IN THIS ISSUE:
The Orchestra 2025/26 SEASON
VIOLIN 1
Juliana Athayde+, Concertmaster
The Caroline W. Gannett & Clayla Ward Chair, funded in perpetuity
Angelina Phillips, Associate Concertmaster
The Fred M. And Lurita D. Wechsler Chair, funded in perpetuity
Shannon Nance, Assistant Concertmaster
Jeongwon An
Tigran Vardanyan
James Zabawa-Martinez
Thomas Rodgers
Anna Leunis
Molly McDonald
Kurt Munstedt
Chihiro Kakishima
Perrin Yang
Jeremy Hill
An-Chi Lin
VIOLIN 2
Jeanelle Thompson, Principal
The Dr. Ralph F. Jozefowicz Chair
Daryl Perlo, Assistant Principal
The James E. Dumm Chair, funded in perpetuity
Patricia Sunwoo
John Sullivan
Lara Sipols
Sooyeon Kim
Petros Karapetyan
Liana Koteva Kirvan
Margaret Leenhouts
Heidi Brodwin
Elin Schlichting
Ellen Stokoe
VIOLA
Joshua Newburger, Principal
The William L. Gamble Chair, funded in perpetuity
Marc Anderson, Assistant Principal
Rebecca Christainsen
James Marshall
Olita Povero
Neil Miller
Melissa Matson
Ye In Son
David Hult
Grant Rieke
CELLO
Ahrim Kim, Principal
The Clara and Edwin Strasenburgh Chair, funded in perpetuity
Lars Kirvan, Assistant Principal
Samuel Pierce-Ruhland
Christopher Haritatos
Garri Hovsepyan
Benjamin Krug
Jennifer Carpenter^
Ingrid Bock
BASS
Cory Palmer, Principal
The Anne Hayden McQuay Chair, funded in perpetuity
Michael Griffin, Assistant Principal
Daniel Morehead
Edward Castilano
Fred Dole
Jeff Campbell+
Eric Polenik
FLUTE
Rebecca Gilbert, Principal
The Charlotte Whitney Allen Chair, funded in perpetuity
Sean Marron
Elise Kim
PICCOLO
Sean Marron
Elise Kim
OBOE
Erik Behr, Principal
The Dr. Jacques M. Lipson Chair, funded in perpetuity
Anna Steltenpohl
Megan Kyle
ENGLISH HORN
Anna Steltenpohl
CLARINET
Hector Noriega, Principal
The Robert J. Strasenburgh Chair, funded in perpetuity
Kamalia Freyling^
Andrew Brown
E-FLAT CLARINET
Kamalia Freyling^
BASS CLARINET
Andrew Brown
BASSOON
Matthew McDonald, Principal
The Ron and Donna Fielding Chair, funded in perpetuity
Karl Vilcins
Martha Sholl
CONTRA-BASSOON
Karl Vilcins
HORN
YiCheng Gong, Associate/Assistant/Utility
Maura McCune Corvington
Nathan Ukens
Stephen Laifer
TRUMPET
Douglas Prosser, Principal
The Elaine P. Wilson Chair, funded in perpetuity
Wesley Nance
Herbert Smith
Paul Shewan
TROMBONE
David Bruestle, Principal
The Austin E. Hildebrandt Chair, funded in perpetuity
Lisa Albrecht
Jeffrey Gray
BASS TROMBONE
Jeffrey Gray
TUBA
W. Craig Sutherland, Principal
The Rob W. Goodling Chair, funded in perpetuity
TIMPANI
Charles Ross, Principal
The Harold and Joan Feinbloom Chair, funded in perpetuity
PERCUSSION
Caleb Breidenbaugh, Principal
The Barbara and Patrick Fulford Chair, funded in perpetuity
Brian Stotz
HARP
Grace Browning, Principal
The Eileen Malone Chair. A Tribute to Mr. and Mrs. Harcourt M. Sylvester
Rosanna Moore
KEYBOARD
Chiao-Wen Cheng+, Principal
The Lois P. Lines Chair, funded in perpetuity
PERSONNEL MANAGER
Fred Dole
PRINCIPAL LIBRARIAN
Kimberly Hartquist
STAGE MANAGERS
Danielle Suhr
Cederick Martinez
+ Eastman faculty
^ Year leave of absence
ANDREAS DELFS Music Director
Andreas Delfs has built a reputation over his 35-year career as one of the most dynamic and respected conductors on the international stage. Celebrated for his visionary leadership and deep musical insight, he is equally renowned as a masterful orchestra builder and an inspiring music director. Known for his emotionally charged and dramatically nuanced interpretations—particularly of the late Romantic repertoire—Delfs has earned critical acclaim across North America and Europe. His performances are marked by an ever-deepening artistic maturity, bringing a rare combination of passion, precision, and authenticity to every podium he graces.
