New Mexico Philharmonic Program Book • 2024/25 Season • Volume 13 • No. 3

24/25 VOLUME 13 / NO. 3

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2024/25 SEASON

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antate: Bosque School Choir/Joanna Carlson Hart irector

TABLE OF CONTENTS

THE NEW MEXICO PHILHARMONIC FOUNDATION HAS ACHIEVED APPROXIMATELY $2.5 MILLION IN ASSETS.

PROGRAMS

December 20 & 21, 2024 January 18, 2025 February 1, 2025 February 2, 2025 Program Notes

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ARTISTS

Roberto Minczuk Bradley Ellingboe Tania Hopkins Sharlotte Kramer Yasmeen Lookman Angelynn Gomez Nicholas Jones Darryl Starkes Joe Mitchell Coro Lux Oratorio Society Luminare Chamber Chorus Amy Owens Olga Perez Flora James Flora Carlos Archuleta Midori YOUR NMPHIL

Orchestra, Staff Board of Directors, Advisory Board Sponsors Business Circle Donor Circles Thank You Legacy Society NMPhil Foundation Donors & Trustees Steinway Society Sponsor a Musician

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STRATEGIES FOR

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There are many ways to support the New Mexico Philharmonic and the New Mexico Philharmonic Foundation. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come.

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CONCERT PROGRAM .

MESSIAH

Messiah

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Friday, December 20, 2024, 7:30 p.m.

Saturday, December 21, 2024, 7:30 p.m.

Bradley Ellingboe conductor Tania Hopkins soprano Sharlotte Kramer soprano Yasmeen Lookman mezzo-soprano Angelynn Gomez mezzo-soprano

Nicholas Jones tenor Darryl Starkes tenor Joe Mitchell bass Luminare Chamber Chorus

First United Methodist Church

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V. Sue Cleveland High School

Messiah

George Frideric Handel (1685–1759)

PART I

Sinfonia, Instrumental And the glory of the Lord, Chorus Behold, a virgin shall conceive, Mezzo-Soprano, Yasmeen Lookman O thou that tellest good tidings, Mezzo-Soprano, Yasmeen Lookman, and Chorus For unto us a Child is born, Chorus Pastoral Symphony (Pifa), Instrumental There were shepherds abiding in the field, Soprano, Tania Hopkins And lo, the angel of the Lord came upon them, Soprano, Tania Hopkins And the angel said unto them, Soprano, Tania Hopkins And suddenly there was with the angel, Soprano, Tania Hopkins Glory to God, Chorus Then shall the eyes of the blind be opened, Mezzo-Soprano, Yasmeen Lookman He shall feed His flock like a shepherd, Mezzo-Soprano, Yasmeen Lookman, and Soprano, Sharlotte Kramer His yoke is easy, Chorus

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MAKING A DIFFERENCE

This performance is made possible by: New Mexico Philharmonic Foundation

CONCERT PROGRAM .

MESSIAH (continued)

I N T E R M I S S I O N

PART II

Behold the Lamb of God, Chorus He was despised, Mezzo-Soprano, Angelynn Gomez Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus All they that see Him, Tenor, Joe Mitchell He trusted in God, Chorus Thy rebuke has broken His heart, Tenor, Nicholas Jones Behold and see, Tenor, Nicholas Jones Unto which of the Angels, Tenor, Nicholas Jones Thou art gone up on high, Mezzo-Soprano, Yasmeen Lookman The Lord gave the word, Chorus Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Bass, Joe Mitchell He that dwelleth in Heaven, Tenor, Darryl Starkes Thou shalt break them, Tenor, Darryl Starkes Hallelujah, Chorus PART III

I know that my Redeemer liveth, Soprano, Sharlotte Kramer Since by man came death, Chorus Behold, I tell you a mystery, Bass, Joe Mitchell The trumpet shall sound, Bass, Joe Mitchell Worthy is the Lamb that was slain—Amen, Chorus

The New Mexico Philharmonic

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CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Mozart & Salieri

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Saturday, January 18, 2025, 6 p.m.

5 p.m. Pre-Concert Talk

Popejoy Hall

Carlos Archuleta baritone Coro Lux Oratorio Society/ Bradley Ellingboe director

Roberto Minczuk Music Director Amy Owens soprano Olga Perez Flora mezzo-soprano James Flora tenor

Overture to Don Giovanni, K. 527

Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 25 in g minor, K. 183/173dB I. Allegro con brio

Mozart

MAKING A DIFFERENCE

This performance is made possible by: Art Gardenswartz & Sonya Priestly PRE-CONCERT TALK

Ópera Mozart and Salieri, Op. 48

Nikolai Rimsky-Korsakov (1844–1908)

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

I N T E R M I S S I O N

Queen of the Night aria, “Der Hölle Rache kocht in meinem Herzen,” from The Magic Flute

Mozart

“E voi da buon marito ... Non vo’ gia che vi suonino” from La cifra

Antonio Salieri (1750–1825)

Requiem (Mozart’s original, through the “Lacrymosa”) I. Introitus a. Requiem aeternam II. Kyrie III. Sequentia a. Dies irae b. Tuba mirum c. Rex tremendae d. Recordare e. Confutatis f. Lacrymosa

Mozart

The New Mexico Philharmonic

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CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Midori Plays Mendelssohn

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Saturday, February 1, 2025, 6 p.m.

5 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Midori violin

The Unanswered Question

Charles Ives (1874–1954)

Violin Concerto in e minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo—Allegro molto vivace

Felix Mendelssohn (1809–1847)

MAKING A DIFFERENCE

This performance is made possible by: Thomas Martin & Cynthia Phillips PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

Midori violin

I N T E R M I S S I O N

Symphony No. 5 in d minor, Op. 47 I. Moderato II. Allegretto III. Largo IV. Allegro non troppo

The New Mexico Philharmonic

Dmitri Shostakovich (1906–1975)

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CONCERT PROGRAM .

POWER CONCERT

Fire & Ice Sunday, February 2, 2025, 3 p.m.

Roberto Minczuk Music Director

The New Mexico Philharmonic’s Power Concerts series is back for another season of illuminating, affordable, family-friendly concerts!

This series is geared toward introducing young audience members and their families to classical music, the orchestra, and the instruments that make it all possible. In the second Power Concert of the season, we pair the questioning of Charles Ives with the determination and grit of Dmitri Shostakovich. The artistry of the string, brass, and wind sections are on full display in Ives’s reflective The Unanswered Question, where we find that no matter how important the questions, sometimes there are just no answers. Shostakovich’s Symphony No. 5, arguably his most popular work, is a marvel of symphonic form that landed the composer a rare win: It was a triple threat of success, managing to satisfy music critics, audiences, and most surprisingly, Russian government officials. Music Director Roberto Minczuk leads the orchestra through the second and fourth movements of this masterpiece. ●

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Immanuel Presbyterian Church

MAKING A DIFFERENCE

These performances are made possible by: Bernalillo County • Commission Chair Barbara Baca, District 1 • Commissioner Steven Michael Quezada, District 2 • Commissioner Walt Benson, District 4 Albuquerque City Council • Councilor Dan Champine • Councilor Tammy Fiebelkorn • Councilor Dan Lewis • Councilor Renee Grout

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Roberto Minczuk Music Director In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history.

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having

The New Mexico Philharmonic

worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival.

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire.

His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released

by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 5, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government.

A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling.

He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

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Club, Conspirare, and the choirs of the University of Michigan and Luther College, among many others. Beginning in the summer of 2020, he will be Composerin-Residence for Albany Pro Musica. He lives in Albuquerque, New Mexico, with his wife, Karen. They are the parents of three children and have four grandchildren.

Ellingboe is Director of Choirs at the United Church of Santa Fe and founder and artistic director of Albuquerque’s Coro Lux (“Chorus of Light”). ●

Bradley Ellingboe conductor/director Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher.

As a choral conductor, he has led festival choruses in 35 states and 14 countries.

As a bass-baritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks.

Ellingboe has more than 160 pieces of music in print, including his Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008.

Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican. Ellingboe has won annual awards for his choral compositions from ASCAP—the American Society of Composers, Arrangers, and Publishers—since 2000. His choral music is widely sung and has been performed and recorded by such groups as the Santa Fe Desert Chorale, VocalEssence, the Saint Olaf Choir, the Harvard Glee

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Sharlotte Kramer soprano Sharlotte Kramer is a research mechanical engineer at Sandia National Laboratories and has been a musician her entire life.

She studied classical piano as a child, has been in choirs since middle school, and studied voice with Desiree LaVertu in Pasadena while earning her Ph.D. in Aeronautics from the California Institute of Technology. She has been leading the worship music at High Desert Presbyterian Church in Albuquerque since 2012. ● Tania Hopkins soprano Tania Hopkins is an elementary music teacher with Albuquerque Public Schools.

