Association Young Artist Vocal Competition in 2014.

Anna holds a Bachelor of Music degree in Vocal Performance from the University of Missouri, and a Master of Music in Opera Performance from The Boston Conservatory.

Immediately following her time in Missouri, Anna will be making her mainstage debut with Opera Maine as Zweite Dame in Die Zauberflöte. Next year, Anna is thrilled to return to Sarasota Opera where she will sing the incredible role of Mimì in 13 performances of Puccini’s La bohème.

Carmen

John David Nevergall Originally from Elmore, Ohio, John David Nevergall’s formal music training began with, and focused upon, classical and jazz percussion.

His work in vocal music came to the fore only after he completed much of his graduate education. While spending his days working as a bus driver, John David made his professional opera debut as Rodolfo in Opera Columbus’ award-winning production of La Bohème. Since that time, John David has appeared around the United States, including engagements with Tulsa Opera, Nevada Opera, Central City Opera, Cleveland Opera Theater, and Opera Project Columbus. As a concert soloist, John David has performed numerous masterworks, including Verdi’s Messa da Requiem, Mendelssohn’s Elias, and Handel’s Messiah. In April of 2016, he made his debut at Boston’s historic Symphony Hall as the Tenor Soloist for Beethoven’s Symphony No. 9 with the Boston University Symphony Orchestra, under the direction of renowned maestro Ken-David Masur.

John David is an alumnus of the Boston University Opera Institute, where he was a student of Jerrold Pope. In addition, he has trained as an apprentice artist with Tulsa Opera, Central City Opera, and Des Moines Metro Opera. John David was named a winner in the Boston District of the Metropolitan Opera National Council Auditions in 2016. During the following year, he was selected as a Phyllis Curtin Artist by the Boston University Opera Institute. Along with these honors, John David has received awards from the Gerda Lissner Foundation, The

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MASTERWORKS

Carmen

Ohio State University, and Central City Opera.

Most recently, John David appeared as L’Imperatore Altoum in Turandot at Tulsa Opera and as Monostatos in Die Zauberflöte with the Indianapolis Symphony Orchestra. Next season, he will be returning to Tulsa Opera to perform the roles of The Snake/ Vain Man in Rachel Portman’s The Little Prince.

Sarah Nordin Praised by Opera News for the “clear beauty” of her voice and her “spot-on comic timing,” mezzo-soprano Sarah Nordin brings an exquisite blend of vocal artistry and strong dramatic instincts to a variety of repertoire across opera and concert stages. Sarah appeared as a Resident Opera Artist with the Missouri Symphony in 2017, singing the roles of Flora and Annina in La Traviata. Ms. Nordin’s 2018-2019 season features several role debuts including Dama in Macbeth at Opera Tampa, and The Conductor – a role written specifically for her – in the world premiere of Dan Montez’s In bocca al lupo! at Taconic Opera. This season, Ms. Nordin also returned to Opera Tampa in one of her signature roles, Prince Orlofsky in Die Fledermaus, and sang Rosina in Il barbiere di Siviglia with Opera Orlando, Geneva Light Opera and The Gulf Coast Symphony in Fort Myers, FL. Upcoming engagements include Maddelena in Rigoletto with St Petersburg Opera and Orlofsky in Die Fledermaus with Orlando Opera.

An accomplished Mozartean, Ms. Nordin has garnered critical acclaim for her interpretation of several of the composer’s most memorable roles. Recently, she made her debut as Zerlina in Don Giovanni at Opera Orlando and Geneva Light Opera. She has sung Dorabella in Così fan tutte a number of times, including at Opera Tampa, Winter Opera of St. Louis, and Opera Orlando. The St. Louis Post praised her “rich mezzo-soprano that fit Mozart’s music like a glove” and Ladue News called her singing “uniformly splendid.” She has also appeared as Cherubino in Le nozze di Figaro at Opera del West and Long Island Opera, as Marcellina at Hubbard Hall Opera Theatre, and as Third Lady in the The Magic Flute with Salt Marsh Opera. Her upcoming Mozart roles are Cherubino in Le nozze di Figaro with Geneva Light Opera and Zerlina in Don Giovanni with Nickel City Opera.

Other notable recent engagements for the mezzo-soprano include Charlotte in Werther with Gulfshore Opera, the title role in Carmen with Livingston Symphony Orchestra and Gulfshore Opera, Komponist in Ariade auf Naxos with St. Petersburgh Opera, Alma March in Little Women at Opera North, Flora in La Traviata at Opera Tampa, Zita in Gianni Schicchi at Hubbard Hall Opera Theatre, and both Meg in Falstaff and Isabella in L’Italiana in Algeri at Taconic Opera. The Finger Lakes Times praised her recent portrayal of Prince Orlofsky with Geneva Light Opera as “lush-voiced” and “outstanding.” Additionally, Ms. Nordin created the role of Mary Eden Thompson in the regional three-year tour of the new musical The Circuit Rider’s Wife and can be heard on its original cast recording.

She has appeared in The Metropolitan Opera’s productions of Les Troyens, Parsifal, Otello, Boris Godunov, Nabucco, and Turandot as a member of their professional ensemble.

She has performed in three of The Met Live in HD Broadcasts and toured with The Met to Japan in 2012. She has also toured internationally as a soloist with the American Spiritual Ensemble.

Ms. Nordin has participated in several prestigious Young Artist programs, among them Opera Theatre of St. Louis, Central City Opera, Caramoor, Opera North, and Opera Orlando. She is also an award-winning ballroom dancer, accomplished French horn player, and costume designer.

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MASTERWORKS

Carmen José Maldonado José Luis Maldonado, baritone, is from Los Angeles California. In April, 2019, Maldonado performed the role of Poncio Pilato in Rafael Grullón’s Opera, El Caminante de Nazaret. In 2018 he performed the title role in Falstaff for the Martina Arroyo Foundation’s Prelude to Performance Opera Festival in New York City. While completing his graduate studies at the Manhattan School of Music, he sang the roles of Don Alfonso in Così fan tutte and Don Magnifico in La Cenerentola in 2018, and the roles of Haraschta in The Cunning Little Vixen and Kalmán Zsupán in Die Zigeunerbaron in 2017. He has also performed the roles of Dr. Falke in Die Fledermaus, Baron Mirko Zeta in The Merry Widow, il Marito in Amelia Goes to the Ball, and JJ Peachum The Threepenny Opera at Cal State Fullerton.

Mr. Maldonado has been reviewed by Opera News as a "seemingly unlimited baritone", and he is a recipient of the Opera Buffs Inc. Career grant and the Richard F. Gold Career Grant from the Shoshana Foundation. He was the Metropolitan Opera Competition District winner in Nebraska. José was a Holland Community Opera Fellowship Singer with Opera Omaha in 2018, and a Young Artist for Opera Maya in Cancún, Mexico.

SUPPORTING CAST Martha Allen, mezzo-soprano, comes to us from Springfield, Missouri.

