OKCPHIL program for the 21-22 season, March 5, 2022 Classics concert "Mahler's 1st Symphony"

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BRENT HART, President Oklahoma Philharmonic Society, Inc. Welcome to tonight’s concert. For thirty-three seasons, the OKC Phil has been performing incredible concerts in Civic Center Music Hall, performances throughout our community and just this last year directly in your homes as we practiced social distancing. This year we are most excited to welcome you back!

Our Classics and Pops series, Discovery concerts, partner collaborations and community performances are an integral component of our vibrant arts community. Our dedicated musicians, led by Maestro Alexander Mickelthwate, continue to delight us each season with vibrant programming, and this year is no exception. Executive Director Agnieszka Rakhmatullaev and her exceptional team collaborate with city and public health officials to make these performances possible and our heartfelt thanks go to our community leaders and healthcare workers for all their tireless efforts. We also thank the Orchestra League and the Associate Board for their volunteer and fundraising efforts that make these programs possible.

One final thanks to our valued patrons, for being here tonight and for your continued support. I hope you enjoy this musical journey at this, and many more, concerts to come.

KRISTEN BRANDT FERATE, President Oklahoma City Orchestra League

CHRISTA BENTLEY, President Associate Board

On behalf of the Oklahoma City Orchestra League, welcome back to our beloved Civic Center and the music.

On behalf of the Oklahoma City Philharmonic Associate Board, I am honored to welcome you to the 2021-2022 season. The OKC Philharmonic and their team of staff proved last season that they are capable of making music in any and all circumstances. If you take a glance at this season’s program, you’ll see that concert goers in Oklahoma City are once again receiving a concert music experience that will enrich our city, featuring innovative programming and top-notch musicians.

Music is the Universal Language. It is the only language that every individual can comprehend. Each member of the audience tonight will share in a social cohesion that can only occur through the appreciation and hearing of symphonic music. As we emerge from the chaos and anxiety of the pandemic let us take joy and find peace in the gift of the Oklahoma City Philharmonic.

The Oklahoma City Orchestra League is comprised of a diverse and energetic membership whose mission is to support the Oklahoma City Philharmonic through educational, community and fundraising endeavors. We would be delighted to have you join.

It’s the Associate Board’s mission to connect young professionals to this concert-going experience. We do this through our Overture Society—a three-concert package— plus expanded networking opportunities, social events, and discounts. Reach out to join Overture and take the next steps to becoming a supporter of the arts in OKC!

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kucofm.com A community-supported outreach of the University of Central Oklahoma

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AGNIESZKA RAKHMATULLAEV Welcome to the OKCPHIL’s 2021-22 Season and we are thrilled to have you back with us!

After an unprecedented season, your OKCPHIL under the direction of Maestro Mickeltwate is coming back onto the stage full force with some wonderful programs. While things might not be entirely back to normal yet, we hope that each of our concerts will bring you joy and inspiration.

The Inasmuch Foundation Classics Series features orchestral staples, such as the First Symphonies of Beethoven and Mahler, Dvořák’s “New World” Symphony and Rimsky Korsakov’s beloved Scheherazade. We will collaborate with world-renowned artists including Berlin Phiharmonic’s First Concertmaster Noah Bendix-Balgley, Tabla virtuoso Sandeep Das, and guest conductor Rei Hotoda. We will also continue to feature the remarkable talents of our own musicians with Principal Horn Kate Pritchett and Principal Bassoonist Rod Ackmann joining us as soloists for the opening and closing Classics programs of the season. We are excited to continue our journey of discovering the lesser-known gems and celebrating diversity through music by exploring works by African American, American Indian, and East Indian composers.

As always, our Pops Series offers something for everyone: the popular songs of Billy Joel and Whitney Houston, the spectacular Holiday tradition The Christmas Show, the dazzling dancers who will turn the Civic Center stage into a ballroom, and our season’s grand finale featuring the timeless Star Wars This lineup will be accompanied by our phenomenal orchestra, so I encourage you to bring your family and friends along to enjoy each of these programs.

Additionally, the OKCPHIL remains committed to expanding its presence outside of the concert hall through a variety of Education and Community Engagement programs. From our Society of Strings program for adult amateur string players, to our ongoing partnership with OU Health, as well as small ensemble presence in local schools, our mission continues to impact thousands of Oklahomans of all ages.

We are deeply grateful for the ongoing support and generosity that makes all of this possible. Despite the challenges brought by the pandemic, the OKCPHIL remains committed to serving our community and we look forward to seeing you at our concerts throughout this season!

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TO RETU TH RN E H IN AR G O N H UT OM DOO ES RS TE AD !

BY

CHARLES DICKENS

• ADAPTED BY MICHAEL BARON • CO-DIRECTED BY MICHAEL BARON & ASHLEY WELLS

Go from Humbug to Happy in One Magical Night!

•

NOV. 17 - DEC. 23

Great Family Fun! Group Rates Available!

(405) 524-9312 • LyricTheatreOKC.org

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MUSIC DIRECTOR

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ALEXANDER MICKELTHWATE Beginning his fourth season as Music Director of the Oklahoma City Philharmonic, Conductor Alexander Mickelthwate’ s exciting musical programming has created a buzz across the city, drawing people from all walks of life to the concert hall. Originally from Germany, Mickelthwate is also Music Director Emeritus of the Winnipeg Symphony Orchestra in Canada.

Since starting his Winnipeg tenure in 2006 he played a pivotal role in the rejuvenation and turnaround of the Winnipeg Symphony which culminated in a highly successful and critically acclaimed performance at Carnegie Hall in May 2014. The New York Times noted the performance was “conducted expertly,” and the New York Classical review stated “under music director Alexander Mickelthwate, they play with excellent intonation and such a fine overall blend and balance of sound that, on their own terms, they may be the best orchestra to appear in the week’s worth of concerts.”

Deeply rooted in his German heritage, Norman Lebrecht wrote about Mickelthwate’s interpretation of Mahler’s 10th Symphony with the Winnipeg Symphony: “Both Mahler 10 performances were intense and engaging. Every twist and turn in the score was fresh and surprising to my ears.”

And his interpretation of Bruckner’s Symphony No. 7 prompted the pianist Anton Kuerti to write a letter to the newspaper saying, “I would like to call attention to the stunning performance heard after the intermission. To play Bruckner’s Symphony No. 7 with the passion, profundity, emotional intensity, subtlety and degree of perfection achieved by conductor Alexander Mickelthwate and the Winnipeg Symphony can only be called miraculous.”