Educated at leading conservatories on both sides of the Atlantic and shaped by mentorships with legendary conductors, Delfs has cultivated a style forged through decades of experience. At the same time, his unwavering curiosity and enthusiasm for contemporary music have made him a champion of living composers. He has established lasting collaborations with many of today’s most compelling musical voices, conducting numerous world premieres and commissioning new works. Among his many artistic inspirations are Hans Werner Henze, György Ligeti, Philip Glass, and Roberto Sierra—composers whose diverse idioms have helped shape his unique interpretive voice. His artistry has also drawn world-class soloists to the stage, including André Watts, Emanuel Ax, Joshua Bell, Hilary Hahn, Yo-Yo Ma, Lang Lang, and Renée Fleming.
Delfs has held prominent leadership roles with orchestras on both continents. As Music Director of the Milwaukee Symphony Orchestra from 1996 to 2009—and later as its Conductor Laureate—he played a pivotal role in elevating the ensemble to national acclaim. He also led the Saint Paul Chamber Orchestra as Music Director (2001–2004) and Artistic Consultant (2004–2006). In Europe, he served as General Music Director of Hanover, Germany (1995–2000), overseeing both the city’s symphony orchestra and its distinguished opera company. Earlier appointments include Music Director of the Bern Opera, Resident Conductor of the Pittsburgh Symphony during Lorin Maazel’s tenure, and Music Director—at an impressively young age—of the Orchestre Suisse des Jeunes.
Throughout his career, Delfs has conducted many of the world’s premier orchestras. His international credits include the London Philharmonic, Royal Philharmonic, Frankfurt Radio Symphony, Leipzig Gewandhaus Orchestra, Tonhalle Orchestra Zurich, Danish National Symphony, Netherlands Philharmonic, NHK Symphony Orchestra Tokyo, Philadelphia Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Sydney Symphony, Beijing Symphony, Seoul Philharmonic, and the National Symphony Orchestra of Taiwan.
Born in Flensburg, Germany, Delfs began studying piano and music theory at the age of five. He studied under Christoph von Dohnányi and Aldo Ceccato at the Hamburg Conservatory, where, at just 20 years old, he became the youngest Music Director of the Hamburg University Orchestra and served as Musical Assistant at the Hamburg State Opera. He later continued his training at The Juilliard School, studying with Jorge Mester, Sixten Ehrling, and Leonard Bernstein, and was honored with the prestigious Bruno Walter Memorial Scholarship.
PHOTO: ALEX CASSETTI
Our Conductors
JEFF TYZIK Principal Pops Conductor
25/26 marks Jeff Tyzik’s 32nd season as RPO Pops Conductor. But his musical journey began long before his permanent residency in Kodak Hall.
Born in Hyde Park, New York, he started playing cornet at age nine—inspired by the buglers during an Independence Day parade in nearby Poughkeepsie. He switched to trumpet at age 11, and eventually went on to attend Rochester’s Eastman School of Music, ultimately earning Bachelor of Music and Master of Music degrees.
Even before Tyzik’s schooling was completed, his star was on the rise. While at Eastman, Tyzik met Chuck Mangione, with whom he worked between 1973 and 1980 —both as lead trumpeter in Mangione’s band and as co-producer of four albums. During that time, Tyzik befriended Tonight Show band leader Doc Severinsen, who eventually invited Tyzik to London to record two albums. That relationship proved fruitful, with Tyzik producing the Grammy-winning The Tonight Show Band with Doc Severinsen, Vol. 1. Severinsen’s albums with Tyzik would go on to earn three additional Grammy nominations.
Tyzik also recorded his own albums as a solo trumpeter between 1981 and 1990, when he and his big band frequently performed in Rochester.
In 1993, Tyzik proposed a four-concert series featuring RPO members dubbed “All in the Family.” The first debuted Oct. 22 and highlighted Kenneth Grant (clarinet), Joseph Werner (piano), and percussionists William Cahn and Dave Mancini. Less than a month later, Tyzik was asked to become Principal Pops Conductor.
Jeff quickly made his mark on the orchestra, in his second season performing the first in his endearing, enduring Gala Holiday Pops series. He also made RPO history conducting an all-Gershwin album featuring pianist Jon Nakamatsu. The recording topped the Billboard Classical chart and remained in the top 10 for three months.
Over five decades, Tyzik has guest-conducted more than 100 orchestras, including the Boston Pops, Cincinnati Pops, and Milwaukee Symphony. In September 2023, he made his debut with the New York Philharmonic and returned later that season to conduct the Philadelphia Orchestra’s 2023–24 finale.
He’s also shared the stage with a remarkable range of artists across genres—from Tony Bennett and Leslie Odom Jr. to Wynonna Judd, Art Garfunkel, Marilyn Horne, Arturo Sandoval, The Chieftains, Megan Hilty, Dawn Upshaw, and John Pizzarelli.
In 2012, Tyzik and his daughter Jami co-founded the management and production company Greenberg Artists. Since 2016, in partnership with Schirmer Theatrical, they’ve developed dozens of orchestral Pops programs now performed by nearly 200 orchestras.
In 2023, Tyzik launched TyzikMusic.com, a digital publishing platform featuring more than 150 of his arrangements, orchestrations, and compositions for symphony orchestra, chamber ensembles, and wind ensemble.