She graduated from the University of Missouri in May of 2019 with dual degrees: a BA in Music and a BS in Secondary English Education. In the fall, she will be venturing to New York City to pursue her Masters of Music in Classical Voice at the Manhattan School of Music under Ruth Golden. In her Undergraduate experience, she was a student of Professor Steven Tharp and a member of the University Singers and the select Bach Ensemble with Dr. Paul Crabb. She had eight semesters in the Mizzou Show-Me-Opera. She performed as The Mistress of the Novices in Puccini’s Suor Angelica, Marcellina in Le nozze di Figaro, Mrs. Soames in Ned Rorem’s Our Town, Bradamante in Handel’s Alcina, and Ada in the world premiere performances of MU student composer Hans Bridger Heruth’s A Certain Madness. She has covered the Alto solo on master works such as Mendelssohn's Elijah with Columbia, Missouri’s community choir, and the alto solo in RCSA’s production of Dvorak’s Organ Mass. In the summer of 2018 she portrayed the Dragon in Shrek the Musical with Columbia Summer Repertory Theatre. At the annual NATS competition, she has received first place in Mid Missouri NATS Upper College Women-Classical, third place in the Regional Upper College Women-Musical Theatre, and Honorable Mention in the Regional Upper College Women-Classical.

Evan Babel, tenor, from St. Louis, Missouri, will be pursuing a Master’s degree in Voice Performance at the Southern Illinois University-Edwardsville in Fall 2019. He completed a Bachelor of Science degree in music education at the University of Missouri in 2015, and taught music in St. Louis public schools for three years. He has also been a member of the St. Louis Symphony Chorus since 2018. While at the MU, he studied with Christine Seitz and was a member of University Singers and the Show-Me Opera Program. He sang the role of Giles Corey in The Crucible and Ferrando in Così fan tutte, and he also understudied the role of Prince Ramiro in La Cenerentola. In opera scenes programs, he sang Don Carlo in Don Carlo, Rodolfo in La bohème, Canio in Pagliacci,

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MASTERWORKS

Carmen and Alfredo in La Traviata. Musical theater roles include Jean Valjean in Les Misérables, Curly in Oklahoma!, Marryin’ Sam in Lil Abner, and Wayne Frake in State Fair.

Cassandra Gal, soprano, is a recent graduate of the University of Missouri. Her teacher is Professor Steven Tharp. She sang the soprano solos in the Vaughan Willaims Serenade to Music with the Missouri Symphony in Summer 2018. In Spring 2018, she sang the title role in Handel's Alcina with the Show-Me Opera. She worked with world famous mezzo-soprano, Joyce Didonato and was featured in the Emerging Artist Competition at the University of Missouri. In Fall 2017 she appeared in the Show-Me Opera scenes program as Mimi in Puccini’s La Bohème and Lucia in Donizetti’s Lucia di Lammermoor. In spring 2017 she performed the role of Emily in Ned Rorem’s Our Town, and in January 2017 she and Samuel Wright, baritone, were awarded the opportunity to perform the Nedda/Silvio duet from Leoncavallo’s Pagliacci at the National Opera Association conference in Santa Barbara, CA. In summer of 2016 she was selected to the Bel Canto Young Artists Program at the Caramoor Festival in New York.

Other Show-Me Opera roles include Lauretta in Puccini’s Gianni Schicchi and Ruth Putnam in Ward’s The Crucible, along with understudies for the Countess in Mozart’s Le nozze di Figaro and Abigail Williams in The Crucible. Past scenes performances included Anne Truelove in The Rake’s Progress, Amelia in Un ballo in maschera, Nannetta in Falstaff, Miss Jessel in The Turn of the Screw and Gilda in Rigoletto. She won 1st place in her division at the National Association of Teachers of Singing competition, and she 1st place in the Women’s Collegiate Voice at Missouri Federation of Music Clubs in 2014 and 2012. She also won 1st place in her division at Missouri Music Teachers Association Collegiate competition in both 2013 and 2012, and was awarded Honorable Mention at National Association of Teachers of Singing competition in both 2013 and 2012.

Truman Grant, tenor, is from Kansas City, Missouri and is currently a junior at the University of Missouri pursuing a Bachelor of Music degree in Vocal Performance, where he studies voice with Professor Steven Tharp.

He is a member of the University Singers and Hitt St. Harmony. He recently sang the role of Speaker in the Show-Me Opera’s production of The Magic Flute, and he has appeared in Handel’s Alcina as a chorus member and cover for the role of Melisso. He also appeared in staged arias and duets as well as opera scenes programs, singing Gérald in Lakmé, Papageno from Mozart’s The Magic Flute, and Don Giovanni from Mozart’s Don Giovanni.

Jeremy Wagner, bass, has performed a number of roles with Show-Me Opera’s productions and Missouri Symphony, and three recitals at the University of Missouri under the instruction of Steven Tharp. He recently earned a Bachelor of Science-Education degree (with an emphasis in Vocal Music), as well as a Bachelor of Music in Vocal Performance degree at the University of Missouri. Wagner has been granted opportunities to work with local public educators, including Columbia Independent School’s Emily Edgington Andrews, Rock Bridge High School’s Mike Pierson, Locust Street Expressive Arts Elementary School’s Elizabeth Tummons, and Jefferson Middle School’s Christine Nichols. Wagner was the Director of Music at First Christian Church in Centralia, MO, where he served for three years. He also worked as an intern for the Choral Arts Alliance of Missouri during his junior year. Wagner’s other designations include University Singers’ President, member of the ACDA Student Chapter,

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and the School of Music Student Advisory Council. Wagner currently performs in a semiprofessional chamber ensemble, Vox Nova, which just celebrated their first Missouri Music Educators Association performance in 2018.

Samuel Wright, baritone, hails from St. Louis, Missouri, and regularly performs with companies and organizations in Missouri and its neighbors, including the Show-Me Opera, Columbia Civic Orchestra, Opera in the Ozarks, Cedar Rapids Opera Theatre, Union Avenue Opera, Missouri Symphony, Jefferson City Symphony Orchestra, Napa Valley College, and The Choral Arts Alliance of Missouri. In January 2015, Wright made his professional debut with Cedar Rapids Opera Theatre performing the role of Masetto in Don Giovanni. His other operatic highlights include being a Resident Opera Artist with the Missouri Symphony in 2017, when he sang the role of Giorgio Germont in La traviata, and performances as the title role in Gianni Schicchi, Count Almaviva in Le nozze di Figaro, Guglielmo in Cosi fan tutte, Peter in Hansel and Gretel, John Proctor in The Crucible, King Melchior in Amahl and the Night Visitors, and in world premiere performances of The Outlaw by Missouri composer Justin Pounds and Hatrack by Missouri composer Trey Makler. Wright studied at the University of Missouri under the tutelage of Steven Tharp.

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PRESENTED BY

Patriotic Pops Tuesday, July 2 • 7:30 pm • Missouri Theatre

Veterans United presents

2019 Patriotic Pops Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor Sarah Nordin, mezzo-soprano John David Nevergall, tenor Jose Maldonado, baritone Key..................................................................... Star Spangled Banner Bernstein............................................... Highlights from West Side Story Sousa...............................................................National Emblem March Sondheim...................... “Send in the Clowns” from A Little Night of Music Ms. Nordin Hardiman.................................................................. Lord of the Dance Barber......................................................................Adagio for Strings Fillmore.......................................................................Rolling Thunder Sondheim................................................. “Being Alive” from Company Mr. Nevergall Bernstein..................................................................Candide Overture

INTERMISSION F.W. Meacham..............................................................American Patrol Gould......................................................................... American Salute Anderson...............................................................................Serenata Williams..........................................................Born on the Fourth of July Sousa......................................................... Powhatan’s Daughter March Rodgers & Hammerstein................................ “Soliloquy” from Carousel Mr. Maldonado Tchaikovsky ...................................................................1812 Overture Arr. Kirkland................................................. Salute to the Armed Forces Sousa.............................................................. Stars and Stripes Forever 573. 875. 0600 themosy.org

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Save the Dates!