In North America Alexander has guest conducted the New York Philharmonic, the Chicago Symphony, Seattle Symphony, Houston Symphony, Vancouver Symphony, Atlanta Symphony, Saint Paul Chamber Orchestra, Saint Luke’s, Milwaukee Symphony, Rochester Philharmonic and Toronto Symphony, among others.

His European debut was with the Hamburg Symphony. He also conducted the BBC London, Stuttgart Radio Orchestra, Royal Scottish, Deutsche Kammerphilharmonie Bremen and NDR Hannover. Other notable performances include the Sao Paulo Symphony and the Simon Bolivar Orchestra in Venezuela. He made his Australia debut with the Adelaide Symphony and the Tasmania Orchestra where he recorded the Mozart piano concerti Nos. 7 and 10 with the Silber Garburg Duo. Alexander Mickelthwate has worked several times with Dame Evelyn Glennie conducting the world premiere of two new

percussion concerti by Vincent Ho. He also worked with Itzhak Perlman, Joshua Bell, Yuja Wang, Dawn Upshaw, Plácido Domingo, Ben Heppner, Horatio Gutiérrez, Emanuel Ax, Leonidas Kavakos and Sarah Chang, among many others, and he worked very closely with a wide range of composers including Phil Glass, Steve Reich, Sofia Gubaidulina, Kaija Saariaho, John Adams, John Luther Adams and Mason Bates.

After guest conducting the Simon Bolivar Orchestra and experiencing the life-changing power of the El Sistema program in Venezuela for underprivileged children, Alexander played an instrumental part in creating Sistema Winnipeg.

For three years Alexander created a critically acclaimed Indigenous Festival in Winnipeg. Passionate to connect with all cultures, he created artistic collaborations between First Nations and western cultures that culminated in the performances of Stravinsky’s Rite of Spring and Revueltas’ Les Noches de los Mayas with new choreographies of contemporary and First Nations dance.

The Winnipeg New Music Festival is an international institution.

Alexander broadened the repertoire and created many new collaborations connecting with different audiences. Because of the programming of the festival the WSO was chosen to perform at the Spring for Music Festival at Carnegie Hall in 2014.

A few of the most creative projects of the festival for Alexander were the performance of movie director Guy Maddin’s Brand Upon a Brain with narration by actress Isabella Rossellini, the workshopping of a new opera Tesla by movie director Jim Jarmusch and composer Phil Klein, and a production of Gavin Bryar’s The Sinking of the Titanic at PanAm Pool.

Alexander has conducted for President Jimmy Carter and the Queen of England, and he received the Queen Diamond Jubilee Medal and the Key to the City of Winnipeg.

Born and raised in Frankfurt Germany to a musical family, Alexander received his degree from the Peabody Institute of Music.

He studied conducting under Fredric Prausnitz and Gustav Meier as well as with Seiji Ozawa, Andre Previn, Daniel Barenboim and Robert Spano at Tanglewood. Following his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen.

Alexander and his family make Oklahoma City their home. He is married to fashion designer Abigail Mickelthwate and has two sons.

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MAKing MONDAYS Magical.

Outstanding Students. Amazing Music.

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That’s why we’re proud to support the arts in every community we serve.

www.OKYOMUSIC.ORG

MORE THAN 20 OKC METRO LOCATIONS future phil musicians in the making HUndreds of Strings, woodwind, brass, percussion, and guitar students pursue musical excellence Every week and makE lifelong friends at Oklahoma youth orchestras.

B A N C F I R S T. B A N K member fdic

OKLAHOMA PHILHARMONIC SOCIETY, INC.

P R O V I D I N G

I N S P I R A T I O N

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O R C H E S T R A L

M U S I C .

THE BOARD OF DIRECTORS Officers Brent Hart President Jane Jayroe Gamble President Elect Jerrod Shouse Vice President Kevin Dunnington Treasurer Kelly Sachs Secretary Jeff Starling Immediate Past President

Lifetime Directors

Debra Kos Kristian Kos Jessica Martinez-Brooks Margaret Freede Owens Donald Rowlett Jennifer Schultz Doug Stussi Michael Sweeney J. Mark Taylor Geetika Verma Tony Welch Renate Wiggin Nick Wu

Jane B. Harlow Patrick Alexander

Directors Christa Bentley Robyn Birdwell Lori Dickinson Black Phil Busey Lawrence H. Davis Kristen Ferate Joy Hammons Kirk Hammons Dean Jackson Mautra Staley Jones Wesley Knight

Honorary Directors Richard Sias

ADMINISTRATIVE STAFF John Allen Interim General Manager

Mady Hendryx Donor & Volunteer Relations Coordinator

Clint Moore Operations Coordinator

Mark Beutler Director of Marketing & Public Relations

Judy Hill Administrative Assistant

Agnieszka Rakhmatullaev Executive Director

Stephen Howard Development Operations Manager

Ulises Serrano Associate Director of Digital Strategies

Daryl Jones Box Office Operations Manager

Corbin Taggart Customer Service Representative

Tara Burnett Director of Development Jeana Gering Education Manager Daniel Hardt Finance Director

Colton Kirton Institutional Giving Coordinator

ACKNOWLEDGEMENTS Classical KUCO 90.1 Morningstar Properties

Oklahoma City Police Association George Ryan

Stubble Creative, Inc. The Skirvin Hotel

Titan AVL

Photographers: Michael Anderson, David Bricquet, Rick Buchanan, Heather Hanson, Simon Hurst, Mutz Photography, Shevaun Williams and Associates, Ulises Serrano

THE OKLAHOMA PHILHARMONIC SOCIETY, INC. 424 Colcord Drive, Ste. B • Oklahoma City, Oklahoma 73102 Tickets: 405-842-5387 • Administration: 405-232-7575 • Fax: 405-232-4353 • www.okcphil.org

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AFFLIATED PARTNERS

The Oklahoma City Philharmonic Foundation was established to provide leadership and endowment expertise to help ensure a stable financial base for orchestral music and musical excellence in Oklahoma City for generations to come. Distributions from the Oklahoma City Philharmonic Foundation provide a meaningful and secure source of annual income for the Philharmonic’s operations, continually confirming the importance of endowment in an organization’s longrange planning and overall success.