Tania loves to sing and has enjoyed performing in community choirs and musicals. Her two boys keep her busy, and she is grateful to be able to take some “me time” and sing with the beautiful voices of Coro Lux! ●

Yasmeen Lookman mezzo-soprano Yasmeen Lookman received a Bachelor of Music in vocal performance from the University of New Mexico. She continues her love of music and the performing arts at The Lensic Performing Arts Center where she works in development.

Yasmeen enjoys singing with various local choirs and is thrilled to be singing with friends, old and new, as a part of the wonderful Coro Lux. ●

ARTISTS .

Angelynn Gomez mezzo-soprano Angelynn Gomez was born and raised in Albuquerque and was drawn to music from a young age. She studied piano as a child and played the cello in the Albuquerque Youth Orchestra as a teen, but it was choral music that truly captured her heart. She sang in the Cibola High School Concert Choir and completed her Bachelor’s degree in music education from the University of New Mexico. Annie began singing with the Coro Lux Oratorio Society and Chamber Chorus in 2018.

She directed the choral program at James Monroe Middle School from 2014 to 2022 before becoming a stay-at-home mom, then joining the Coro Lux staff in 2023 as the Executive Assistant. In her free time, Annie enjoys reading, being outdoors, and spending time with her wonderful husband, Leo, and vivacious daughter, Margo. ●

Nicholas Jones tenor Nicholas Jones is an Albuquerque musician and educator. His passion for choir has given him the pleasure of singing in and conducting many different groups throughout his career. He plays piano and guitar for local groups, schools, and churches around the city. ●

Darryl Starkes tenor Hailing from Virginia, Darryl Starkes has been in New Mexico for 15 years. He has been a member of various groups in town including the New Mexico Symphonic Chorus and Quintessence. Currently, he is an insurance agent and enjoys singing among other activities in his very little free time. ●

Joe Mitchell baritone Joe Mitchell started his musical career in Belen, New Mexico, playing the trumpet in 6th grade. This led to high school marching band, choir, talent shows, and musicals. While pursuing his Bachelor of Music degree in music education at UNM, he sang with the Men’s Chorus, Dolce Suono, Concert Choir, Chamber Singers, and Opera Studio. He graduated in 2017 and is now the middle school choir and exploratory music teacher at Tres Volcanes Community Collaborative School. Joe believes everyone’s lives should be filled with musical experiences and is excited to share some of those experiences with Coro Lux! ●

Luminare Chamber Chorus/ Coro Lux Oratorio Society Luminare is the chamber chorus of Coro Lux. Coro Lux (“Chorus of Light”) is an auditioned community chorus based in Albuquerque, founded in the fall of 2015.

Under Artistic Director Bradley Ellingboe, the chorus has grown into one of the top choruses in New Mexico. Coro Lux consists of the larger Oratorio Society and the smaller Chamber Chorus. The Oratorio continued on 14

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Society, with 60 members, presents major choral works, usually with orchestra and often in conjunction with the New Mexico Philharmonic. The Chamber Chorus is an ensemble of 16 members that presents a variety of smaller works in various locations around Albuquerque. Each ensemble presents about three concert programs each season.

Coro Lux has participated in music events far from Albuquerque, including a Carnegie Hall concert in 2016 and the Great American Choral Series festival in Florence, Italy, in the summer of 2018. In 2017, Coro Lux became the Ensemble-in-Residence at St. Paul Lutheran Church in Albuquerque.

Luminare The Chamber Chorus of Coro Lux Roster SOPRANO Kristin Abdill Tania Hopkins Sharlotte Kramer

Elizabeth Wenrich LaVonne Yazzie

ALTO Anne Marie Borch Angelynn Gomez Yasmeen Lookman

Alexandra Mininger Sarah Rulfs Janet Vrudny

TENOR Bryan Butler Nicholas Jones

Spencer McCray Darryl Starkes

BASS Cheney Doane Joseph Lubars Richard Macklin

David Milford Joe Mitchell Anthony Worsham

ALTO 1 Anne Marie Borch Christy Cook Angelynn Gomez Bernadette Hinds Sharlotte Kramer

Rita Leard Yasmeen Lookman Alexandra Mininger Sarah Rulfs Tina Yarrington

ALTO 2 Jan Bowers Vinnessa Ohle Bonnie PachanianFinch

Mary Petrak James Villanueva Janet Vrudny * +

TENOR 1 Michael Adams Nicholas Jones Spencer McCray

Neal Ohle Darryl Starkes

TENOR 2 Bryan Butler Robert Croft N. Robert Finch

Bill Foote Douglas Hendry Peter Spalding

BASS 1 Cheney Doane Martin Doviak Joseph Lubars

Joe Mitchell * Andres Nova Anthony Worsham

BASS 2 George Arthur Ennio Fermo Steve Kerchoff

Richard Macklin David Milford Brian Moffatt

* = Section Leader + = Associate Conductor

●

Coro Lux Roster Bradley Ellingboe Artistic Director

Mary Ann Ybarra pianist

Angelynn Gomez administrator

SOPRANO 1 Kristin Abdill Katy Anderson * Tania Hopkins Jen Jones

Elizabeth Wenrich Susie Tallman Yarbrough LaVonne Yazzie

SOPRANO 2 Karen Ellingboe Ashley Jonkman Nicole Nova Breanne Potter

Mitzy Sotelo Jody Spalding Natalie Tiesi Vicky Wood

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Amy Owens soprano Amy Owens is known for her “high-flying vocals” and “scene-stealing” charisma (Opera News) on operatic and symphonic stages, as well as her innovative, multidisciplinary pursuits in music and entrepreneurship. Her performing career has taken her to some of America’s most

beloved venues, including the Kennedy Center, where her fall 2019 debut as the soprano soloist in Carmina Burana under the baton of Gianandrea Noseda earned praise for “a perfect combination of purring, sensuous phrasing, and puretoned innocence” (Washington Classical Review). A well-known favorite for Carmina Burana, she has soloed twice with the National Symphony, as well as with the Omaha Symphony, Virginia Symphony, Buffalo Philharmonic, Mobile Symphony, and MidAmerica Productions for her Carnegie Hall debut in 2017. She recently created the title role in Augusta Read Thomas’s Sweet Potato Kicks the Sun with Santa Fe Opera, sharing the stage with legendary beatboxer Nicole Paris in the first commission for the groundbreaking initiative “Opera for All Voices.”

In the 2021/22 season, Amy made her debut with Chicago Opera Theater in Becoming Santa Claus under Lydia Yankovskaya and covered the roles of Controller and Tina in Dallas Opera’s production of Flight. She also appeared with the Dayton Philharmonic and Lubbock Symphony for performances of Messiah, as well as performances with the Oberlin Contemporary Music Ensemble, Brooklyn Art Song Society, and the Florida Keys Concert Association. She kicked off the 2022 fall season performing Enrique Granados’s Canciones amatorias with the Brooklyn Art Song Society, followed by her main-stage debut with Virginia Opera as Mabel in The Pirates of Penzance. Other notable roles include Cunegonde in Candide with the Utah Symphony, where she was praised for her “dazzling array of vocal abilities” and “remarkable acting talent,” Johanna in Sweeney Todd with Michigan Opera Theater, and Florestine in On Site Opera’s North American premiere of La mére coupable, a notoriously difficult score that Owens was hailed as handling with “keen sensitivity,” “gleaming coloratura,” and “impressive accuracy and thrilling high notes” (Broadway World, Bachtrack, Musical America). Her affinity for new music also makes her a soughtafter soprano for developing contemporary works, including the Metropolitan Opera workshop of Eurydice, and multiple

ARTISTS .

workshops with American Opera Projects.

She covered the role of Faustina in the world premiere of The Phoenix at Houston Grand Opera in 2019, sang as a last-minute replacement in Opera America’s 2016 New Opera Showcase at Trinity Church NYC, was featured in The Intimacy of Creativity Festival in Hong Kong in 2017, and has premiered art song frequently with the NYFOS Next series.

Amy was a resident artist with Utah Opera, Wolf Trap Opera, Santa Fe Opera, and Central City Opera, and was a grandprize recipient of the Sullivan Foundation in 2014. She also holds awards from the Jensen Foundation (2019 finalist) and Metropolitan Opera National Council (Eastern Region finalist 2015). She is a multiple prizewinner with the George London Foundation and was a featured soloist on their recital series with Anthony Dean Griffey and Warren Jones in 2018.

As a multidisciplinary artist, Amy performed at the 50th annual New Orleans Jazz Festival with renowned musician Glen David Andrews in the Blues Tent in 2019, and as a budding conductor, she was selected to participate in the Hart Institute for Women Conductors at Dallas Opera and the International Conducting Workshop Festival in Bulgaria. She released two collaborative albums in 2019: a debut album of original music, HAETHOR, which received acclaim in the electronica world as “an enchanted force” (Impose), and Songs of Leonard Bernstein, including previously unrecorded vocal music. Other discography includes her performance as Mater Gloriosa in Utah Symphony’s recording of Mahler Symphony No. 8.