Season 16: 2019-2020 8/23 Jacques Thibaud Trio & Tao Lin

9/27 The Evolution of the African American Spiritual 12/6 Tchaikovsky Holiday

2/22 Quatuor Diotima

with Esterhazy Quartet

3/20 Plowman & MOdyssey 5/31 Vox Nova 2019 Plowman Grand Prize

Soma Saxophone Quartet 10/18 Fall in France 1/11 Kids@Heart: Global Express!

2/14 Baroque Valentine 5/8 Women Composers

Odyssey Chamber Music Series, Inc. 1112 East Broadway in Columbia

www.OdysseyMissouri.org

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Texas Tenors Saturday, July 6 • 8:00 pm • Missouri Theatre

The Texas Tenors Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor

Billboard #1 Recording Artists and three-time Emmy Award Winners

THE TEXAS TENORS 10th Anniversary Tour Marcus Collins JC Fisher John Hagen featuring "The 3 Bottle Band" Ryan Hurn - drums Josh Hanlon - piano Mitch Keirsey - electric guitar, mandolin Larry Hanson - bass, acoustic guitar THE TEXAS TENORS will announce selections from the stage The Texas Tenors will have their merchandise available at this concert including their new Billboard #1 CD, "A Collection of Broadway & American Classics" To find out more information about THE TEXAS TENORS and their current touring schedule please visit www.thetexastenors.com Follow them on FaceBook, Twitter and Instagram.

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Texas Tenors

John Hagen has been described as, “astonishing, a superb tenor of deep musicality." He made his Lincoln Center debut in New York City in Teatro Grattacielo’s mounting of Mascagni’s Gulglielmo Ratcliff. Mr. Hagen created 3 tenor roles in the world premier of The Lost Dauphane for Pamiro Opera airing on PBS. He has performed a vast array of operatic roles ranging from Alfredo in La Traviata, to the title role of Otello for Cleveland Opera on tour. Mr. Hagen is highly regarded for his performances of the Verdi Requiem and Beethoven’s Symphony No. 9, having performed these works with more than a dozen symphonies across the United States. He has received many awards throughout his career including finalist in the New Jersey Opera Association of Verismo Opera competition held at Carnegie Hall, Metropolitan Opera Auditions Regional Finalist, and winner of numerous other competitions.

Marcus Collins was born in a small town and began performing at the age of 4. He first learned how to sing by emulating his favorite artists like Garth Brooks, George Michael and Freddie Mercury before training classically in college. Marcus has performed throughout the world on cruise ships and numerous stage productions including a performance in Times Square with the Broadway cast of Hairspray and Off-Broadway’s Altar Boyz as Matthew.

Beyond music he has worked extensively as an actor with appearances in more than 100 episodes of network television and 25 films including P.S. I Love You, Semi-Pro, Delirious, 30 Rock, Sex and the City, recurring roles on One Life To Live and As The World Turns, and a Guest VJ on MTV. JC Fisher has entertained audiences around the world for the past 15 years. In high school, he had a passion for sports and also enjoyed singing in church. He discovered a deeper love for singing at Wichita State University where he earned his Bachelor’s Degree in Music.

JC performed various roles including Rodolfo in La Boheme, Tamino in The Magic Flute, Ernesto in Don Pasquale, Henrick in A Little Night Music and even Miss America's duet partner at the 1997 Miss Kansas Pageant. After college, JC traveled to Lucca, Italy where he sang in the Puccini festival under the direction of acclaimed Italian maestro Lorenzo Malfatti.

He then created a home base in Katy, TX before sailing the high seas aboard more than 75 cruise ships worldwide as a guest entertainer. This allowed JC to create a show featuring many different genres of music and world class arrangements, which eventually led to his idea of forming The Texas Tenors. After many years of traveling and concerts, his most memorable performance is still one from college where he found his future wife and mother of their 3 beautiful children.

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MASTERWORKS

Orchestral Fireworks Sunday, July 7 • 4:30 pm • Missouri Theatre

Modern Media Concepts presents

Orchestral Fireworks Missouri Symphony Orchestra Kirk Trevor, Music Director and Conductor David Štech, Assistant Conductor

Angie Zhang, Piano

Verdi.................................................. Overture to La forza del destino David Štech, conductor Saint-Saens........................... Piano Concerto No. 2 in G-minor, op. 22 1. Andante Sostenuto 2. Allegro scherzando 3. Presto Angie Zhang, piano

INTERMISSION Tchaikovsky................................... Symphony No.5 in E minor, Op.64 1. Andante - Allegro con anima 2. Andante cantabile, con alcuna licenza 3. Valse (Allegro moderato) 4. Andante maestoso – Allegro vivace

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MASTERWORKS

Orchestral Fireworks Angie Zhang Angie Zhang combines a decorated performance career with a focus on arts activism to create maximum impact with her music.

As an artist always looking to push boundaries, Ms. Zhang recently celebrated her harpsichord debut at pianoSonoma and conducting debut at Alice Tully Hall in Lincoln Center with the Juilliard Chamber Orchestra. The beginning of her professional career started no less auspiciously, with her solo debut under Grammy-nominated conductor Neil DePonte at the age of 10. Now 23 years of age, she has performed nearly two dozen solo concerti with groups such as the Milwaukee Symphony Orchestra, Juilliard Orchestra, Indianapolis Chamber Orchestra, National Symphony Orchestra of the Dominican Republic, among many others, including concerto engagements with UNICEF and musicians of the Met Opera Orchestra. A rare three-time winner of Juilliard’s Concerto Competition, her engagements have resulted in many performance opportunities, including recitals in the Sarasota Opera House, NYC’s Temple Emanu-El, and a feature in the Los Angeles classical radio show “Sundays Live” at the Los Angeles County Museum of Art (LACMA). Upcoming summer engagements include appointments as Senior Artist-in-Residence at pianoSonoma Boston as well as being chosen as one of two piano fellows at the Bravo! Vail Festival.

Outside of her traditional appearances as a performer, Zhang’s career revolves around increasing music accessibility for all. While she enjoys appearances in the world’s most decorated venues like The Kennedy Center, and The Harvard Club, Zhang equally seeks out performances in art museums, orphanages, hospices, and nursing homes. Always seeking new ways to engage audiences, she has performed dozens of multi-disciplinary performances in New York City with Juilliard actors and dancers to audiences in these nontraditional venues, and has performed longer original works in collaboration with dance choreographers Aszure Barton and Kate Skarpetowska.

As an educator, Ms. Zhang has the distinction of being the youngest Juilliard student ever to hold teaching fellowships and assistantships concurrently in the pre-college, college, and evening divisions. Outside Juilliard, she has served as teacher at the Aspen Music Festival and School for three years, and maintains a private studio ranging from pre-college to adult students.