Current officers and directors of the Oklahoma City Philharmonic Foundation are: OFFICERS Douglas J. Stussi President Charles E. Wiggin Vice President Louise Cleary Cannon Treasurer Penny M. McCaleb Secretary DIRECTORS Steven C. Agee Patrick B. Alexander J. Edward Barth L. Joe Bradley Teresa Cooper T.A. Dearmon Paul Dudman Thomas J. Enis Mischa Gorkuscha Jane B. Harlow Brent Hart Jean Hartsuck Michael E. Joseph Harrison Levy, Jr. Duke R. Ligon Jessica Martinez-Brooks Michael J. Milligan Alice Pippin Jeff Starling Richard Tanenbaum

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EXECUTIVE COMMITTEE Kristen Ferate President Debra Kos President-Elect Pending Secretary Newt Brown Treasurer Meredith Blecha-Wells Development VP Marion Burcham Membership VP Sherry Rowan Education VP Joan Bryant Communications VP Wendi Wilson Past President, Ex-Officio Agnieszka Rakhmatullaev Executive Director Oklahoma City Philharmonic (Ex-Officio, Advisory) BOARD OF DIRECTORS Helen Chiou Jeanne Drake Yvette Fleckinger Sue Francis Jane Krizer Patsy Lucas Geetika Verma Heather Walter Dwayne Webb Orchestra League Office 424 Colcord Dr., Ste. B Oklahoma City, Oklahoma 73102 Phone: 405.232.7575 Fax: 405.232.4353 e-mail: league@okcphil.org website: www.okcorchestraleague.org

OFFICERS Dr. Christa Bentley President Jay Scambler President-Elect J. Cruise Berry Treasurer Desiree Singer Secretary Sam Rainbolt Membership Chair Kelsey Karper Marketing Chair Tyler Larson Events Chair DIRECTORS Gennie Clarkson Cordon DeKock James Hulsey Tom Lerum Patrick E. Randall, II Jennifer Stadler Collin Walke

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ALEXANDER MICKELTHWATE, Music Director and Conductor JOEL LEVINE, Founder and Music Director Emeritus AGNIESZKA RAKHMATULLAEV, Executive Director

FIRST VIOLIN

Gregory Lee, Concertmaster Gertrude Kennedy Chair Marat Gabdullin, Associate Concertmaster Densi Rushing, Assistant Concertmaster Yena Lee Hong Zhu Beth Sievers Benjamin Shute Deborah McDonald Lu Deng Ai-Wei Chang Sondra Brudnak Ashley Cooper Tim Jones Amanda Schubert Audrey Lee

SECOND VIOLIN

Katrin Stamatis, Principal McCasland Foundation Chair Catherine Reaves, Assistant Principal Sophia Ro Corbin Mace Angelica Pereira Cindy Zhang Mark Miller Gena Alexander Tova Olkinetzky Nancy Johnson Austin Rice

VIOLA

Royce McLarry, Principal Mark Neumann, Assistant Principal Joseph Guevara Kelli Ingels Steve Waddell Donna Cain Betty Yuan Ute Miller Jackie Skara Sorah Myung Lacie Bowlware Jenny Sweetman

CELLO

Jonathan Ruck, Principal Orchestra League Chair Tomasz Zieba, Assistant Principal Meredith Blecha-Wells Valorie Tatge Emily Stoops Angelika Machnik-Jones Jean Statham Camille Burrow Vilma Peguero Samantha Kerns

BASS

Anthony Stoops, Principal Larry Moore, Assistant Principal Parvin Smith Mark Osborn Landon Honolka Christine Craddock Kara Koehn Will Coppoc

BASSOON

Rod Ackmann, Principal James Brewer Barre Griffith

CONTRABASSOON Barre Griffith

HORN

Kate Pritchett, Principal G. Rainey Williams Chair James Rester Mirella Gable Matthew Reynolds Derek Matthesen Peggy Moran Logan Fish Faith Phelps

TROMBONE

Adam Hanna, Principal Philip Martinson John Allen, Bass Trombone Joshua Gaub, Bass Trombone

PICCOLO

TUBA

OBOE

BRASS VERSTÄRKUNG

ENGLISH HORN Rachel Maczko

CLARINET

Bradford Behn, Principal Tara Heitz James Meiller, bass Jared Davis, Eb

MUSIC LIBRARIAN Jose Batty

STAGE MANAGER Leroy Newman

APPRENTICE CONDUCTOR Dylan Maddox

Karl Sievers, Principal Jay Wilkinson Michael Anderson Michael Mann

Valerie Watts, Principal Parthena Owens Nancy Stizza-Ortega Jennifer Slater

Lisa Harvey-Reed, Principal Lydia Consilvio Rachel Maczko Robin Sweeden

Valorie Tatge

TRUMPET

FLUTE

Nancy Stizza-Ortega

ASSISTANT PERSONNEL MANAGER

Ted Cox, Principal Joe Cooper, Trumpet Justin Croushore, Trombone

TIMPANI

Jamie Whitmarsh, Principal Patrick Womack

PERCUSSION

Patrick Womack, Principal Roger Owens Keith Hendricks Sarah Neely

HARP

Gaye LeBlanc Germain, Principal

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PLANNED GIVING

O F T H E O K L A H O M A P H I L H A R M O N I C S O C I E T Y, I N C .

The Oklahoma Philharmonic Society, Inc. is honored to recognize its Encore Society members — visionary thinkers who have provided for the future of the Oklahoma City Philharmonic through their estate plans.

Anonymous (3)

Joel Levine and Don Clothier

Steven C. Agee, Ph.D.

John and Caroline Linehan

Linda and Patrick Alexander

Mr. and Mrs. Marvin C. Lunde, Jr.

Gary and Jan Allison

Mrs. Jackie Marron

Dr. Jay Jacquelyn Bass

Mr. and Mrs. John McCaleb

Louise Cleary Cannon

Jean and David McLaughlin

Mr. and Mrs. Robert H. Clements

W. Cheryl Moore

Thomas and Rita Dearmon

Carl Andrew Rath

Dr. and Mrs. James D. Dixson

Mrs. Catherine Reaves

Hugh Gibson

Mr. and Mrs. William J. Ross

Pam and Gary Glyckherr

Drs. Lois and John Salmeron

Carey and Gayle Goad

Mr. and Mrs. William F. Shdeed

Mr. and Mrs. J.A. Gowman

Richard L. Sias

Carol M. Hall

Doug and Susie Stussi

Ms. Olivia Hanson

Larry and Leah Westmoreland

Jane B. Harlow

Mr. John S. Williams

Dr. and Mrs. James Hartsuck

Mr. and Mrs. Don T. Zachritz

Mr. and Mrs. Michael E. Joseph

THANK YOU The Oklahoma Philharmonic Society, Inc. is grateful for the support of caring patrons who want to pass on a legacy of extraordinary music to future generations. You can join this special group of music enthusiasts by including a gift for the OKC Philharmonic’s future in your own will or estate plan. For more information on how to become an Encore Society member, contact Tara Burnett at (405) 232-7575 or tara@okcphil.org.