As an educator and producer, Amy co-founded The Collective Conservatory and developed a unique curriculum to forge new and innovative paths for online musical collaboration during the pandemic in 2020. She has also served as the artistic director and co-founder of Bel Canto Productions in Westwood, New Jersey, and production manager for Access Opera, two organizations with missions to increase accessibility and broaden the definition of opera for a wider audience. She developed a unique online

education program for vocalists in 2021 called Vocal Revolution and maintains a robust online studio focusing on technique and vocal freedom. In 2022, she codirected Opera Storytellers, a children’s day camp run through Santa Fe Opera, developing a groundbreaking process for youth to compose and perform an original opera in five days. She also produced a two-week festival for students from her private vocal studio, called Studio Fest, where she produced multiple concerts and conducted a scenes program in Santa Fe, New Mexico. Amy enjoys developing her interests as a multi-genre vocalist, producer, conductor, accordion player, dancer, yogi, educator, writer, composer, and wellness advocate. She holds an M.M. degree in vocal performance from Rice University and a B.M. in vocal performance from Brigham Young University. ●

Olga Perez Flora mezzo-soprano Cuban-American mezzo-soprano Olga Perez Flora (she/her/ella) has been lauded by Opera News for her “smoky tones” and “firm, pleasant voice and lively poise.” She has performed with opera companies and symphonies across the country and internationally and is best known for her sultry Carmen, which she has performed numerous times, including her debut with Amarillo Opera. Dr. Flora was recently featured in Frida with Opera Southwest and Michael Ching’s Completing the Picture, which was recorded and filmed remotely during the pandemic, for Opera Company Middlebury. She has sung with opera

companies and symphonies across the United States, including Pittsburgh Opera, Arizona Opera, Opera Company Middlebury, Opera Southwest, Erie Chamber Orchestra, Amarillo Opera, New Jersey Opera Theatre, Akron Symphony, Idyllwild Festival of the Arts, Resonance Works, ReNew, Lake Tahoe Chamber Society, and more.

Upcoming performances include Carmen in Carmen and The Sea in Before Night Falls with Opera Southwest in spring 2024, as well as her debut recording: Canciones de mi Isla: Songs from My Island, featuring Cuban classical songs.

She will be returning to Rome, Italy, in summer 2024 to sing the mezzo-soprano solos in Verdi’s Requiem. Dr. Flora is currently an assistant professor of voice and head of the voice area at the University of New Mexico where she directs the Spring opera. olgaperezflora.com ●

James Flora tenor Hailed for his “resonant, impeccably trained voice and fearlessness to his singing,” American tenor James Flora has received acclaim in repertoire ranging from Verdi and Wagner to works by Carlisle Floyd and Daron Hagen, having sung the role of Louis Sullivan from Hagen’s Shining Brow at Frank Lloyd Wright’s 20thcentury masterpiece Fallingwater. James has sung with the Metropolitan Opera Chorus under Maestro Donald Palumbo in their most recent productions of Die Meistersinger von Nürnberg and Fidelio.

He made his Pittsburgh Opera debut as Fenton in Falstaff, and has since returned continued on 16

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for seven productions, including Carmen, Turandot, Lucia di Lammermoor, and most recently as Second Jew alongside the Salome of Patricia Racette. James has performed leading roles in opera companies across the United States, including Alfredo (La traviata), Tamino (The Magic Flute), Pinkerton (Madama Butterfly), Rodolfo (La bohème), and Don José (Carmen), appearing with companies including Washington Concert Opera, Arizona Opera, Glimmerglass Opera, Opera Company Middlebury, Opera Columbus, and others. Equally at home on the symphonic stage, he has sung with the Pittsburgh Symphony, Reno Philharmonic, Erie Chamber Orchestra, and Buffalo Philharmonic, and recently debuted with the La Voz Humana: Lenguajes Múltiples festival in Cuba with Maestro Leo Brouwer and guitar virtuoso Joaquin Clerch. James’ recent performances include a debut as Florestan in Fidelio with Opera Company Middlebury and Indianapolis Chamber Orchestra, where he has previously been seen as Cavaradossi (Tosca) and Mitch (A Streetcar Named Desire).

James was a Young American Artist with Glimmerglass Opera, a Resident Artist with Pittsburgh Opera, and a Marion Roose Pullin Studio Artist with Arizona Opera, where he made his operatic debut as Malcolm in Verdi’s Macbeth. In 2010, James was a Richard Tucker finalist. He holds voice degrees from The Ohio State University (B.M. in vocal performance, summa cum laude) and Florida State University (M.M. in vocal performance).

He is currently on the voice faculty of the University of New Mexico and has served on the faculties of Arizona State University, University of Nevada—Reno, Central Michigan University, Otterbein University, and Point Park University, and is a member of NATS and AGMA. James has students performing on and off Broadway in productions of Hamilton, Urinetown, Shrek the Musical, and Rent and has students in Dolora Zajick’s Institute for Young Dramatic Voices. He is the co-artistic director and co-founder of Tito Gobbi Italian Summer Program on the grounds of the Gobbi Villa in Rome, Italy. ●

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Carlos Archuleta baritone A native New Mexican, Carlos Archuleta has had a varied and full singing career as an operatic baritone. His repertoire ranges from Rossini and Verdi to Adams and Falla. He has performed with notable companies such as Santa Fe Opera, Washington National Opera, New York City Opera, Cincinnati Opera, Dallas Opera, Minnesota Opera, Orlando Opera, Boston Lyric Opera, and Utah Opera. Past repertoire includes Figaro in Il barbiere de Siviglia and Le nozze di Figaro, Conte Almaviva in Le nozze di Figaro, Papageno in Die Zauberflöte, and Conte di Luna in Il trovatore. One of his signature roles was Escamillo in Carmen, which took him to London, performing in the Royal Albert Hall. Other roles include Belcore in L’elisir d’amore, Nixon in Nixon in China, Sharpless in Madama Butterfly, Marcello and Schaunard in La bohème, Silvio in Pagliacci, and Germont in La traviata.

As an oratorio soloist, Mr. Archuleta has performed the solos for J.S. Bach’s Cantata Ich habe genug with the American Festival of Microtonal Music (NYC), and the baritone soloist in Nielsen’s Symphony No. 3 with Maestro Osmo Vänskä and the Minnesota Orchestra. Other appearances include Mendelssohn’s Elijah, Handel’s Messiah, and Bach’s Magnificat, most recently with Maestro Franz Vote and the New Mexico Performing Arts Society and the New Mexico Bach Chorale, with both Mr. Archuleta is a member, Orff’s Carmina Burana, and the Fauré, Verdi, and Brahms Requiems. Mr. Archuleta has also completed a recital tour with Debra Layers

and Christina Martos around the northern New Mexico area, featuring vocal music inspired by William Shakespeare. The trio also completed a salon recital with the Montage Music Society, featuring music

by Schumann, Reynaldo Hahn, Verdi, and Stephen Sondheim.

Recent engagements include the role of Tonio in Pagliacci; Tenorio in the world premiere of Bless Me, Ultima; and Scarpia in Tosca and Ping in Turandot with Opera Southwest. Mr. Archuleta participated in the Mozart Music Festival and 2023 Opera Scenes with Maestro Vote and the New Mexico Performing Arts Society and was part of the guest faculty for the Vocal Artistry Art Song Festival-Canciones Españolas at the Albuquerque Academy. ●

Midori violin Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience. In the four decades since her debut with the New York Philharmonic at age 11, the “simply magical” (Houston Chronicle) violinist has performed with many of the world’s most prestigious orchestras and has collaborated with world-renowned musicians including Leonard Bernstein, Yo-Yo Ma, and many others. Midori is the Artistic Director of the Ravinia Steans Music Institute’s Piano & Strings program, making her debut in the role in summer 2024.

This season, she premieres Spirituals—a new work written for her by Che Buford—on a recital program with

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pianist Özgür Aydin at the Edinburgh Festival; the 92nd Street Y, New York; the Celebrity Series of Boston; San Francisco Performances; and the Colburn Celebrity Series. Other highlights of Midori’s 2024/2025 season include appearances with the Boston Symphony Orchestra, Los Angeles Philharmonic, Louisville Orchestra, Seattle Symphony, and Oklahoma City Philharmonic.

Outside the U.S., she performs with the Vienna Philharmonic under Andris Nelsons in Vienna and on tour in Japan and Korea (Prokofiev’s First Violin Concerto); she appears twice in spring 2025 at the Berlin Philharmonic Hall with the German National Youth Orchestra in May, performing Glanert’s Second Violin Concerto, and with the Deutsches Symphonie-Orchester Berlin (DSO) in June, performing Dvořák’s Violin Concerto.