Recognizing the equal importance of off-stage activism, Ms. Zhang has taken the mantle as one of the most active leaders in the Juilliard community, including as leader of community philanthropy venture CandyGrams which raises scholarship funds. She has led the Juilliard community as Chair of Student Council, Student Ambassador, writer and photographer for the Juilliard Journal, and as one of twelve students chosen for the Presidential Search Committee to choose Joseph Polisi’s successor as Juilliard’s President. Zhang is also the proud founder of the Lila Acheson Library monthly newsletter, which disseminates book recommendations, staff portraits, new library acquisitions, and more to the Juilliard student body.

Originally from Portland, Oregon, Ms. Zhang holds a Bachelor of Music from The Juilliard School, which she received with Academic Honors. She received her Master of Music diploma from Juilliard this May, and is grateful to her mentors Yoheved Kaplinsky, Joseph Kalichstein, and Robert Levin.

Giuseppe Verdi Overture to La forza del destino (rev. 1869) Verdi composed only two operas for introduction outside Western Europe: Aida, for the opening of a new opera house in Cairo in 1871, and La forza del destino, which the Imperial Theater in St. Petersburg commissioned ten years earlier. The backgrounds of these two works have two other

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details in common: for each of them the originally scheduled premiere had to be postponed, and for each of them Verdi at first provided a brief orchestral prelude which he subsequently expanded into a full-fledged overture—the type of piece designated sinfonia in Italian opera scores—for its first presentation at La Scala some years later. The composer recognized his expanded overture to Aida as a bad idea when he heard it in rehearsal in 1872, and he scrapped it in favor of the original prelude. The new overture he composed three years earlier for the Milan premiere of La forza del destino, however (following performances in Rome, New York and London with the original prelude), was something he was proud of, and he confidently made it a permanent part of the score.

In some of its early productions, this opera was presented under the title Don Alvaro. The libretto, written by Verdi's frequent collaborator Francesco Maria Piave, was based on the Spanish play Don Alvaro, ó La fuerza del sino, written in 1835 by Angel Pedro de Saavedra Ramírez de Banquedano, the Duke of Rivas, with an additional scene borrowed from Friedrich Schiller's earlier drama Wallenstein's Camp. The Overture, generally regarded as the finest of all Verdi's symphonic introductions, is not an encapsulation of the drama, but rather a powerful evocation of its atmosphere, incorporating the "Fate" motif which plays so big a part at the end of Act I and themes from later in the work (Alvaro's aria in Act IV, Leonora's prayer in Act II, her duet with Padre Guardiano).

Saint-Saëns

Piano Concerto No. 2 in G minor, Op. 22

Saint-Saëns was not only a distinguished composer, he was also a famous conductor, organist, and pianist. He also studied archeology and astronomy and wrote poetry, plays, and treatises on ancient music and philosophy. Saint-Saëns’s Second Piano Concerto is the most popular of his five piano concerti. When he wrote it he was 32 and already famous as a concert pianist; later he became famous for his operas. He had been organist of the Madeleine, the most fashionable church in Paris, since 1859, and his playing had earned him the admiration of Berlioz, Gounod, Liszt, and even Wagner. Saint-Saëns dedicated his Second Piano Concerto to Liszt, who wrote to Saint-Saëns that he was favorably impressed with the novel format of the work.

Saint-Saëns had recently made friends with the famous Russian composer and pianist, Anton Rubinstein, who invited Saint-Saëns to conduct some of the series of concerts in Paris that he was arranging. He wished to conduct one of these concerts himself, however, and he suggested to Saint-Saëns that for one of the concerts – only three weeks away! – Saint-Saëns should write a new piano concerto and perform it while he (Rubinstein) would conduct it.

For a gifted man like Saint-Saëns, who wrote music abundantly and seemingly effortlessly, to write a new concerto in three weeks was not much of a challenge, but Saint-Saëns allowed himself insufficient time to learn the solo part. After the première, he confessed that he thought his performance had been poor; some listeners felt that the first movement was poorly constructed and the finale needed revision. Nevertheless, the audience certainly liked the Scherzo, and the concerto has been popular ever since its première.

In this work, Saint-Saëns largely disregards the conventional concerto format. The first movement begins with a solo piano fantasia, akin to the style of a Bach fantasia, which gathers momentum until the orchestra suddenly makes a brief, dramatic statement. The soloist then introduces a romantic theme, which is subjected to many transformations and embellishments. It is at once clear that the soloist plans to dominate the movement with virtuosity, and indeed the orchestra, except for interjecting some double-dotted chords in the manner of an old French overture and concluding the movement with a powerful recall of its opening dramatic statement, takes a subordinate role.

The glittering Scherzo is in a light-weight sonata form. The timpani sets the mood with an energetic rhythm, and the soloist enters with a lively theme. The second subject is a delightful, lilting melody given out by violas, cellos, and basses, while the soloist accompanies with an impressive display of deft finger-work.

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MASTERWORKS

Orchestral Fireworks The finale, a sparkling presto, is a fiery tarantella that dazzles with its cascades of rippling notes that mask the dexterity required to play it. The second subject begins as piano trills and evolves into a vivacious dialog between piano and strings. After recall of the opening idea, both themes are developed. The movement rushes headlong to the recapitulation and finally to a brilliant closing coda. - © Ted Wilks

Tchaikovsky Symphony No. 5 in E minor, Op. 64

Throughout his creative career, Pyotr Ilyich Tchaikovsky’s inspiration went through extreme cycles, tied to his frequent bouts of deep depression and self-doubt. In mid-May 1888 he wrote to his brother Modest that he was convinced that he had written himself out and that he now felt neither the impulse nor the inclination to compose. By the end of the month, however, he set about “...getting a symphony out of my dulled brain, with difficulty.” Inspiration must have started to flow, for by the end of August, the massive Fifth Symphony was finished.

As was the case with most of Tchaikovsky’s compositions, the premiere of the Symphony – in St. Petersburg, with the composer conducting – earned mixed reactions. The audience liked it, critics panned it and fellow-composers were envious. Modest believed that the problem with the critics lay with his brother’s lack of confidence as a conductor. Tchaikovsky himself, however, was never at ease with the Symphony, and wrote to his benefactress, Nadeja von Meck: “Having played my symphony twice in St. Petersburg and once in Prague, I have come to the conclusion that it is a failure. There is something repellent in it, some exaggerated color, some insincerity of construction, which the public instinctively recognizes. It was clear to me that the applause and ovations were not for this but for other works of mine, and that the Symphony itself will never please the public.” For the rest of his life he felt ambivalent about its merits, although after a concert in Germany, where the musicians were enthusiastic, he felt more positive.

The mood of the entire Symphony is set by the introduction, a somber motto in the clarinets that reappears throughout the work and hints at some hidden extra-musical agenda. Perhaps the motto reflects the melancholy and self-doubt Tchaikovsky experienced when he started composing the Symphony; certainly its mood is maintained throughout most of the work, where it casts a pall over whatever it touches. After the Introduction, the first movement continues Andante con anima with a resolute march theme, almost a grim procession through adversity. A second beautifully orchestrated theme reveals how many ways there are to represent a sigh in music. Even the idyllic ambience of the second movement, Andante cantabile, its main theme one of the repertory's great horn solos, followed by a more animated theme for solo oboe, opens with ponderous introductory measures for the double basses and cellos, playing the underlying harmony of the motto. Later, the movement is interrupted by the sudden recurrence of the motto blasted out by a solo trumpet over the threatening rumble of the timpani.