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DUO LUMINA

SEASON 2021/22 Tickets On Sale Now! Call 405-232-SING

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Oklahoma City Community College presents:

2021-2022 Performing Arts Series

Potted Potter: The Unauthorised Harry Experience | October 12 Cirque Mechanics - Birdhouse Factory | November 20 Ballet Folklórico de México | January 28 The TEN Tenors presents LOVE IS IN THE AIR | February 25 Drum Tao | March 22 An Evening with Renee Elise Goldsberry | April 29 Get tickets at tickets.occc.edu

MAR 27 | 3 PM

ARTISTIC DIRECTOR

Season Specials

at Hudiburg Center

LEARN MORE AT OKCBROADWAY.COM

MEET OUR FAMILY

THE PEOPLE BEHIND THE MUSIC

JEAN STATHAM

MARK BEUTLER

Cellist OKCPHIL Orchestra

Director of Marketing and Public Relations OKCPHIL Staff

Jean Statham was a music educator for thirty-nine years in the Norman Public Schools teaching high school, middle school, and elementary classes. Her high school students have won many honors both locally and nationally. Ms. Statham now teaches the Society of Strings Encore Orchestra, which is an adult music education program offered by the OKCPHIL. Encore had the honor to perform at the Oklahoma Music Educators Convention in 2019. Ms. Statham graduated with honors from OCU with a Bachelor of Music Education degree and received a Masters of Applied Music (cello) with honors from OU. She is a professional cellist performing with Oklahoma City Philharmonic, Lyric Theatre, Fort Smith, Norman Philharmonic, and was principal cellist with the Lawton Philharmonic Orchestra.

As a child, I grew up in a house filled with music. My older sister was listening to the Mamas & Papas, Sonny & Cher and Nancy Sinatra. My Mom, meanwhile, was and still is a rockand-roller at heart, listening to Elvis Presley, Little Richard and Wanda Jackson.

When asked what sport(s) do you participate in; she responded, chasing my toddler grandson.

Her friends, family and OU football are some of the things she likes most about living in Oklahoma City.

So my taste in music is very eclectic!

I wanted a career in music, but since I had no musical abilities, I pursued a career in radio. I spent 20 years at KXY, with other gigs at KOOL-102 and WKY. I dabbled in TV news, landing a job as state Capitol reporter at OETA-TV. I did some reporting for the Oklahoman and the Gazette and even had my own column, “Retrospective,” in 405 Magazine.

But music was always my passion.

That’s why I am over-the-moon excited to join the staff at Oklahoma City Philharmonic. It is a wonderful organization, providing nourishment for the soul, and I am so very happy to be part of it!

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GIFTS TO THE PHILHARMONIC The Oklahoma City Philharmonic Orchestra gratefully acknowledge the commitment and generosity of individuals, corporations, foundations, and government agencies that support our mission. To help us provide inspiration and joy to the community through live orchestral performances and a variety of Education and Community Engagement programs, please contact the Philharmonic’s Development Office at (405) 232-7575.

This Annual Fund recognition reflects contributions made in the 2020-21 and 2021-22 seasons. Contributions of $250 and above are listed through February 7, 2022.

If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling the phone number listed above. Thank you for your generous support!

CORPORATIONS, FOUNDATIONS & GOVERNMENT Express their generous commitment to the community.

UNDERWRITER $40,000 & Above Allied Arts Foundation The Chickasaw Nation Delaware Resource Group of Oklahoma, LLC E.L. and Thelma Gaylord Foundation Freede Family Foundation Inasmuch Foundation Kirkpatrick Foundation Inc. Oklahoma Arts Council The Oklahoman The Skirvin Hilton Hotel

PLATINUM SPONSORS $10,000 - $39,999 405 Magazine Ad Astra Foundation American Fidelity Foundation Devon Energy Corporation Express Employment International HSPG and Associates, PC I Heart Media Love’s Travel Stops & Country Stores Mathis Brothers Furniture Co., Inc. MidFirst Bank

OGE Energy Corp.

Tyler Media Co./ Magic 104.1FM and KOMA W&W Steel, LLC

GOLD SPONSORS $5,000 - $9,999 BancFirst Bank of Oklahoma Clements Foods Foundation Mekusukey Oil Company, LLC The Metro Restaurant

SILVER SPONSORS $3,000 - $4,999 Intrinsic Health OK Gazette OKC Friday

BRONZE SPONSORS $2,250 - $2,999

GOLD PARTNERS $1,500 - $2,249 Charlesson Foundation Flips Restaurant, Inc. Morningstar Properties, LLC

SILVER PARTNERS $1,000 - $1,499 Trade Mechanical Contractors, Inc.

BRONZE PARTNERS $500 - $999 Hatton Enterprises Tom Johnson Investment Management LLC

BUSINESS MEMBERS $250 - $499 The Kerr Foundation, Inc.

The Black Chronicle BNSF Railway Foundation Globe Life and Accident Insurance Company

MATCHING GIFT COMPANIES AND FOUNDATIONS Double the impact of an individual’s gift.

American Fidelity Foundation Bank of America Matching Gifts Program

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The Boeing Company Inasmuch Foundation

Merrill Lynch & Co. Foundation, Inc.

GIFTS TO THE PHILHARMONIC MAESTRO SOCIETY Providing leadership support.