She also joins the Orchestre de la Suisse Romande under Jonathan Nott, performing Sibelius’s Violin Concerto on a tour of Spain, and has concert appearances in Geneva, Köln and Nürnberg, as well as Mumbai, Istanbul, Izmir, and Colombo.

Deeply committed to furthering humanitarian and educational goals, Midori has founded several nonprofit organizations. The New York City-based Midori & Friends and Japan-based MUSIC SHARING have both been active for more than three decades. For the Orchestra Residencies Program (ORP), which supports youth orchestras, Midori commissioned a new work from composer Derek Bermel, Spring Cadenzas, that was premiered virtually during the COVID lockdown and continues to be performed. This season, she is working on creating a video recording of the work to be accompanied by a tutorial. ORP also worked recently with the Afghan Youth Orchestra, which relocated to Portugal in order to continue operating.

Midori’s Partners in Performance (PiP) helps to bring chamber music to smaller communities in the U.S. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace and was named a Kennedy Center Honoree in 2021.

The New Mexico Philharmonic

Born in Osaka in 1971, she began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert, where the foundation was laid for her subsequent career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music in Philadelphia. She is the recipient of honorary doctorates from Smith College, Yale University, Longy School of Music, and Shenandoah University, and of the 2023 Brandeis Creative Arts Award from Brandeis University.

She plays the 1734 Guarnerius del Gesù ‘ex-Huberman’ and uses four bows—two

by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried. ●

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NOTES BY CHARLES GREENWELL

George Frideric Handel

Messiah (1741) George Frideric Handel was born on February 23, 1685, in Halle, Germany, and died on April 14, 1759, in London, England. His Messiah is scored for 2 oboes, 2 bassoons, 2 trumpets, timpani, continuo, strings, SATB soloists, and chorus. Approximately 120 minutes.

The oratorio, one of the great Baroque vocal forms, came from the religious playwith-music of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually— but not always—based on a biblical story.

These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was, developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent.

Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class.

He achieved this in part by making the chorus—in other words, the people—the center of the drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he

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“Not from me—but from Heaven—comes all.”

—George Frideric Handel favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make use of tone color for a variety of moods and dramatic expression.

Handel first came to England when he was 25, and already celebrated throughout Europe as an outstanding composer of Italian-style opera. His main reason for going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result, his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah.

Jennens hoped it would inspire the man to new heights, and specifically designed the work to be presented during Holy Week, when theaters would be closed, thus assuring a full house for some kind of benefit performance. Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season.

Handel began work on the new score in late August 1741, and in a phenomenal burst of virtually nonstop energy, finished the entire score, orchestration and all,

in the amazing space of just 24 days!

He set out for Ireland in early November and arrived in Dublin on November 18.

The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London. In addition, when he came to Dublin, he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes. This was largely due to the terrible social conditions in the country, compared with the poor people of London and the inmates of its prisons and hospitals who were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts. There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah.

On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “…

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Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard...” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere, this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the history of music.

Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the

hostility it received in some quarters.

There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score.

As a result of this, Messiah was rarely performed in London in the mid–1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need. In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment. On May 27, the concert was given in the newly built chapel, and it was a great success.

The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere.

In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed

“My Lord, I should be sorry if I only entertained them. I wished to make them better.”

—George Frideric Handel

it every year at the Foundling Hospital.

(Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.) He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration, he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.” After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

Wolfgang Amadeus Mozart

Overture to Don Giovanni (1787) Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria, and died on December 5, 1791, in Vienna, Austria. The overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 7 minutes. continued on 20

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This powerful opera is based on the legends of Don Juan, a fictional libertine and seducer, and it can be said that the Don and Faust were created by the Counter-Reformation as warnings against exceeding the boundaries set for man: Faust for seeking metaphysical knowledge and power; Don Juan for living in unbounded sensuality without any spiritual belief. In the end, both are overtaken by divine retribution. Created by Mozart and his librettist Lorenzo da Ponte in 1787, Don Giovanni brought all of these old popular legends to the stage in what was the most complex and modern music of its time. Commissioned by an Italian opera company in Prague, the opera blended elements of high tragedy with the low and frequently risqué humor of the opera buffa, or opera with humorous subject matter.

The role of Don Giovanni embraces this duality by depicting an aristocratic gentleman whose sexual adventures and open philosophy lead him to disavow the dignity of his class, transgress society’s moral codes, and cross the line from pleasurable risk to destruction and death. Looked at another way, the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements. Don Giovanni was performed in October 1787 for a visit to Prague by the Archduchess Maria Theresa of Austria, niece of the Emperor Joseph II. It was a huge success, as was often true of Mozart’s work in Prague. The opera’s final ensemble (the scene after the Don is dragged down to hell by demons) was generally omitted until the early 20th century, a tradition that appears to have begun very early on, and was sanctioned

by Mozart himself. Nowadays, of course, that final ensemble—which is a kind of morality lesson—is always performed. For Mozart, it was an unusually intense work, and was not entirely understood in his time, but by the middle of the 19th century was recognized as one of the greatest of all operas. The opening section of the overture is taken almost entirely from the scene in which the statue of the slain Commendatore confronts the Don, and

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For Mozart, [Don Giovanni] was an unusually intense work, and was not entirely understood in his time, but by the middle of the 19th century was recognized as one of the greatest of all operas. in doing so, Mozart daringly anticipates the crucial event of the whole opera. In performances of the opera, the end of the overture slows down and blends into the beginning of the first act, but in concert, it is usual to use the ending created by Johann Andre. ●

Wolfgang Amadeus Mozart

Symphony No. 25 in g minor, K. 183 I. Allegro con brio (1773) Symphony No. 25 is scored for 2 oboes, 2 bassoons, 4 horns, and strings. The first movement is approximately 8 minutes.

In the 18th century, there was clearly no need to distinguish between different symphonies by the same person to the degree that is common today. The concept that all symphonies should have unique personalities of their own did not become widespread until Beethoven’s time. Until then, most symphonies were enough alike in scope and intent as to be almost interchangeable to their audiences. This situation began to change in the 1770s when Mozart and Haydn, among others, began to write symphonies that were noticeably individualized and different from one another. The symphony as we know it today had its origin in Italy where it was first used as a three-part opera overture.

When Mozart began writing symphonies, he followed this arrangement, and in fact many of his early symphonies bear the subtitle of “Overture.” He wrote more symphonies than anything else in the

purely instrumental realm, more than 50 in all, the first being produced when he was just 8. During his time, the symphony broke away from its original use in opera and gained a new and independent life.

Mozart wrote most of his symphonies for a specific purpose, and his early efforts in the genre were a fascinating mixture of various styles of the day, written in a way that would please local audiences.

The majority of his symphonies were written prior to 1774, with the greatest concentration occurring between 1770 and 1775, when he wrote no less than 36 symphonies, what one scholar referred to as “an attack of symphony fever!” He did not stop writing symphonies after this, however; rather, the demands of his career along with social and musical realities of the day pointed him mainly in the direction of opera and the piano concerto. Mozart’s stylistic development closely paralleled the development of the Classical style as a whole, the main characteristics of which are clarity, balance, and transparency.

From his earliest years, he had a remarkable sponge-like gift for imitating music he had heard, all of which was transformed and funneled into his unique and special musical language. In addition, during the last 10 or so years of his life, he also was exploring chromatic harmony to a degree that was almost unparalleled at the time.

This early symphony in g minor was written when Mozart was 17 years old and stands out among his works as a good example of how symphonies were becoming individualized. It is moreover one his first works to show complete

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artistic maturity and one of only two symphonies he composed in a minor key, the other being the sublime Symphony No. 40, also in g minor. The use of minor keys in symphonies was quite rare in the 18th century, but instead of being looked on as a forerunner of the Romantic spirit, this work can better be regarded as part of a sudden outburst of minor-key symphonies that took place in the late 1760s and early 1770s. The great Haydn and other lesser lights produced at this time a number of minor-key symphonies characterized by stormy and even nervous drama, restlessness of spirit, and melodies that tended to jump around rather than follow a normal, smooth path. These were part of the so-called Sturm und Drang (Storm and Stress) movement, and much has been made of the similarity between Haydn’s Symphony No. 39 in g minor and this Mozart work: They are in the same key and same style, and most unusually, include not the usual two but four horns in the instrumentation, thus extending the harmonic range. ●

NOTES BY DAVID B. LEVY

Nikolai Rimsky-Korsakov

Mozart and Salieri, Op. 48 (1897) The Russian master Nikolai Andreyevich Rimsky-Korsakov was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, near Luga (now Pskov

district), on June 21, 1908. He was a brilliant composer, arranger, and teacher, whose illustrious students included Igor Stravinsky. A member of the group of composers known as “The Five,” Rimsky-Korsakov (along with Mussorgsky, Balakirev, Cui, and Borodin) played an important role in developing an idiosyncratic Russian musical voice.