The third movement is a waltz based on a street melody the composer had heard in Florence ten years before. It also has an undertone of sadness, and towards the end the somber motto is again heard, the mood continuing into the Finale.

The last movement presents the motto as the focal point of a final struggle between darkness and light, symbolized by the vacillation between its original E minor and E major.

The stately introduction mirrors the opening of the piece, although in an ambiguous mood and mode. With the Allegro, the key returns decidedly to the minor, but the tempo picks up into a spirited Trepak, a Russian folkdance. Finally, following a grand pause, the key switches definitively to E major – with great pomp and fanfare – for a majestic coda based on the motto and a final trumpet blast of a version in E major of the first movement march.

-Program notes by Joseph & Elizabeth Kahn, Wordpros@mindspring.com

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Please Consider a 2020 MEMBERSHIP 2020 Membership Please count me as a member of The Missouri Symphony for 2020.

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Sponsored Chairs By establishing a chair in The Missouri Symphony Orchestra, you can provide the orchestra with a musician. Give the chair a name and you associate your own name or corporate name with the creative art of music. Chairs can be endowed in perpetuity or sponsored annually. Chair sponsorships are available for the Hot Summer Nights Festival and the Symphony of Toys Holiday Concert. Chair sponsors receive special recognition in respective program books. Hot Summer Nights Festival chair sponsors are invited to a private reception to meet the musician sitting in their sponsored chair.

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The Missouri Symphony 2020 Membership Benefits Acknowledgment letter with tax deduction notice Invitation to a backstage tour of the historic Missouri Theatre Name recognition in the Hot Summer Nights Festival program book Priority seating and renewal privileges during members-only subscription pre-season sales Advance notice of special events and invitation to members-only occasions Free lost ticket replacement Invitation to the Musicians Picnic, a casual evening with the Missouri Symphony Orchestra Invitation to a private Hot Summer Nights pre-concert reception Invitation to a post-concert reception with a Hot Summer Nights guest Backstage invitation to meet selected Hot Summer Nights guest artists Invitation to a dinner event with Maestro Kirk Trevor and his wife, harpist Maria Duhova Trevor, and other members at this level

Make your payment by May 1 to receive membership benefits.

The Missouri Symphony is dedicated to enhancing and increasing the cultural awareness of classical music in the mid-Missouri area by presenting high-caliber performances by professional musicians and encouraging and educating young performing artists. Your annual membership and involvement plays an important role in the success of The Missouri Symphony Orchestra and helps shape the future of The Missouri Symphony Conservatory. Member contributions ensure The Missouri Symphony will continue to be an essential part of a dynamic artistic and cultural arts scene as we entertain, educate, and enhance the quality of life for our community through music.

The Missouri Symphony Orchestra is the only professional, resident orchestra in mid-Missouri.

Comprised of world-class musicians and led by internationally recognized Music Director and Conductor Maestro Kirk Trevor, The Missouri Symphony Orchestra is truly a treasure. Their main engagement, the Hot Summer Nights Festival, boasts 25 concerts of various repertoire over six weeks throughout Columbia, and is the largest Classical and Pops festival in the Heartland.

The Missouri Symphony Conservatory consists of four award-winning ensembles and serves children in grades 2 through 12 interested in orchestral performance. Students are allowed to explore according to their own musical progression. Professional coaching staff and conductors nurture each student’s innate artistic expression. Over 100 young musicians enroll each year for this unique learning experience and the chance to build their skills through one-on-one instruction, theory and conducting lessons, and frequent performance opportunities.

Imagine the possibilities. Help shape expectations.

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Missouri Symphony Members LIFETIME MEMBERS Hugo and Lucy Vianello ART OF IT ALL $5,000+ David and Nancy Bedan STRADIVARIUS $2,500 - $4,999 MAESTRO $1,000 - $2,499 Dr. Jiri and Gloria Beranek Ed and Judith Chmielewski Dr. and Mrs. Jack and Van Curtis Norma Jean Fair John and Marilyn Gordon Carl and Sandra Kardinal Stephen and Mari Ann Keithahn Carol and David Mallory Elizabeth Peters Dave Phillippe Nicolette Robovsky BRAHMS $500 - $999 Diane Booth and Jeanne Sebaugh Janet Lee Brandt Kara Braudis Kathy Digges Philip and Janet Harrison Arlene and Terry Heins Marilyn and B.W. ‘Perk’ Hoecker Ralph and Mary Mennemeyer J.W. and Patricia Ann Merrill Roland P. Meyer Stephen and Joan Mudrick Randy Norden Larry and Virginia Propp Jerry and Judy Schermer Dorothy and Ronald Sprouse Earl and Florence Wilson

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BEETHOVEN $250 - $499 David P. Allen and Barbara K. Rothschild Rusty and Debbie Antel Ro and Bill Boston Dr. James and Anne Campbell Nancy D. Cassidy Joanne Cowan Julia Gaines Joe Geist Dr. Klaus Gerhardt Jeff and Susan Gorges Dave and Nancy Griggs Lynn and Pat Hostetler Darlene Johnson Lea and Peter Konig Michael and Julie Middleton Wiley and Rosetta Miller Beverly Smull and Steve Heying Julie Kyllonen Rose Don and Sally Schilling Larry and Janis Tate Kirk and Maria Trevor Joann Vest Mary and Steve Weinstein MOZART $100 - $249 Judith Agrelius Alan and Joyce Anderson Larry and Michelle Babcock Dr. Ben and Mrs. Shirley Batson Robert Bartlett and Priscilla Bevins Stephanie Brooks Bill and Dolores Clark Lawrence Ganong and Marilyn Coleman Drs. Gary J. and Patricia McIntosh Coles Brad and Amy Collette Ann K. Covington Jane C. Crow Dorinda Derow Alice Edwards Dr. James and Judy Elliott

Eric and Lea Evans Susan Flader Carlyle and Cynthia Foley Mark A. and Jean M. Foreman Patricia Gulmez Janice and Ray Harder Tim and Linda Harlan Anne Heine Darrell Hendon Darwin and Axie Hindman Tom and Stacie Houston Darlene Huff Gwen Jones Dr. Carl Morris and Dr. Larry Kantner Janet Krause Ann and Ferd LaBrunerie Pauline Landhuis Kathy Lawson Desiree C. Long James R. & Virginia Madigan Lynn Maloney David Mehr Jack and Terry Meinzenbach Mike and Sarah Morehead Chris and Tod Moser Raymond and Linda Noll Peter and Sharon Orr George and Fran Prica Marydeth L. Priesmeyer Alice and Richard Robinson Jolene Schulz Gary and Carol Smith George Smith and Marjorie Sable Warren and Joan Solomon Dr. Sarah A. Spence Brendon Steenbergen Tom and Sarah Stone Charlotte A. Stradford Carol Trendle Daniel A. Vianello Matthew Vianello Ann and Charles Ward Kelly Wells Eric and Barbara White 573. 875. 0600 themosy.org