Underwriter $25,000 and above Phil G. and Cathy Busey Dr. Margaret Freede Joel Levine and Don Clothier Jean and David McLaughlin Dr. Amalia Silverstein George Records Mr. Richard L. Sias and Alice and Phil Pippin Glenna and Dick Tanenbaum

Guarantor $10,000 and above

Marilyn and Bill Boettger Lawrence H. and Ronna C. Davis Mr. and Mrs. Andrew J. Evans, II Mr. and Mrs. John A. Frost Gerald and Jane Jayroe Gamble Jane B. Harlow Andria and Paul Heafy Mary Ann Holdrege Mr. and Mrs. J. Clifford Hudson Mr. Albert Lang Larry and Polly Nichols Susan Robinson Doug and Susie Stussi Renate and Chuck Wiggin

Steven C. Agee, Ph.D. Linda and Patrick Alexander

Benefactor $5,000 - $9,999 Mo Anderson Mark and Julie Beffort Mrs. Betty D. Bellis-Mankin Mr. and Mrs. John Biggs Dr. and Mrs. L. Joe Bradley Louise Cleary Cannon and Gerry Cannon Teresa Cooper James B. Crawley Mr. and Mrs. David C. DeLana Darleene A. Harris Claudia Holliman Dr. and Mrs. Patrick McKee Donald Rowlett Ruth Mershon Fund

INDIVIDUALS Providing essential support for the Annual Fund.

Patron ($3,500 - $4,999) Dr. Charles and Marilyn Bethea Mike and Dawn Borelli Mr. Sidney G. Dunagan David and Druanne Durrett Mrs. Bonnie B. Hefner Mr. and Mrs. Jerry W. Plant Ms. Jeanne Hoffman Smith Michael J. Sweeney, Jr. Mrs. Anne Workman

Sustainer ($2,250 - $3,499) Anonymous Dr. and Mrs. Dewayne Andrews Dr. and Mrs. John C. Andrus Larry and Sarah Blackledge Mrs. Carole S. Broughton Mr. and Mrs. Robert F. Browne Bruce Campbell Mr. and Mrs. Robert H. Clements

Mr. John Crain Mr. and Mrs. Joseph M. Fleckinger Paul and Debbie Fleming Frank Goforth and Nancy Halliday Sam and Joy Hammons Brent Hart and Matt Thomas Dr. and Mrs. James Hartsuck Frank and Bette Jo Hill Colonel (ret.) Dean and Mrs. Jeanne Jackson Tom and Cindy Janssen Kim and Michael Joseph Kathy and Terry Kerr Debra and Kristian Kos Todd and Mary Margaret Miller Annie Moreau, MD Ms. Veronica Pastel Egelston Mr. William G. Paul Mrs. Ruby C. Petty Drs. Gary and Mary Porter

Mr. H.E. Rainbolt Drs. Lois and John Salmeron Dr. and Mrs. Hal Scofield Jeff and Kim Short Jerrod and Jamie Shouse John and Katherine Spaid Jim and Debbie Stelter Mr. and Mrs. John E. Stonecipher John Stuemky and James Brand Mrs. Billie Thrash Mrs. June Tucker Donna Kennedy Vogel Mrs. Janet Walker Ron and Janie Walker John and Lou Waller Dr. James and Elizabeth Wise Jeanise Wynn

Associate ($1,500 - $2,249) Anonymous CONTINUED ON PAGE 38

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SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Symphony Show House!

SHOW HOUSE COMMITTEE Show House Chair

Designer Sales

IT Support

J. Mark Taylor

Lacey Gilliam

Honorary Chairs

Jeannie Drake Carole Doerner

First Lady Sarah Stitt Debbie Thompson

Cinda Lafferty

Boutique

Design Inventory

Cindy Solomon

Jeannie Sanford

Staffing

Program Book Marty Taylor David Delana and Heritage Press

SHOW HOUSE SPONSORS Headlining Show House Patron

Friend

Dr. Margaret Freede In Memory of Josephine Freede Glenna and Dick Tanenbaum

Carole Doerner

Bronze Patron Mrs. June Tucker Dr. Don and Eleanor Whitsett The Meinders Foundation

Benefactor Janice B. Carmack John and Sue Francis Margaret and Drake Keith Bill and June Parry Lance and Cindy Ruffel Judith Clouse Steelman

Supporter Jennifer Bass-Billman Patricia Boone Joni Brown Debra Bugg Megan Clement Tiana Douglas Alexis Downs Michelle Early Elizabeth Eickman and Marvin Quinn Joan Ferrell David Gandall Shelley Goetz

Sue Goodman Jeanie Griffin Ellen Harmon Travis Kirk Alexander Leach Linda and Richard Mason Jill McCartney Pam McClure Virginia Myers Bonnie Naifeh Kevin Nevish Marcia Peeler Jody Prince Sheila Walker Elizabeth Wilson

Thank you to the Talented Designers who made the 2021 Symphony Show House a Reality!

Rosinna Gies, Amini’s Galleria Tuesday Fay & Halal Songer, Bob Mills Furniture Abbie Wilkerson, Aleks Payne, & Doris Medrano, Calvert’s Plant Interiors Johnathan Kwee, Fabricologie Katelynn Henry, Steve Calonkey, Steve Simpson, Madison Denison, & Mackenzie Matray, Henry Home Interiors Patty Tippet, Home Dazzle Dr. Kari Lopez, Renae Brady, & Tracy Knoche, LOREC Ranch Home Furnishings Lynda Savage, Lynda Savage Art

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Nathan Hughes & Gabrielle Roberts, Mathis Design Studio Keven Calonkey Carl, Cassidy Brunsteter, & Lance Whitlow, Mister Robert Fine Furniture and Design Travis Neely & Phara Queen, Neely + Queen Cindy Curley & Ryan Johnson, Norwalk Design Ronette Wallace, OTW Interiors and Suburban Contemporary Furniture Julie Miller, Tin Lizzie’s J. Mark Taylor & Adriana Nunez, Traditions Fine Furnishings & Design Pam Cravens, Vintage Gypsy

SPECIAL EVENT GIFTS

Thank you to the following who believed in our mission by supporting the 2021 Virtual Fundraising Gala!

Produced by: Scissortail Media

Catering: Kam’s Kookery

SPECIAL EVENTS COMMITTEE Chairs

Honorary Chair

Kristen Ferate Melissa Scaramucci

Jane Jayroe Gamble

Committee Judy Austin Joy Hammons

Debra Kos Jessica Martinez-Brooks Suzanne Reynolds Mark Taylor David White

SPONSORS Presenting Sponsor

Bronze Sponsors

Friend Sponsors

Glenna and Dick Tanenbaum

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MAHLER’S 1ST SYMPHONY! March 5, 2022 8:00 P.M.

CLASSICS

CONCEPTS

Maestro

NOAH BENDIX-BALGLEY, VIOLIN ALEXANDER MICKELTHWATE, CONDUCTOR

FROM THE

Our 21/22 season we will be taking you on a journey, from smaller more intimate gems to powerhouse blockbusters.