The author of a manual on orchestration and prized by all as a master of the same, Rimsky-Korsakov is best known for his orchestral showpieces, including the Great Russian Easter Festival Overture, Capriccio espagnol, and the most popular of them all, Scheherazade (1887–88). His oneact opera, Mozart and Salieri, based on Alexander Pushkin’s 1830 poetic drama, was composed in 1897 and first performed in Moscow’s Solodovnikov Theater on December 7, 1898, with staging by Mikhail Vrubel and musical direction by Giuseppe Truffi. Calling for only two singing roles— Salieri (baritone) and Mozart (tenor)—there is a non-singing role for a violinist. The respective roles were sung by Feodor Chaliapin (Shalyapin) and Vasilly Shkafer.

The opera’s orchestration calls for a small chamber orchestra comprising single winds, 2 horns, piano, strings, and offstage chorus. Approximately 75 minutes.

In our own time, the name Antonio Salieri has become well-known to Englishspeaking audiences thanks to Peter Shaffer’s 1979 stage play, Amadeus, and the subsequent Academy Award-winning filmization of it directed by Milos Forman

“Where is justice when the holy gift of immortal genius is bestowed not as a reward for fervent love of art, selfsacrificing labor, prayer and zeal, but lights upon the head of a dunce, an idle gadabout.”

—Antonio Salieri, Mozart and Salieri

and released in 1984. What is less familiar, however, is that Shaffer’s script is itself based upon the verse drama Mozart and Salieri, written in 1830 by Alexander Pushkin. This play, in turn, inspired the opera by the same name by Nikolai Rimsky-Korsakov. Its cast at the premiere included the famed Russian baritone Fedor Chaliapin, whose career later catapulted him to international acclaim.

The pianist at the first performance was none other than Sergei Rachmaninoff.

The historical Antonio Salieri (1750– 1825) was not the villainous murderer of Mozart that Pushkin and Shaffer depict, but was rather a highly respected musician at the Habsburg court in Vienna. No less a figure than Ludwig van Beethoven thought well enough of Salieri’s talents to seek him out for lessons. It is true, however, that as the early 19th century evolved, Salieri recognized that musical trends and tastes were changing. There is also some truth in the fact that a kind of rivalry existed between Salieri and Mozart, but this represented a difference between the Italian and Germanic approaches to composition. It is also true that the operatic life in Vienna toward the turn of the century was dominated by Salieri and other Italians, a fact of which Mozart took notice in letters to his father. The final coup de grace, however, occurred in 1823, when Salieri attempted suicide, and rumors persisted that in his dementia he claimed to have poisoned Mozart in a fit of jealousy.

As is often the case, these rumors spread and continued to feed the imagination of artists, including Pushkin.

The great Russian master produced another mini-drama titled The Stone Guest that was set to music by Alexander Dargomyzhsky (1813–1869), but remained unfinished before its premiere in 1872. Rimsky-Korsakov and César Cui completed the opera’s composition and orchestration after Dargomyzhsky’s death. The inspiration for Pushkin and Dargomyzhsky was, of course, Lorenzo da Ponte and Mozart’s opera Don Giovanni, an opera whose title character—the famous Don Juan—disrupts social norms of behavior. Mozart and Salieri in many ways also addresses several moral issues, continued on 22

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including the destructive effects of envy, as well as the question of who is, and who is not, talented. As Salieri asks near the opening of the opera, “Where is justice when the holy gift of immortal genius is bestowed not as a reward for fervent love of art, self-sacrificing labor, prayer and zeal, but lights upon the head of a dunce, an idle gadabout.” In addition to RimskyKorsakov’s music, we hear excerpts from Mozart’s The Marriage of Figaro, Don Giovanni (Zerlina’s aria “Batti, batti, O bel Masetto”), and the introit of Mozart’s Requiem.

Rarely performed, Mozart and Salieri has moments of true human poignancy.

The late Richard Taruskin, a scholar steeped in encyclopedic knowledge of Russian music and its history, suggested that Rimsky-Korsakov was attracted to the subject of Pushkin’s depiction of Salieri’s envy of Mozart because he projected his own lack of self-worth in contrast to the accomplishments of his colleagues Alexander Borodin and Modest Mussorgsky. Through Salieri’s heartfelt and genuine remorse in murdering Mozart, he asks, by way of justification, did not Michaelangelo commit murder of a rival so that he would receive commissions from the Vatican? Or were these also unfounded rumors? ●

“An unknown, gray stranger,” […] laid out the following proposal: write a Requiem and do not try to investigate his identity.

NOTES BY LORI NEWMAN

Wolfgang Amadeus Mozart

Requiem, K. 626 (1791) Mozart’s Requiem is scored for SATB soloists and choir, 2 basset horns, 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, and strings. The beginning through the Lacrymosa is approximately 27 minutes.

Hollywood’s account of the events surrounding the composition of Mozart’s Requiem indeed make for a good story—the facts, however, are slightly less dramatic. While the commission of the work is slightly mysterious, Antonio Salieri does in fact not devise an insidious murder plot, nor does he scheme to steal the Requiem and claim it as his own.

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The Requiem’s commission did contain a bit of a cloak and dagger element, but all is explained with great ease. In July 1791, in the middle of writing The Magic Flute and soon to draw a commission for La clemenza di Tito, Mozart received an unsigned letter that sung the composer’s praises and stated that someone would pay him a visit to outline the letter writer’s proposal. The following day, “an unknown, gray stranger,” as Mozart would describe him, appeared and laid out the following proposal: write a Requiem for a mystery commissioner and do not try to investigate his identity. Mozart, certainly in no financial situation to turn down a commission, told the stranger his fee, and was paid half upfront, with the rest to be paid upon completion. The stranger was none other than Anton Leitgeb, the valet for Count Franz von Walsegg-Stuppach.

The Count’s wife had passed away the previous February and the Requiem was to be written in her honor. The Count was an avid music lover with an indecorous habit of claiming other composers’ works as his own.

Mozart worked on all three commissions throughout the summer, finishing both operas in September. In October, Mozart became very ill and remained in a weakened state until his death in December. Mozart had completed very little of the Requiem but had left enough in the way of sketches that Constanze, in desperate need of the remainder of the commission fee, engaged Mozart’s friends and pupils to help finish the work.

The majority of this responsibility fell to Mozart’s student Franz Xaver Süssmayer.

Reports vary as to how much Mozart prepared his student for the task of finishing the work: Some claim Mozart gave very detailed accounts of how his

work should continue, while other reports claim that Süssmayer just did what he needed to do to finish the work with little direction from the master. Süssmayer completed the orchestration and wrote the final movements, most likely using sketches left by Mozart. He then rewrote the entire Requiem in his own writing, preventing scholars from definitively identifying what was written by Mozart and what was written by his apprentice.

The completed Requiem was presented to the Count, who fell back into bad habits and tried to pass the work off as his own. Perhaps this is where Hollywood got the idea of another duplicitously trying to claim credit for Mozart’s masterpiece. Constanze, realizing the importance of the public knowing the true composer of the Requiem, eventually persuaded the Count to admit the truth regarding the work’s compositional roots—however, that admission would come a full decade later. ●

NOTES BY MARIAN TANAU

Charles Ives

The Unanswered Question (1908; rev.

1930–1935) Charles Edward Ives was born in Danbury, Connecticut, on October 20, 1874, and died in New York City on May 19, 1954.

He was an American modernist composer as well as an actuary and a businessman.

Being one of the first American composers to be recognized internationally, Charles Ives’s music was mostly unknown during his early career as a composer. Later in his life, once his music was played and recognized as original, Ives became to be

PROGRAM NOTES .

known as an “American original.” Some of his experimental compositional techniques include aleatory music, tonal clusters, use of quarter tones, polytonality, and polyrhythms. Charles Ives is regarded as one of the leading American composers of the 20th century. Scored for 4 flutes, trumpet, and strings. Approximately 6 minutes.

The Unanswered Question, subtitled “(a Cosmic Landscape)” in Charles Ives’s papers about the work, was composed in 1908 and revised later between 1930 and 1935. The premiere of the revised work took place in 1946 in New York City at the McMilin Theater, Columbia University, and it was performed by an orchestra comprised of The Juilliard School of Music’s graduate students. The original 1908 version was premiered years later in 1984. Ives provided a short text by which to interpret the work, giving it a narrative as in program music. According to Ives, the sustained chords in the strings represent “The Silence of the Druids—who Know, See, and Hear Nothing.” With this sound tapestry, the trumpet asks the question—“The Perennial Question of Existence”—seven times. The woodwinds give the “answer” the first six times. In Ives’s words, the woodwinds’ answers represented “Fighting Answerers” who, after a time, “realize a futility and begin to mock ‘The Question’” before finally disappearing, leaving “The Question” to be asked once more before “The Silences” are left to their “Undisturbed Solitude.”