Thomas and Marlene White Ted Wills Joyce Wood Harter Tina and J.M. Workman VIVALDI $50 - $99 Mari-Anne M. Antweiler Robert J Bair Brandon Michael Banks Jane Biers Roberta Carson Jackie Craig John and Heather Darby Patti Doyle Peter and Jill Dunn Carolyn Dye Dr. Kristen Fernandez Richard and Marylou Ferrieri Wanda Fulgham Drs. Anne and David Gifford Alice Havard Eunsook Kwon Lee Landes Helen Liu Joan Luterman Bonnie J. Marshall Marsha Mitchell Georgia L. Morehouse E.A. Morgan Susan Nichols Barbara and Dennis Preis Ken and Betsy Rall Donna M. Rice Paul Ritchie and Pat Lawnick-Ritchie Dr. and Mrs. Gilbert Ross, Jr. Barbara Rothenberger Marie Scruggs Mike and Sarah Seat Tim and Ronda Wahl Garry and Llona Weiss

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WELCOME TO

COLUMBIA WELCOME TO SUMMER IN COMO! The Columbia Convention and Visitors Bureau is excited to welcome you to another incredible Hot Summer Nights Festival! As the largest classical and pops summer festival in the heartland, the Hot Summer Nights keeps audiences from all over entertained.

We hope you’ll enjoy this and all the cultural opportunities Columbia has to offer and will return to our destination again soon.

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/VisitColumbiaMO

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See. Hear. Now.

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10ft,61'2l.1St11

J The Missouri Symphony is one of over 600 quality arts programs supported by the Missouri Arts Council, a state agency.

www.missouriartscouncil.org

Missouri Arts Council The State of the Arts

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Donors & Supporters Accent Flooring Cindy Allen An Eye for Detail Cleaning Service Apex Window Cleaning Arris’ Pizza Babcock Insurance Services Beard-Boehmer & Associates, PC Bella Salon Dr. Jiri and Gloria Beranek BMW of Columbia, Mercedes Benz of Columbia, Drewing Automotive Bohon, Elliott, McNutt, Thomas DDS Brandon Cleaning Broadway Christian Church Bur Oak Brewing Company Busenbark Flooring and Granite Cedarhurst Senior Living Center Central Bank Christian Fellowship Columbia Associates Architecture & Interior Design Inc Columbia EDP Columbia Visitor’s Bureau Commerce Trust Commerce Trust Company Community United Methodist Church Compass Chiropractic Cripps & Simmons Attorneys at Law Culligan Water Conditioning D&H Drugstore Dave Griggs Flooring America Downtown Appliance Home Center Edward Jones – Gary L. Anderson & Kristen M. Shay EyeCare of Columbia First Baptist Church Marilyn and John Gordon Guardian Pest Control H. Elaine cheong, DDS Hair Therapy Hockman Interiors Horton Animal Hostpial – Forum Hoyt, Megan Interior Design

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Hy-Vee Food Stores KBIA/Classical 90.5 KBXR KFRU/KPLA Cumulus Broadcasting Kilgore’s Medical Pharmacy KMIZ KMOS TV KMUC KOMU La Maison Design Landmark Bank Lenoir Woods Senior Living Center Let’s Roll Ice Cream Lily Pad Laundry Company Lindervox MBS Textbook Exchange, LLC McAdams’ Ltd McDonald’s of Columbia Meals on Wheels Mediacom Xtream Merrill Lynch: Richard Blankenship Memorial Baptist Church Paul and Martha Miceli Midwest Tree Service Missouri Arts Council Missouri Furniture Missouri Heart Center Missouri Symphony League Mizzou International Composers Festival Modern Media Georgia L. Morehouse Mo-X Express Music Suite Holly and Bill Musick Natural Nail Care Salon Office of Cultural Affairs Paul D. Higday Mozart Music Trust Phi Mu Alpha Pittman, Robin RE/MAX Boone Realty Plaza Commercial Realty Poppy Retina Associates of Missouri, PC

RSI Kitchen and Bath Sassafras Moon Shakespeare’s Pizza Shelter Insurance Shouman & Tegerdin Family Dentistry State Farm Insurance State Farm: Lisa Cravens, Phyllis Nichols, Meera Patel White, Cheryl Kelly Studio Home The Pet Fair The Strand The Tiger Hotel Tiger Cleaners Mary Kroening and Mike Tompkins Trinity Lutheran Child Learning Trinity Presbyterian Church Trove US Rents It Veterans United Vianello Endowment for the Arts Village of Bedford Walk We Always Swing Jazz Series Weiss Financial Innovations, LLC Tina and Mark Workman

Norma Jean Fair Donald and Debbie Gerhardt Dr. Klaus Gerhardt Bill and Jan Goodson Bruce Gordon Ted Groshong Tim and Linda Harlan Alice Havard Georgia L. Morehouse Stephen and Joan Mudrick Alice Payne Elizabeth Peters Dave Phillippe Julie Kyllonen Rose Dr. and Mrs. Gilbert Ross, Jr. David P. Allen and Barbara K. Rothschild Judy Schermer Don and Sally Schilling Mary Ann Shaw Dorothy and Ronald Sprouse Ann and Charles Ward Mary and Steve Weinstein

In Memory of Hugo Vianello Kenneth Hammann Jennifer Vianello In Memory of Sally Reisch Erickson Fred Erickson 2019 Hot Summer Nights Musician Housing Fund Dr. Ben and Shirley Batson David and Nancy Bedan Robert Bartlett and Priscilla Bevins Janet Lee Brandt Dr. James and Anne Campbell Catherine Chance Ed and Judith Chmielewski John and Heather Darby Kathy Digges 573. 875. 0600 themosy.org

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Dvorak and the daily news, waiting for you.

24/7 Classical Music and Jazz at 90.5 FM and MUClassical.org

24/7 Public Radio News, Talk and More at 91.3 FM and KBIA.org KBIA AND CLASSICAL 90.5 ARE PROUD TO BE A PART OF MISSOURI’S ARTS COMMUNITY. TO SHOW YOUR SUPPORT, CALL (573) 882-6813.

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Missouri Symphony League Members of the Missouri Symphony League, founded in 1971 as the Women’s Symphony League by Lucy Vianello and Jean Smith, volunteer time, talents, and treasure in support of The Missouri Symphony programs. The League sponsored events are Columbia traditions providing our community with exciting unique opportunities to have fun while raising funds for scholarships and performance opportunities for young musicians and for support of the Missouri Symphony Orchestra. Please complete the Missouri Symphony membership form to join us!

Our dues are only $10 per person more than your Missouri Symphony dues!

The League holds an annual fundraising garage sale in August of each year at the Broadway Christian Church, 2601 West Broadway, Columbia. Please come to shop on Saturday, August 24th, 8:00 AM – 12:00 Noon. If you have goods to donate to the sale, please contact Joyce Wood Harter (573-881-8544) and bring them to the church on Friday, August 23rd.