Coming out of the pandemic, you will experience the entire musical color pallet only possible with the symphony orchestra.

LESHNOFF ..................... Violin Concerto No. 2* I. Fast II. Yud Chochma - Slow III. Scherzo IV. Fast Noah Bendix-Balgley, violin Intermission

MAHLER’S 1ST SYMPHONY “Our sixth classics program continues our exciting Naxos recording project that we started last season with Jonathan Leshnoff’s “Of thee I sing,” our commission for the 25th anniversary of the Oklahoma City bombing.

MAHLER ......................... Symphony No. 1 in D major, “Titan”

This time we are recording his Violin Concerto No. 2 with the concert master of the Berlin Philharmonic, Noah BendixBalgley.

Leshnoff being Jewish, I want to honor the Jewish legacy and culture this evening with Gustav Mahler’s Symphony No. 1, my first Mahler concert here in Oklahoma.”

Alexander Mickelthwate

Langsam, schleppend—Immer sehr gemächlich Kräftig bewegt, doch nicht zu schnell Feierlich und gemessen, ohne zu schleppen— Sehr einfach und schlicht wie eine Volksweise Stürmisch bewegt—Energisch

English translation

Slow, dragging—Always very relaxed With powerful movement, but not too quick Solemn and measured, without dragging—Very simple and modest, like a folksong With violent movement—Energetic

*First Performance on this series

THIS CONCERT IS GENEROUSLY SPONSORED BY:

Text CLASSICS to 95577 to stay up to date on the latest Philharmonic info.

Listen to a broadcast of this performance on KUCO 90.1 FM on Wednesday, March 30 at 8 pm and Saturday, April 2 at 8 am on “Performance Oklahoma”. Simultaneous internet streaming is also available during the broadcast.

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NOAH BENDIX-BALGLEY Considering it his life-long pursuit, Noah Bendix-Balgley has a personal sound that connects with his audience in a meaningful way. Whether he’s leading the Berlin Philharmonic as First Concertmaster, performing chamber music or in front of the orchestra as soloist. Noah’s gift of communication through music has reached listeners all around the world.

As a soloist, Noah regularly appears with leading international orchestras and in recital at the world’s finest halls. Recent highlights include concerto appearances with the Berlin Philharmonic , and solo engagements with the Verbier Festival Orchestra at Schloss Elmau, debuts with the Szczecin Philharmonic, Israel Camerata, Nagoya Philharmonic, Utah, Quebec, Shanghai, NHK, and Guangzhou Symphony Orchestras, a tour with Apollo’s Fire Orchestra performing on period instruments, performing the Brahms Double with the Aspen Music Festival Orchestra and Alisa Weilerstein, a tour to Asia with the Stuttgart Chamber Orchestra, and extensive recital tours throughout Asia and Europe, including performances at the Berlin Philharmonie, Beethovenhaus Bonn, National Concert Hall Wroclaw and National Concert Hall in Taipei.

Noah is a renowned performer of traditional klezmer music, a musical style which has been part of his life since an early age. He has performed with world-renowned klezmer groups such as Brave Old World and has taught at klezmer workshops throughout Europe and the United States. In 2016, Noah composed and premiered his own klezmer violin concerto, Fidl-Fantazye, with the Pittsburgh Symphony conducted by Manfred Honeck.

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The 2021/22 season sees the world premiere of the chamber version of his Klezmer concerto with the Kammerakademie Potsdam, a tour with the Württembergisches Kammerorchester Heilbronn, concerto appearances with the Staatsphilharmonie Rheinland-Pfaltz, the Dresden Philharmonic Orchestra, and performances of neglected violin works by Leone Sinigaglia with the Berlin Philharmonic and music director Kirill Petrenko.

A passionate chamber musician, Noah performs in several fixed ensembles including a trio with pianist Robert Levin and cellist Peter Wiley, the Rosamunde String Quartet (with members of Los Angeles and New York Philharmonics) and the multi-genre septet Philharmonix, which features members of both the Berlin and Vienna Philharmonic Orchestras. Philharmonix releases their 3rd album on Deutsche Grammophon in 2022. Recent and upcoming chamber highlights include performances at the Seattle Music Festival, Bergen International Festival, the Sarasota Festival, ChamberFest Cleveland, Zermatt Festival, Le Pont Festival in Japan and worldwide touring with Philharmonix including a multi-year residency at Vienna’s Konzerthaus.

Born in Asheville, North Carolina, Noah began playing the violin at age 4. At age 9, he played for Lord Yehudi Menuhin, graduated from the Indiana University Jacobs School of Music and the Munich Hochschule studying with Mauricio Fuks, Christoph Poppen and Ana Chumachenco. Now a gifted educator himself, Noah teaches at the Karajan Academy of the Berlin Philharmonic and frequently gives master classes including at his alma mater in Indiana, Morningside Music Bridge, Domaine Forget, Australian National Academy of Music and the Shanghai Orchestra Academy.

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Violin Concerto No. 2 (2017) Jonathan Leshnoff First Performance on this Series Born 1973, New Brunswick, NJ Grammy-nominated composer Jonathan Leshnoff is renowned for his music’s striking harmonies, structural complexity, and powerful themes.

Ranked among the most performed living composers by American orchestras in recent seasons, the Baltimore-based composer’s works have been performed by over a hundred orchestras worldwide. He has received recent commissions from Carnegie Hall, the Philadelphia Orchestra, and the symphony orchestras of Atlanta, Baltimore, Dallas, Kansas City, Nashville, and Pittsburgh. His works have been premiered by classical music’s most celebrated artists, including Gil Shaham, Johannes Moser, Manuel Barrueco, Ricardo Morales, and Joyce Yang. Seven all-Leshnoff albums are commercially recorded. Leshnoff is a Professor of Music at Towson University.

The violin is a familiar instrument to Leshnoff. It was the instrument he played as a child and into his teens before he “officially” switched tracks to composition in his college years. He has written two other major works for violin that have been widely performed: his Chamber Concerto for Gil Shaham and his first Violin Concerto.

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the movement. The second movement is scored only for strings, harp and solo violin. Slow and introverted, the themes emerge from nothing and return to nothing. The third movement, labeled “scherzo,” is brief, utilizing a jaunty theme that is virtuosically passed around from soloist to orchestra. In contrast, the lengthy fourth movement stands develops its own themes until, surprisingly, the unifying melody returns, this time in a triumphant manner bringing the concerto to a powerful close.