The strings bring the piece to conclusion by “hum[ming] softly in the distance, like the eternal music of the spheres.” ●

NOTES BY DAVID B. LEVY

Felix Mendelssohn

Violin Concerto in e minor, Op. 64 (1838– 1844) (Jacob Ludwig) Felix Mendelssohn (Bartholdy) was born on February 3, 1809, in Hamburg and died November 4, 1847, in Leipzig. Mendelssohn was an important composer of the Romantic generation

and one of history’s first major orchestral conductors. His Violin Concerto was first performed in Leipzig on March 13, 1845, with Ferdinand David as soloist and Neils Gade conducting the Gewandhaus Orchestra. It is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 26 minutes.

One of the greatest concertos ever penned for the instrument, Mendelssohn’s masterful Violin Concerto, composed between 1838 and 1844, is the fruit of his maturity. The work owes its existence thanks to the special working relationship that the composer enjoyed with the leader (concertmaster in today’s terms) of the Gewandhaus Orchestra, Ferdinand David.

While at work on the Violin Concerto, Mendelssohn was invited in 1840 by Friedrich Wilhelm IV, the King of Prussia, to head the Royal Academy of the Arts in Berlin, a post that at first the composer was reluctant to accept. Mendelssohn preferred Leipzig to Berlin, the city in which he was raised, and he did not wish to part company from his friends at the Gewandhaus Orchestra, chief among whom was David. Nevertheless, Mendelssohn took up the new post in 1841, a move that he grew to regret. He was unable to extract himself from Berlin until 1844, by which time he was able to complete work on the Violin Concerto.

Mendelssohn himself played the violin and had much earlier in life composed another Concerto for Violin (in d minor, rarely performed) as well as a Concerto for Violin and Piano (also a rarity in concert), but neither work can compare to the present one. Conceived in the traditional three movements (played without pause), the Concerto for Violin is filled with inspired moments and wonderful themes. The first inspiration comes at the very beginning of Allegro molto appassionato, where the soloist enters almost immediately over an undulating figure in the orchestral violins and the insistent pulse of the timpani and lower strings. Upon David’s recommendation, the soloist sings its soaring melody on the E string, the violin’s highest. Another such moment comes with the superbly crafted

and fully written-out cadenza at the end of the development section. Toward the end of the cadenza, the solo violinist plays a series of arpeggios over all four strings, as the orchestra stealthily returns with the opening theme, marking the onset of the movement’s recapitulation.

At the movement’s end, a lone bassoon sustains a single note that connects to the lovely central Andante, a movement that features two themes. One of the great inspirations here may be found in the second theme, where the violin accompanies itself as it engages in dialogue with the orchestra. The exuberant finale begins with a short Allegretto non troppo introduction that evokes the mood of the first movement, almost as a wistful recollection. This soon yields to a sprightly scherzo-like Allegro molto vivace, in E Major, a fine example of Mendelssohn’s quicksilver mood that one also encounters in some of his other works, such as the Overture and Scherzo to Shakespeare’s A Midsummer Night’s Dream and the Scherzo of his Trio No. 1 for Piano, Violin, and Violoncello. Also characteristic of Mendelssohn’s style is the insertion of cantabile lyricism in the midst of the finale’s brilliant virtuoso fireworks. ●

Dmitri Shostakovich

Symphony No. 5 in d minor, Op. 47 (1937) Dmitri Dmitriyevich Shostakovich was born in Saint Petersburg on September 12, 1906, and died in Moscow on August 9, 1975. He was one of the Soviet Union’s greatest composers. Although he composed in a wide variety of genres, including film scores, he is best known for his fifteen symphonies, which are among the finest examples of their kind from the mid-twentieth century. His Fifth Symphony was first performed in Leningrad (now, once again, Saint Petersburg) on November 21, 1937. Its success was unequivocal and it remains one of the landmark compositions of this century. It is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 continued on 24

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PROGRAM NOTES . continued from 23

horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, snare drum, cymbals, bass drum, tam-tam, bells, xylophone), 2 harps, piano, celesta, and strings. Approximately 45 minutes.

Of Shostakovich’s fifteen symphonies, the Fifth Symphony is his most popular and frequently performed work. A pejorative overtone creeps in, however, when one tries to define the word “popular” by seeking its opposite, such as when “popular” music (e.g., rock, hip-hop, or traditional) is contrasted with “art” music (symphonies, chamber music, opera). How many of us, for example, have at some time or other characterized some “popular” music as “coarse, primitive, [or] vulgar?” These, however, are the precise words that appeared in a January 1936 article in Pravda titled “Muddle Instead of Music,” an article (possibly authored

by Joseph Stalin himself) that denounced Shostakovich’s opera Lady Macbeth of the Mtsensk District and ballet The Limpid Stream. Thus began one of the saddest episodes in twentieth-century music history—the official exile of one of the Soviet Union’s most gifted talents. Those who dared to stand by Shostakovich, either personally or artistically, did so at grave risk to their own career, or even life.

The irony, however, was yet to come.

Shostakovich sought to deal with Stalin’s rebuke through continued work on new compositions. His immense Fourth Symphony was written over the course of the subsequent months of 1936, but the work was withdrawn under suspicious circumstances shortly before its scheduled premiere in April. The Fifth Symphony, composed during the next year, enjoyed a much happier fate. One journalist dubbed the new symphony as “a Soviet artist’s practical, creative reply to just criticism,” a subtitle that was used for the first time at the Moscow premiere in 1938.

Shostakovich, typically, neither endorsed nor renounced the title.

But did the Fifth Symphony truly represent the rehabilitative effort of a man who had fallen from the good graces of a repressive regime? Evidence that has recently surfaced in two books—Solomon Volkov’s Testimony: The Memoirs of

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2024/25 Season / Volume 13 / No. 3

The Fifth Symphony is “the stabilization of a personality.”

—Dmitri Shostakovich Dmitri Shostakovich (London, 1979) and Elizabeth Wilson’s Shostakovich: A Life Remembered (Princeton, 1994)—paints a rather different portrait. Here, we discover a composer who at first believed that his career lay in ruins. His strategy became the maintenance in public of humility and submission. In private, by contrast, Shostakovich set himself on a course of defiant resistance to Stalinist repression by encoding private warnings and references into his scores. Purely instrumental music, after all, has one advantage over works for the stage; censors, who for the most part are musical illiterates, have a harder time applying their political standards. One may recall here how one hundred years earlier, the crafty Robert Schumann had slipped the forbidden “Marseilles” past the Viennese censors in his Faschingsschwank aus Wien.

Shostakovich’s Fifth Symphony owes, as is the case with much of his other music, a debt of gratitude to the color and sardonic wit found in the music of Gustav Mahler. The powerful opening Moderato begins with a jagged figure treated imitatively in the strings. This paves the way for music of haunting lyricism. After the first climax, a broad song emerges over a throbbing accompanying figure in dactyls. The gentle pulsation turns outright threatening with the introduction of the percussive sound of the piano and a quickening of speed. The music becomes increasingly frenetic, reaching shattering climaxes before returning to its majestic opening speed and demeanor. It ends shrouded in mystery as the celesta plays its haunting chromatic scales.

The second movement, Allegretto, is a saucy scherzo that dresses itself as a kind of sardonic waltz. Its cheeky character is highlighted by the color of the soprano clarinet and solo violin. The high spirit of this movement yields to the dramatic poignancy of the ensuing Largo. This

movement begins soulfully in the divided strings. The highest violins soon introduce a new theme based upon a repeated-note figure. An ethereal duet for flutes over an undulating harp ostinato accompaniment follows. Later, the solo oboe introduces yet another haunting tune. A climax of terrific intensity is achieved based upon the high violin theme, but the tension finally breaks. The movement ends with the oboe theme, now played by celesta and harp (in bell-like harmonics), melting into a more optimistic major chord in the hushed strings.

The finale, Allegro non troppo, is famous for its rousing opening theme, played by trumpets, trombones, and tuba over the pounding kettledrums. This theme may have pleased Shostakovich’s socialistrealist critics, but they would have been less enthusiastic if they knew that its opening notes were derived from the first song, “Rebirth,” from the composer’s Four Pushkin Romances. Even more telling is a later theme in the movement that bears material Shostakovich had set to the following words: “Thus delusions fall off/ My tormented soul/And it reveals to me visions/Of my former pure days.” A tumult of new themes ensues, some of which are evocative of themes heard earlier in the symphony. A slowly oscillating ostinato in the violins takes over, leading to one of the real strokes of genius in the movement— the slow, soft reintroduction of the opening martial theme. The movement ends in a dignified blaze of glory as this theme arrives at its apotheosis in the resplendent brass. Perhaps this is what Shostakovich had in mind when he spoke of his Fifth Symphony as “the stabilization of a personality.” Few works can match these concluding pages for depicting the sheer triumph of the human spirit over adversity.