The League’s Piano Student Showcase is an opportunity for piano students, pre-school through grade 12, to audition before distinguished judges. Students who excel at the auditions perform at the Showcase public concert, playing on a grand piano in a beautiful setting. The Piano Student Showcase will be Saturday, November 16th.

The League’s Holiday Home Tour is a signature fundraising event held the first weekend in December- Friday, December 6 through Sunday, December 8, 2019. Four beautiful Columbia homes festive with holiday décor will be open to the community.

Executive Committee

Arlene Heins, President Joan Luterman, President-Elect Amy Collette, Secretary Nancy Griggs, Treasurer Members

Danielle Backes Brandon Banks Nancy Bedan Leone Caldwell Roberta Carson Nancy Cassidy Heather Darby Alice Dellande Mary Dohrmann Patti Doyle Judy Elliott Norma Fair

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Marylou Ferrieri Alice Havard Terry Heins Patricia Hostetler Stacie Houston Darlene Huff Kay Kern Lee Landes Pauline Landhuis Pat Lawnick-Ritchie Gin Madigan Bonnie Marshall Julie Middleton

Georgia Morehouse Elizabeth Morgan Marydeth Priesmeyer Virginia Propp Barbara Rothenberger Sharon Schattgen Jolene Schulz Marie Scruggs Maria Trevor Lucy Vianello Tim Wahl Marlene White Joyce Wood Harter

36TH ANNUAL

HOLIDAY HOME TOUR 2019

SAVE THE DATE Friday, December 6th 1:00 - 4:00 PM

Saturday, December 7th 10:00 AM - 4:00 PM

Sunday, December 8th 1:00 - 4:00 PM

On November 1, check our website for ticket locations or to purchase tickets online.

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Missouri Symphony Past Presidents The Missouri Symphony is grateful for the leadership of the many dedicated people who have served as president and president elect (formerly executive vice president) of our Board of Directors.

Year

President

Executive Vice President

1971 1972 1973 1974 1975 1976 1977 1978 1079 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991

Turner L. Vemer Turner L. Vemer Robert C. Smith Ray B. Lewis Paul W. Schmidt E. Clarendon Hyde E. Clarendon Hyde Elizabeth Windmiller Elizabeth Windmiller George F. Kent E. Rutledge Gish Raymond W. Litwiller Raymond W. Litwiller Raymond W. Litwiller H. Todd Stradford Allen Baker Donna Ingwersen Elizabeth Windmiller Ann Stinson Ann Stinson Kathi Posch vom Saal

Paul W. Schmidt Paul W. Schmidt Ray B. Lewis Ferd LaBrunerie Rory Ellinger Charlyn Law Charlyn Law John E. Bauman George F. Kent Jackie Blanton Carol Kent Allen Baker Allen Baker H. Todd Stradford Allen Baker Donna Ingwersen Ann Stinson Ann Stinson Kathi Posch vom Saal Kathi Posch vom Saal Patricia W. Hardin

1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011

Arthur E. Rikli Anthony W. Lampe Richard A. Royer John D. Phillippe John D. Phillippe Lewis Garrotto Charles D. Pickle Georgia L. Morehouse John D. Phillippe C. Stephen Heying Marjorie Berchek Patricia Hostetler Owen Koeppe Nancy Bedan Doug Moore Cortney Wright Ellen Roper John D. Phillippe Christina George Carole Sue Delaite and Lara Underwood, Co-Presidents Carole Sue Delaite Lili Vianello Lili Vianello Larry Babcock Nancy Griggs Gwen Jones Gwen Jones Tina Workman

President Elect

2012 2013 2014 2015 2016 2017 2018 2019

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Anthony W. Lampe Richard A. Royer John D. Phillippe Lewis Garrotto Lewis Garrotto Charles D. Pickle Georgia L. Morehouse John D. Phillippe C. Stephen Heying Marjorie Berchek Patricia Hostetler Owen Koeppe Nancy Bedan Doug Moore Cortney Wright Ellen Roper Elizabeth Echols Christina George Patricia Lawnick-Ritchie Lili Vianello Lili Vianello Larry Babcock Larry Babcock Nancy Griggs Pat Hostetler Tina Workman Tina Workman Brendon Steenbergen

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Missouri Symphony Mission and History MISSION

The Missouri Symphony is a not-for-profit arts organization whose mission is to inspire and engage diverse audiences through exceptional performances of symphonic music and to educate and mentor young performers.

HISTORY

In 1970, an informal group of music lovers, led by Hugo and Lucy Vianello, founded the Missouri Symphony Society. A year later, Lucy Vianello and Jean Smith organized the Women’s Symphony League to help raise money and support for the symphony.

Under the leadership of Maestro Vianello, the Missouri Symphony Society formed the Missouri Youth Symphony, the Missouri Youth Chorus, The Missouri Chamber Orchestra and the Missouri Symphony POPS. These groups regularly performed not only in Columbia but in communities in central Missouri, sometimes touring in ten Missouri cities per year. With Maestro Vianello at the podium, the symphony grew, creating new programs for young musicians and founding new traditions that encouraged community participation. In December 1984, the popular Holiday Home Tour tradition began.

As the program continued to expand, Maestro Vianello began to search for a new home for his growing chamber orchestra. In 1987, the Missouri Symphony Society stepped forward and purchased the Missouri Theatre which had been abandoned as a movie house. The symphony’s momentum continued in the 1990s. In 1993, the Missouri Chamber Orchestra released their first album. After 28 years with the Society, Maestro Hugo Vianello retired on December 13, 1998 to become Conductor Laureate.

The search began to find a new conductor that could use the symphony’s momentum to propel them into the new millennium. In 2000, Maestro Kirk Trevor was appointed the new permanent music director of the Missouri Symphony Society.

In 2002, a Children’s Chorus was founded. The Women’s Symphony League held its first Piano Student Showcase which offers young pianists an opportunity to perform on the grand piano on the stage of the Missouri Theatre. In 2004, Maestro Trevor transformed the symphony’s annual summer music series into the Hot Summer Nights Music Festival. The success of the festival’s inaugural year was the tipping point that helped the orchestra expand from the Missouri Chamber Orchestra into the Missouri Symphony Orchestra in 2005.

The Missouri Symphony Society had a busy year in 2006 with the founding of the Plowman Chamber Music Competition, a Lifetime Achievement Award for Hugo Vianello from the Missouri Arts Council and the announcement of a capital campaign for the restoration and expansion of the historic Missouri Theatre.

In 2007, the Missouri Symphony Conservatory was founded to further the society’s efforts educate and inspire young musicians. The Children’s Chorus was incorporated into the Conservatory along with new youth orchestra ensembles.

The theater held its grand re-opening in 2008, welcoming legendary vocalist Tony Bennett to perform. The extensive renovation and restoration of the Missouri Theatre led to financial difficulties in 2010, forcing the society to severely limit the use of the Missouri Theatre. The society began rebooking the Missouri Theatre in January 2011,

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and a dedicated team of volunteers operated the theater for the next eight months.

In August 2011, the University of Missouri and the Missouri Symphony Society began a partnership that allowed the Society to lease the Missouri Theatre from the University for performances and to continue to play exceptional music for the Columbia community. In December 2011, the Society presented the first annual Symphony of Toys concert.