Jewish mysticism has profoundly influenced Jonathan Leshnoff’s music. The authentic Jewish mystical schools outline in great length and detail the spiritual architecture of the universe and its relationship with God and mankind. It is within those systems that Leshnoff draws his inspiration.

Leshnoff is in the midst of a ten-work, multi-year project that parallels the ten fundamental building blocks of Jewish spiritual thought. The second movement of this concerto takes its place as one of those works. “Chochma,” in mystical thought, is the unknown, mysterious genesis of any creative idea. Like an embryo, it contains the entire structure in one small “point.” This is represented in the 2nd movement of this work, where the lyrical, plaintive melody grows out of the most minimal background and instruments in the orchestra.

Program Note written by composer, Jonathan Leshnoff

Symphony No. 1 in D major Gustav Mahler First Performance: 12/10/1948 Conductor: Victor Alessandro Last Performance: 3/1/2014 Conductor: Joel Levine

Leshnoff’s 2nd Violin Concerto was commissioned by the Dallas Symphony and co-commissioned by the Harrisburg Symphony for Dallas Symphony concertmaster Alex Kerr. It was written during 2017 and its premiere occurred on May 24, 2018 in Dallas, TX with Jaap van Zweden conducting.

The concerto is cast in four separate movements; however, a unifying melody appears in three of the four movements.

The first movement commences with quiet rustling from the upper strings as the soloist presents the soaring melody.

Rhythmic and syncopated figures continue throughout

Born: July 7, 1860, in Kalischt (Kaliště), Bohemia, near the town of Humpolec Died: May 18, 1911, in Vienna, Austria Work composed: Mahler began sketching his Symphony No. 1 in 1884, drawing substantially on melodies he had written some years earlier, but did most of the composition in February and March of 1888. He continued to revise the symphony on several occasions until as late as 1906.

Work premiered: November 20, 1889, with the composer conducting the Budapest Philharmonic, in the Large Hall of the Vigadó in Budapest Instrumentation: Four flutes (two of which double piccolo), four oboes (one doubling English horn), four clarinets (one doubling bass clarinet, another doubling E-flat clarinet), three bassoons (one doubling contrabassoon), seven horns, five trumpets, four trombones, bass tuba, timpani (two players), bass drum, cymbals, triangle, tam-tam, harp, and strings

Gustav Mahler was a famous conductor by the time he embarked on his First Symphony, having worked his way up through a quick succession of regional directorships with musical organizations in Ljubljana, Olomouc, Kassel, Prague, Leipzig, and Budapest. He arrived in Budapest in October 1888, assuming the directorship of the prestigious Royal CONTINUED ON PAGE 34

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Hungarian Opera, and it was in that city that he unveiled his Symphony No. 1. Its premiere, in late 1889, came on the heels of personal tragedies that had marred the preceding months: the death of Mahler’s father in February and of both his younger sister Leopoldine and his mother in the autumn. This left the composer with the stress of serving as head of his remaining family while balancing the substantial musical and political challenges of his professional life.

the premiere, Mahler laid out a descriptive program for the piece in which the five movements were said to depict spring, happy daydreams, a wedding procession, a funeral march to accompany the burial of a poet’s illusions, and an advance toward spiritual victory.

Listen for Mahler’s First Symphony is full of quotations, sometimes from his own prior compositions (especially from his Songs of a Wayfarer of 1884), sometimes from other sources. What were audiences to make of his using the innocent children’s tune “Frère Jacques” or, to German speakers, “Brüder Martin”—transposed to the minor mode and set in the orchestra’s deepest register, as a double-bass solo—to be the basis for his spooky slow movement? Here is Mahler the collage-composer, introducing in quick succession—sometimes even superimposing—music of widely divergent character. A klezmer band (or a Hungarian czardas ensemble, some say) wanders within earshot of the supposed funeral procession, and, at the outset of the central section, the macabre “Frère Jacques” march yields to the most tender music imaginable (a reminiscence of the song “Die zwei blauen Augen,” from Songs of a Wayfarer), which is itself quickly clouded by ominous harmonies.

One wishes that the unveiling of his symphony could have come as a triumphant exclamation point bringing such a difficult phase to an end. Unfortunately, the premiere was entirely unsuccessful and the machinations of Budapest’s music scene continued to wear Mahler down until he finally submitted his resignation (in March 1891) and moved to Hamburg. He would later say that the disastrous reception of his First Symphony prevented his being accepted as a composer for the rest of his career—probably an overstatement, but containing a grain of truth nonetheless.

“My friends bashfully avoided me afterward,” he told his friend Natalie Bauer-Lechner. “Nobody dared talk to me about the performance and my work, and I went around like a sick person or an outcast.”

The work played on that occasion in 1889 was quite different from the Symphony No. 1 as it is normally heard today.

It was not even presented as a symphony; instead, the program identified it as a five-movement “Symphonic Poem in Two Sections,” and it included, as its second movement, an Andante Mahler referred to as Blumine (Bouquet of Flowers). In a newspaper article that ran the day before

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Such juxtapositions bring to mind the account Sigmund Freud left of his meeting with Mahler in 1910, when the composer related how, as a boy, he had fled his house when a particularly violent scene occurred between his mother and his abusive father. “It became unbearable for the little one, and he ran away from home,” wrote Freud. “But just at that moment the well-known Viennese song ‘Ach du lieber Augustin’ rang out from a hurdy-gurdy. Mahler thought that from this moment on, deep tragedy and superficial entertainment were tied together indissolubly in his soul and that one mood was inevitably tied to the other.”

—JMK

JAMES M. KELLER James M. Keller, the longtime Program Annotator of the San Francisco Symphony, is the author of Chamber Music: A Listener’s Guide (Oxford University Press).

PROGRAM NOTES Stung by the vehemence with which much of the audience rejected the work, Mahler set his score aside for three years.

In 1893—he had by then moved to Hamburg—he subjected the symphony to severe revisions, particularly in matters of orchestration. “On the whole,” Mahler wrote to Richard Strauss the following May, “everything has become more slender and transparent.” He knew this not just from his inner ear but from concert-hall experience as well, since he had conducted the new “Hamburg version” on October 27, 1893, with considerably more success than Budapest had allowed. Strauss slated it for a music festival he was programming just then, and he arranged for Mahler to travel to Weimar to conduct it in June 1894. This time the reception was sharply divided. Mahler wrote to a friend: “My symphony was received with furious opposition by some and with wholehearted approval by others. The opinions clashed in an amusing way, in the streets and in the salons.”

only the words “Like the Sound of Nature” at the head of the score, and he excised the subtitle “Titan,” which he had provisionally attached to the piece in Hamburg and Weimar.