●

NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians FIRST VIOLIN Cármelo de los Santos

Karen McKinnon Concertmaster Chair

Sarah Tasker •••

Assistant Concertmaster

Ana María Quintero Muñoz Heidi Deifel Olivia DeSouza Maia Lorenzo Gallegos Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Rachel Jacklin • Carol Swift ••• Julanie Lee Lidija Peno-Kelly Megan Lee Karls Liana Austin Sheila McLay Jessica Retana Jocelyn Kirsch Brad Richards VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Michael Anderson Lisa Di Carlo Joan Hinterbichler Laura Campbell

CELLO Amy Huzjak • Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis

BASS CLARINET Jeffrey Brooks

BASS Joe Weldon Ferris • Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry

HORN Peter Erb • Allison Tutton Maria Long Andrew Meyers Katya Jarmulowicz ••••

FLUTE Valerie Potter • Esther Fredrickson Noah Livingston •• PICCOLO Esther Fredrickson OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña •• CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks E-FLAT CLARINET Lori Lovato

BASSOON Stefanie Przybylska •+ Denise Turner + Zoe SirLouis •++ Avery Dabe ++

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts •• TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall TUBA Richard White •

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Robert & Marylyn Burridge California Pizza Kitchen Dante & Judith Cantrill David & Laura Carlson Robert & Sharon Chamberlin Roscoe & Barbara Champion Cheesecake Factory Chile Traditions Barry Clark Lloyd Colson III Martha Corley Cara & Chad Curtiss The Daily Grind/Caruso’s Rosalie D’Angelo Hubert Davis Mary Ann & Michael Delleney Thomas & Elizabeth Dodson Sandy Donaldson Michael & Jana Druxman Jeff & Karen Duray D. Reed Eckhardt Martha Egan James Erdelyi, in memory of Robert Fosnaugh Sabrina Ezzell Rita Fabrizio Farm & Table Jane Farris & Mike Pierson Jane Farris & Mike Pierson, in honor of Brent & Maria Stevens Howard Fegan J. Fenstermacher Jon & Laura Ferrier Patrick & Elizabeth Finley Rabbi Arthur Flicker Carol Follingstad Greg & Jeanne FryeMason Eric & Cristi Furman Allison Gentile & Joan Sapon Lawrence Jay Gibel, MD Great Harvest Bakery Charles & Kathleen Gregory Ginger Grossetete Marilyn Gruen & Douglas Majewski Kenneth Guthrie & Doni Lazar J. Michele Guttmann Leila Hall Rachel Hance, in memory of Dolores Hance Michael Harrison Catherine Smith-Hartwig Ursula Hill Fred Hindel Stephen Hoffman & James McKinnell Kristin Hogge Steven Homer Julia Huff Ralph & Gay Nell Huybrechts Jerry & Diane Janicke Gwenellen Janov

THANK YOU .

Michael & Sandra Jerome Ruth Johnson Barbara Jones Ty Kattenhorn Stephanie & David Kauffman Julia Kavet Lynn Kearny Margaret Knapp Gerald Knorovsky Katherine Kraus Michael & Bethann Krawczyk Larry W. Langford Molly “Mary” Lannon Paul & Julie Laybourne Janice Leach Rita Leard Rebecca Lee & Daniel Rader Larry & Shirlee Londer, in memory of Bill Bradley Los Pinos Fly & Tackle Shop Suzanne Lubar & Marcos Gonzales Sam Lucero & Ron Lahti Frank Maher Elliot S. Marcus, MD Mark Pardo Salon & Spa April & Benny Martinez Carolyn Martinez Robert & Anne Martinez Janet Matwiyoff Peter & Lois McCatharn Marcia McCleary Mark Menicucci Moses Michelsohn George Mikkelsen Beth Miller, in memory of William Benz Kathleen Miller Martha Miller Mister Car Wash Ben Mitchell Bryant & Carole Mitchell Letitia Morris Baker H. Morrow & Joann Strathman John & Patsy Mosman Sharon Moynahan Brian Mulrey Bette Myerson Jim & Beth Nance Ann & James Nelson, in memory of Louise Laval Ronald & Diane Nelson Ruth O’Keefe Peter Pabisch Eric Parker Howard Paul Oswaldo Pereira & Victoria Hatch Gwen Peterson, in memory of Robert Fosnaugh Barbara Pierce Ray Reeder Crystal Reiter Carol Renfro Kerry Renshaw Kay Richards

Margaret Roberts Gwenn Robinson, MD, & Dwight Burney III, MD Susan Rogowski Glenn & Amy Rosenbaum Michael & Joan Rueckhaus Evelyn E. & Gerhard L. Salinger Anne Salopek Sandia Peak Tramway Peter & Susan Scala Ronnie Schelby Leslie Schumann Timothy Schuster Seasons 52 Robert & Joy Semrad Arthur & Colleen Sheinberg Joe Shepherd Rebecca Shores Norbert F. Siska Carl & Marilyn Smith Smith’s Community Rewards Amy Snow Allen & Jean Ann Spalt David & Laurel Srite Charlie & Alexandra Steen Theodore & Imogen Stein Brent & Maria Stevens Elizabeth Stevens & Michael Gallagher Stone Age Climbing Gym Sum - Caterpillar Marty & Deborah Surface Gary Swanson John Taylor Texas Roadhouse Valerie Tomberlin Top Golf Trader Joe’s John & Karen Trever Bryon & Jill Vice Mary Voelz, in memory of Robert Fosnaugh John & Karin Waldrop Caren Waters Elaine Watson & David Conklin Dale A. Webster Weck’s V. Gregory Weirs Doug Weitzel & Luke Williams Charles & Linda White Leslie White Lisa & Stuart White Marybeth White Bill & Janislee Wiese Robert & Amy Wilkins Bronwyn Willis Daniel Worledge, in honor of David Worledge James & Katie Worledge, in honor of David Worledge Kenneth Wright Kari Young Michael & Anne Zwolinski 11/21/2024

Thank You for Your Generous Support

Legacy Society

Volunteers, Expertise, Services, & Equipment

Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.

The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION Mayor Tim Keller & the City of Albuquerque The Albuquerque City Council Aziza Chavez, City Council Special Projects Analyst The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects Councilor Dan Champine Councilor Tammy Fiebelkorn Councilor Renee Grout Councilor Dan Lewis

BUSINESS & ORGANIZATION APPRECIATION The New Mexico Philharmonic Foundation The Albuquerque Community Foundation HOLMANS USA CORPORATION

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Billy Brown Alexis Corbin Anne Eisfeller Chris Kershner Jackie McGehee Brad Richards Barbara Rivers Emily Steinbach Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS Don & Cheryl Barker Ron Bronitsky, MD, & Jim Porcher Tim Brown Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Suzanne & Dan Kelly Ron & Mary Moya Steve & Michele Sandager 11/21/2024

Giving for the future

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Edie Beck Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Joyce Kaser Walter & Allene Kleweno Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar Joann & Scott MacKenzie Margaret Macy Thomas J. Mahler Gerald McBride Shirley Morrison Betsy Nichols Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrence Sloan, MD Jeanne & Sid Steinberg Charles Stillwell William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 11/21/2024

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The New Mexico Philharmonic

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THANK YOU .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The McKinnon Family Foundation Lee Blaugrund Charles, Trustee, & Eugenia Eberle Barbara Rivers, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen, Trustee, & Maureen Baca Estate of Marian Ausherman Chavez Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald Parker Richard VanDongen Roland Gerencer, MD Jonathan Hewes George Thomas Richard Zabell & Teresa Apple Scott Obenshain Sydney (Al) & Melissa Stotts Marian & Jennifer Tanau Charles & Judith Gibbon Alice J. Wolfsberg Scott & Carol Schaffer Joel & Sandra Baca Dorothy M. Barbo Henry & Jennifer Bohnhoff Clarke & Mary Cagle Kenneth Conwell II Bob & Greta Dean Howard & Debra Friedman Robert & Jean Gough Justin Griffin Mike & Blanche Griffin Mary Herring Elisa Kephart Alan Lebeck Sonnet & Ian McKinnon James O’Neill W. Pierce & Joyce Ostrander Clifford Richardson III Jacquelyn Robins Jay Rodman & Wendy Wilkins John Rogers Heinz & Barbara Schmitt Michael & Janet Sjulin Peter & Judy Weinreb Sue Johnson & Jim Zabilski Marlin E. Kipp Thomas & Greta Keleher Lawrence & Deborah Blank Susanne Brown