In 2012, at the home of Drs. Stephen and Mari Ann Keithahn, the Missouri Symphony Conservatory held the first annual “Serenade Benefit” featuring music from the exceptionally talented conservatory students. The benefit raised money to continue the society’s efforts to grow and expand the conservatory.

In 2013, Shelter Insurance renewed their partnership with the symphony to be the title sponsor of the Symphony of Toys Holiday Concert. Shelter continues their commitment to sponsor the concert. That year, co-founder Lucy Vianello was honored with the HERO Award for the Arts, a Columbia award given to community members who have proven themselves excellent volunteers.

The awards and recognitions continued over the following two seasons. Amy Collette following in Lucy Vianello’s footsteps as the recipient of the 2014 HERO Award for the Arts. In May 2015, Columbia’s Historic Preservation Commission honored Hugo and Lucy Vianello for preserving and restoring the Historic Missouri Theatre. And in June, 2014, the University of Missouri purchased the Missouri Theatre from the Society, assuring the historic landmark will continue to be a beautiful Columbia landmark as envisioned 27 years before by the Vianellos and the Symphony Society.

In February 2016, KMUC Classical 90.5 FM began airing the Missouri Symphony Orchestra Radio Hour, which, for 17 weeks, features performances of the Orchestra from Hot Summer Nights and Symphony of Toys. In April, the Conservatory held its 5th Annual Serenade Benefit which raised over $60,000 to benefit the Conservatory Students.

In 2017, the Missouri Symphony Conservatory launched the Overture strings, a noaudition orchestra for children just learning to read music. Expanding our programs is a core tenet of our mission.

Also in 2017, the Missouri Symphony Society Board of Directors voted to do a rebranding for the organization. After doing extensive research and compiling the results of a survey completed by members, stakeholders, conservatory parents, and orchestra members, the marketing and design firm recommended a more contemporary and bolder look and a name change. You can see the results of our new look throughout this program book. We are building on our storied history to engage new audiences and to continue our long term relationship with music lovers in central Missouri.

For the full description of the Missouri Symphony history, please visit our website: themosy.org

573. 875. 0600 themosy.org

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Patron Services and Helpful Information LOST AND FOUND Lose something? Find the Missouri Theatre House Manager who will be happy to assist you. Found items are left with the Missouri Theatre Box Office. Please call 573.882.3781 if you lose something at an event.

FOOD AND DRINK Only drinks purchased at a Missouri Theatre concession stand and bottled water are allowed inside the theatre. All other drinks and food items must be consumed in the lobby areas and may not be taken into the auditorium.

For certain performances, concessions may not be allowed in the theatre. Please contact the House Manager with any questions.

RESTROOMS AND DRINKING FOUNTAINS Restrooms and drinking fountains are located in the Grand Foyer, next to the History Lounge.

Additional restrooms and drinking fountains are located on the second floor, next to the Missouri Theatre offices.

573. 875. 0600 themosy.org

SMOKING Smoking and tobacco products are not allowed inside the building at any time. Smoking is not allowed on the patio.

LATE SEATING Guests arriving late will be seated at the discretion of management. Performers may have specific late seating instructions that the house will enforce. Please arrive early!

AISLES Please keep the aisles clear at all times. Standing or storing items in the aisles at any time is prohibited. The House Manager can help store large items such as wheelchairs, strollers, and backpacks.

ACCESSIBILITY The Missouri Theatre has a limited number of accessible seats. Please call 573.882.3781 to make advanced arrangements.

ASSISTED LISTENING DEVICES Assisted Listening Devices are available from the Box Office at every performance. A valid driver’s license will be held in exchange for the devices.

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DIRECTORY OF ADVERTISERS Access Percussion...................................................................65 All Surfaces Carpet Cleaning....................................................45 Bohon, Elliott, McNutt, Thomas, Ressel, DDS..............................45 Broadway Christian Church...................................................... 19 Cedarhurst Senior Living.......................................................... 14 Central Bank of Boone County..................................................20 Choral Arts Alliance.................................................................43 Christian Fellowship................................................................42 Columbia Convention and Visitor’s Bureau.................................70 Columbia Office of Cultural Affairs............................................. 16 Commerce Trust Company....................................................... 41 Community United Methodist Church........................................43 Compass Chiropractic..............................................................36 Dave Griggs...........................................................................74 Glenn’s Café...........................................................................26 KBIA/KMUC...........................................................................75 KFRU/KPLA............................................................................49 KMIZ.....................................................................................84 KMOS....................................................................................35 Landmark Bank.......................................................................85 Lenoir Woods.........................................................................59 Lindervox..............................................................................78 Mediacom............................................................................. 81 Missouri Arts Council............................................................... 71 Missouri Furniture...................................................................53 Missouri Symphony Conservatory.............................................25 Missouri Symphony League Piano Student Showcase................... 11 Missouri Symphony League Holiday Homes Tour.........................77 Mizzou International Composers Festival................................... 18 Modern Media Concepts..........................................................60 MO-X....................................................................................65 Music Suite............................................................................74 Odyssey Chamber Music Series................................................56 Retina Associates....................................................................30 Shelter Insurance.................................................................... 51 State Farm.............................................................................20 Tiger Hotel.............................................................................47 University of Missouri Theatre Department.................................36 US Rents-It.............................................................................79 Veterans United......................................................................54

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Hot Summer NigHtS VoluNteerS Volunteers serve The Missouri Symphony as board members, committee members, docents for the Holiday Home Tour, as special events hosts, and in many other roles.

They support the Missouri Symphony Conservatory, the Symphony League, and Hot Summer Nights.Hot SpecialSummer thanks to the Nights dedicated members of the Hot Summer Volunteers Nights Committee, to volunteer coordinator Gloria Beranak, and to concert ushers:

Volunteers serve the Missouri Symphony as board members, committee members, docents for the Holiday HomePenny Tour, Harting as special events hosts, and in many other Elaine Allen Beverly Meyer roles. support the Missouri Symphony Conservatory, Melody the Missouri MitchellSymphony GloriaThey Beranek Aaron Hill Carol Braaten GayleSpecial Hulsebus Karen Philp League, and Hot Summer Nights. thanks to the dedicated members of the Sharon Roulier Ed Burchard Ralph Kreigh Hot Summer Nights Committee, to volunteer coordinator Gloria Beranek, and to David Lawson Janet Schisser Kathy Carson concert ushers.

Shirley Colby

Arlene CathyHeins Dodson Jolene Schulz Brenda Forsee Ann Giddens Julie Middleton Joyce Harter Amy Collette Joanne Cowan Nicole Robovsky Larry Babcock Gloria Beranek Carol Braaten

Kathy Lawson

Barbara Schneider

Marilyn McCreary Colleen Butler Jean Teter Doris Littrell Don Harter Kathy Carson Carol Mallory Joyce Wood Harter Deb TillCarol Mallory David Mallory Penny Harting Suby Wallace David Mallory Shirley Colby Marilyn McCreary Wells Mitchell Gayle HulsebusMarvinMelody Cathy Dodson Sharon Roulier Carolyn Dye Ralph Kreigh Janet Schisser Brenda Forsee David Lawson Linda Shillito Julia Garner Kathy Lawson Suby Wallace Ann Giddens Doris Littrell Svetlana Grobman Linda Lorenz