He also eliminated the Blumine movement—so effectively that it remained unpublished for seven decades. In the end, all of Mahler’s travail concerning the symphony’s program can be read as a reflection of the esthetic gulf that separated proponents of “program music” and “absolute music” at that time—that is, the partisans of explicitly depictive music versus those who believed that music was an inherently abstract enterprise. Mahler seems to have hoped to gain the sympathies of the “program” faction while in his heart he was himself an “absolutist.” Try though he might to justify his music by attaching extra-musical description to it, Mahler fails to convince us that that his symphony’s content is really motivated by anything other than itself.

Mahler kept on revising. He attached further programmatic descriptions to the movements and then discarded them.

When the piece was published, in 1898, the composer left

—James M. Keller An earlier version of this note appeared in the programs of the New York Philharmonic and is used with permission.

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University Theatre invites you to join us for an intriguing lineup of dance, musicals, plays and opera productions that inspire the imagination!

MAD FOREST

A PLAY FROM ROMANIA

A gripping dramatic play by Caryl Churchill.

Sept. 24 – Oct. 3, 2021

SHE LOVES ME

OUR PLATINUM SEASON

BACH’S COFFEE CANTATA

70th CONSECUTIVE YEAR!

LA SERVA PADRONA

AWARD-WINNING OPERA & MUSIC THEATER

A heart-warming romantic musical comedy.

Oct. 15 – 24, 2021

by Johann Sebastian Bach

by Giovanni Battista Pergolesi Two one-act operas brimming with comedic entertainment. Nov. 11 – 14, 2021

CONTEMPORARY DANCE OKLAHOMA

Energetic and extraordinary modern dance works with guest choreography by Sidra Bell, Gus Solomons Jr. and Tommie-Waheed Evans. Dec. 3 – 11, 2021

Oct. 1-3

Nov. 5-7

MAINSTAGE MUSICAL CHILDREN OF EDEN

SPOTLIGHT MUSICAL CABARET

YOUNG CHOREOGRAPHERS’ SHOWCASE A perennial favorite featuring exciting, imaginative choreography by School of Dance students with lighting design by Helmerich School of Drama students.

Jan. 27 – 30, 2022

THE SCARLET LETTER

Nov. 19-21 MAINSTAGE OPERA THE THREEPENNY OPERA

This compelling new opera composed by Lori Laitman is a cautionary tale of puritanical patriarchy.

Feb. 10 – 13, 2022

Feb. 18-20

A MIDSUMMER NIGHT’S DREAM

MAINSTAGE OPERA LITTLE WOMEN

Shakespeare’s comic fantasy of four star-crossed lovers who find themselves bewitched by fairies.

Feb. 25 – March 6, 2022

Featuring guest conductor Alexander Mickelthwate

PIPPIN

This Tony Award-winning musical tells the story of one young man’s journey to be extraordinary.

April 1 – 10, 2022

OKLAHOMA FESTIVAL BALLET

Featuring The Sleeping Beauty Suite with additional exciting choreography by Robyn Mineko Williams.

April 22 – May 1, 2022

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HOUSE NOTES

CIVIC CENTER COVID-19 HEALTH AND SAFETY PROTOCOLS INCLUDE: • Masks worn over the nose and mouth will be required for all patrons upon entry and throughout the performance.

• A photo ID along with the proof of full vaccination (either physical vaccination card, a picture of your vaccination card, or a digital vaccination record) will be required.

• PROOF OF A NEGATIVE PCR test (taken within 72 hours of entering the venue), for unvaccinated people ages 6 and above or those who prefer not to share their vaccination status, will be required.

• Hand sanitizing stations will be readily available throughout the building RESTROOMS are conveniently located on all levels of the theater. Please ask your usher for guidance.

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BEVERAGES: Bottled water is permitted in the theater at the Classics Series concerts. Beverages are permitted in the theater at the Pops Series concerts; however, bringing coffee into the theater is discouraged due to the aroma.

SMOKING in the Civic Center Music Hall is prohibited. The Oklahoma City Philharmonic promotes a fragrance-free environment for the convenience of our patrons.

FIRE EXITS are located on all levels and marked accordingly. Please note the nearest exit for use in case of an emergency.

ELEVATORS are located at the south end of the atrium of the Civic Center Music Hall.

CHILDREN of all ages are welcome at the Philharmonic Discovery Family Series and Holiday Pops performances; however, in consideration of the patrons, musicians and artists, those five years and under will not be admitted to evening Classics and Pops concerts unless otherwise noted.

BOOSTER SEATS for children are available in the Civic Center lobby. Please inquire at the Box Office.

VIDEO MONITORS are located in the lobby for your convenience.

WHEELCHAIR AVAILABLE SEATING – Persons using wheelchairs or with walking and climbing difficulties will be accommodated when possible. Those wishing to use the designated wheelchair sections may purchase the wheelchair space and a companion seat. Please inform the Philharmonic or Civic Center Box Office staff of your need when ordering tickets so that you may be served promptly and appropriately. Please request the assistance of hall ushers to access wheelchair seating.

HEARING LOOPS have been installed. Ask your audiologist to activate the telecoil in your hearing aid or cochlear implant.

Due to the mechanics of the stage, the hearing loops do not reach the pit section but are available at the Box Office and the Thelma Gaylord Performing Arts Theatre. The copper wire in the floor and telecoil work together to connect the hearing device to the theater’s sound system using a magnetic field which dramatically improves sound clarity for patrons using hearing devices.

LOST & FOUND is located in the Civic Center office (405-594-8300) weekdays 8:30 a.m. – 5:00 p.m.

PHILHARMONIC TICKET OFFICE may be contacted by calling 405-TIC-KETS (405-842-5387) or you can visit the Philharmonic Ticket Office located on the first floor of the Arts District Garage at 424 Colcord Drive in Suite B. The Philharmonic Ticket Office is open Monday through Friday, 10:00 a.m. to 5:00 p.m. and by phone on concert Saturdays from 10:00 a.m. to 2:00 p.m.

CIVIC CENTER BOX OFFICE hours are Monday through Friday, 10:00 a.m. to 6:00 p.m. and two hours prior to each performance. (405-594-8300) Artists, Dates, and Programs Subject to Change.

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