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Michael Dexter Thomas M. Domme Martha Egan David Espey John Homko Frances Koenig Letitia Morris Michael & Judy Muldawer Ken & Diane Reese Jeff Romero Nancy Scheer Neda Turner Michael Wallace Thomas & Ann Wood Anonymous Maria Stevens John & Julie Kallenbach Kay F. Richards Stan & Gay Betzer Kenneth & Jane Cole Leonard Duda Mary E. Lebeck Robert & Judy Lindeman Martha A. Miller Betsy Nichols Lee Reynis Warren & Rosemary Saur John & Patricia Stover Leonard & Stephanie Armstrong Robert Bower & Kathryn Fry Christopher Calder & Betsey Swan Judith & Thomas Christopher Fran DiMarco Dr. Lauro G. Guaderrama Lawrence & Anne Jones Karen Lanin Geri Newton Edward Rose, MD Christine Sauer James Sharp & Janice Bandrofchak Rae Lee Siporin Bruce Thompson & Phyllis Taylor Lawrence & Katherine Anderson Douglas & Dianne Bailey Edie Beck Jeffrey Bridges A.J. Carson Thomas & Elizabeth Dodson Harry & June Ettinger Helen Feinberg Carl Glenn Guist Fletcher & Laura Hahn Robert & Linda Malseed Robert & Rebecca Parker Elizabeth Perkett Shelley Roberts Thomas Roberts & Leah Albers Gruia-Catalin Roman Donald & Carol Tallman Peter & Mary Tannen Rosario Fiallos James & Ann Breeson Carl & Jeannette Keim Andrea Kilbury Linda McNiel Albert & Shanna Narath David & Cynthia Nartonis

2024/25 Season / Volume 13 / No. 3

Ray Reeder Charles & Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White Dal Jensen Charlotte McLeod David Peterson 505 Southwest Auto Ninon Adams David Baca Mark & Beth Berger Charleen Bishop John Bowers & B.J. Fisher Eric R. Brock & Mae S. Yee Camille Carstens Joseph Cella Robert Chamberlin Dennis Chavez Development Corp.

Olinda Chavez Helene Chenier Hugh & Kathleen Church James Cole Barbara L. Daniels Drina Denham Jerry & Susan Dickinson Vicky Estrada-Bustillo Alfred & Patricia Green Peter Gregory Karen Halderson Samuel & Laila Hall Herman Haase Jo Ellen Head Kiernan Holliday Michael & Sandra Jerome Robert H. & Mary D. Julyan Julia Kavet Henry Kelly Robert & Toni Kingsley Walter & Allene Kleweno, in memory of Pegg Macy Gerald Knorovsky L.D. & Karen Linford Betty Max Logan Douglas Madison Elizabeth Davis Marra Salvatore Martino Donald McQuarie Dr. William Moffatt James B. & Mary Ann Moreno Cary & Evelyn Morrow Karen Mosier David & Marilyn Novat Richard & Dolly O’Leary Maureen Oakes Eric P. Parker Michael Pierson & Jane Ferris Karla Puariea Russell & Elizabeth Raskob George & Sheila Richmond Margaret E. Roberts Matthew Roberts Judith Roderick Marian Schreyer Drs. M. Steven Shackley & Kathleen L. Butler Joseph Shepherd & Julie Dunleavy Lillian Snyder Julianne Stangel

Ronald T. Taylor Marta Terlecki Betty Tichich Marvin & Patricia Tillery Robert Tillotson Jorge Tristani (President, Dennis Chavez Development Corp.)

Harold & Darlene Van Winkle Lana Wagner Dale Webster Kevin & Laurel Welch Liza White Marc & Valerie Woodward Diana Zavitz Michael & Jeanine Zenge Linda R. Zipp, MD Jeffrey G. Allen Marilyn Bowman Stephen & Merilyn Fish Lorraine B. Gordon Hareendra & Sanjani Kulasinghe David C. McGuire Jr. William & Cynthia Warren John Vittal Margaret Lieberman Judith Anderson Marcia Congdon Genevieve Davidge Winnie Devore Karen Duray Jackie Ericksen John & Nancy Garth Allison Gentile Andrea Granger Fred & Joan Hart Edgarton (E.R.) Haskin Jr. Theresa Homisak Stephanie Kauffman Basil Korin Frederic & Joan March Cristina Pereyra Luana Ramsey J. Sapon & Allison Gentile Michael & Lisa Scherlacher John & Sherry Schwitz Beverly Simmons Alexandra Steen Kathleen Stratmoen Dean Tooley Kenneth Wright Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Peter & Ann Ziegler Mary J. Zimmerman Alvin Zuckert Dante & Judie Cantrill Lori Johnson Douglas Cheney Martha Corley Barbara Killian Gary Mazaroff Theodore & Sue BradiganTrujillo Christopher Behl Mary Compton Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi Claude Morelli

Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 11/21/2024

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THANK YOU .

Steinway Society Piano Fund Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. Please consider joining the Steinway Society at the donor level that is best for you and be part of your New Mexico Philharmonic by helping us to produce excellence through our music. View benefits online at nmphil.org/steinway-society.

Donation of $6000–$19,999 David Gay Dal & Pat Jensen Michael & Roberta Lavin Diane & William Wiley Dr. Dean Yannias

Tyler M. Mason Thomas & Edel Mayer Jon McCorkell & Dianne Cress Bob & Susan McGuire David & Audrey Northrop James P. O’Neill & Ellen Bayard Gary & Carol Overturf Ruth Ronan Edward Rose, MD Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts Charles & Marcia Wood

BLACK KEYS LEVEL

PIANO FRIENDS LEVEL

HOROWITZ LEVEL Donation of $20,000–$50,000 Cliff & Nancy Blaugrund Lee Blaugrund Charles & Eugenia Eberle Roland Gerencer, MD

WHITE KEYS LEVEL

Donation of $2000–$5999 Meg Aldridge Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Clark & Mary Cagle Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey Bill & Carolyn Hallett Stephen & Aida Heath Christine Kilroy Dwayne & Marj Longenbaugh Mary E. Mills Jan Elizabeth Mitchell Jacquelyn Robins Jay Rodman & Wendy Wilkins Albert Seargeant III, in memory of Ann Seargeant Terrence Sloan, MD

PEDAL LEVEL Donation of $500–$1999 Ron Bronitsky, MD Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Daniel & Brigid Conklin, in memory of Marina Oborotova Richard & Peg Cronin Mr. & Mrs. Robert Duff Custer Leonard & Patricia Duda David Foster Peter Gould Elene & Robert Gusch Jonathan & Ellin Hewes Robert & Toni Kingsley Dr. Herb & Shelley Koffler Edward J. Kowalczyk

Donation of $50–$499 Wanda Adlesperger Fran A’Hern-Smith Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Elizabeth Bayne Judy Bearden-Love Karen Bielinski-Richardson Sheila Bogost Robert Bower & Kathryn Fry Stephen & Heidi Brittenham Dante & Judie Cantrill Camille Carstens Olinda Chavez Beth L. Clark Henry & Ettajane Conant John & Katie Cunningham Marjorie Cypress & Philip Jameson Thomas & Martha Domme Martin J. Doviak Robert B. Engstrom Jackie Ericksen Elle J. Fenoglio David Fillmore Blake & Liz Forbes George & Karen Gibbs Ginger Grossetete Kerry L. Harmon Jo Ellen Head Heidi Hilland Glenn & Susan Hinchcliffe Bryan “Lance” & Debrah Hurt Nancy Joste Julia Kavet M.J. Kircher Ralph & Heather Kiuttu

The New Mexico Philharmonic

Larry W. Langford Susan Lentz Claire Lissance Morgan MacFadden James & Marilyn Mallinson Nicholle Maniaci & John Witiuk Tom & Constance Matteson Jane McGuigan Martha Ann Miller & Henry Pocock Robert & Phyllis Moore Cary & Evelyn Morrow Katarina Nagy Edward & Nancy Naimark Geri Newton Bob & Bonnie Paine James Porcher Dan & Billie Pyzel Mary Raje Ray A. Reeder Karl Ricker Judith Roderick Dick & Mary Ruddy John Sale & Deborah Dobransky Katherine Saltzstein Peggy Schey Jane Nicholson Scott & Robert Scott Laurel Sharp & David Smukler Catherine Smith-Hartwig Cynthia Sontag Frances Steinbach Luis & Patricia Stelzner Linda Trowbridge Kevin & Laurel Welch Jeffrey West Charles & Linda White Roland & Wendy Wiele Diane Zavitz, in memory of Pat & Ray Harwick Linda R. Zipp, MD 11/21/2024

SPONSOR

A MUSICIAN We invite you to engage more deeply with the orchestra and its musicians. This program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call to find out the benefits and cost of sponsorship.

SPONSOR TODAY

(505) 323-4343 DWAYNE & MARJORIE LONGENBAUGH Principal Viola Sponsorship: LAURA CHANG Principal Cello Sponsorship: AMY HUZJAK

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