CHRISTOPHER SEAMAN Conductor Laureate
The Christopher Seaman Chair, supported by Barbara and Patrick Fulford and The Conductor Laureate Society
Christopher Seaman was music director of the RPO from 1998-2011, and was subsequently named conductor laureate. During his 13-year tenure, the longest in RPO history, he raised the Orchestra’s artistic level, broadened its audience base, and created a new concert series. This contribution was recognized with an award from the American Society of Composers, Authors, and Publishers. In May 2009, the University of Rochester made him an honorary doctor of music.
Previous positions include music director of the Naples Philharmonic Orchestra (Florida) for 10 years, conductor-in-residence with the Baltimore Symphony Orchestra, and artistic advisor of the San Antonio Symphony.
He is recognized for his wealth of repertoire, which ranges from baroque to contemporary, and in particular the works of Bruckner, Brahms, and Sibelius Seaman also is highly regarded for his work with younger musicians, and he served as course director for the Symphony Services International Conductor Development Program (Australia) for many years.
Recent conducting engagements include the Aspen Music Festival, Detroit, Houston, St. Louis, Cincinnati, Milwaukee, and Seattle symphony orchestras; the Warsaw Philharmonic Orchestra, Kristians Symphony Orchestra, Orchestra of Opera North, and Orquestra Filarmônica de Minas Gerais in Brazil. He frequently visits Australia and Asia where he has conducted the Hong Kong Philharmonic Orchestra and the National Taiwan, Sydney, Melbourne, Adelaide, and Singapore symphony orchestras, among others.
RPO Board of Directors 2025/26 SEASON
DIANA CLARKSON, CHAIR OF THE BOARD
Maintaining and operating the Rochester Philharmonic Orchestra (Founded in 1923 —Incorporated in 1930)
OFFICERS
Diana Clarkson, Esq., Chair of the Board
Katherine Lindahl, Chair-Elect of the Board
Cindy Yancey, Vice Chair of the Board
Karen Kessler, Secretary
Richard Stein, Treasurer
Ross P. Lanzafame, Esq., Immediate Past Chair
TERM EXPIRES JUNE 2026
Daisy R. Algarin
Diana Clarkson, Esq.
George Daddis
Catherine Frangenberg
Allyson Hiranandani
Dr. Diane Lu
Sujatha Ramanujan
Elizabeth F. Rice
Ronald E. Salluzzo
Dr. Eva P. Sauer
George J. Schwartz, M.D.
Richard Stein
Thomas Warfield
Dr. James Watters
TERM EXPIRES JUNE 2027
Brian Bennett
Emerson Fullwood
Kimberly Gangi
Paulette Gissendanner
Catherine Gueli
Zuzanna Kwon
Katherine Lindahl
Jack McGowan
Sidney Sobel, M.D.
Cindy Yancey
TERM EXPIRES
JUNE 2028
Ron Dougherty
Sreeram Dhurjaty
James Fulmer
Laurie A. Haelen
Ralph F. Jozefowicz. M.D.
Karen Kessler
Deborah Onslow
Keila Pena
Sara Poe
Joseph B. Rizzo, Esq.
EX-OFFICIO
Curtis S. Long
President & CEO
Ross P. Lanzafame, Esq., Immediate Past Chair
Kate Sheeran
Dean, Eastman School of Music
Nathan Ukens
Orchestra Representative Wesley Nance
Orchestra Representative
James Englert Chairperson, Honorary Board
HONORARY BOARD
James Englert, Chairperson, Honorary Board
Stephen B. Ashley
Nancy Beilfuss*
James M. Boucher
Paul W. Briggs*
William L. Cahn
Louise Epstein
Joan Feinbloom
Ilene Flaum
Betsy Friedman
Patrick Fulford
Ronald A. Furman*
Mary M. Gooley*
Suzanne Gouvernet*
David C. Heiligman
A. Thomas Hildebrandt
Harold A. Kurland, Esq.
Dr. Dawn F. Lipson
Jacques M. Lipson, MD*
Cricket and Frank Luellen*
Michael Millard
Elizabeth F. Rice
Nathan J. Robfogel, Esq.
Jon L. Schumacher, Esq.
Katherine T. Schumacher
Ingrid Stanlis
Betty Strasenburgh*
Josephine S. Trubek
Suzanne D. Welch
Patricia Wilder*
Deborah Wilson
Robert Woodhouse
The RPO expresses its gratitude to all those who have served as Honorary Board members in the past.
PAST RPO CHAIRPERSONS
1930–32: Edward G. Miner*
1932–34: Simon N. Stein*
1934–38: George E. Norton*
1938–41: Leroy E. Snyder*
1941–42: Frank W. Lovejoy*
1942–43: Bernard E. Finucane*
1943–46: L. Dudley Field*
1946–48: Edward S. Farrow, Jr. *
1948–51: Joseph J. Myler*
1951–52: Joseph F. Taylor*
1952–55: Raymond W. Albright*
1955–57: Arthur I. Stern*
1957–59: Thomas H. Hawks*
1959–61: Walter C. Strakosh*
1962–63: Ernest J. Howe*
1963–65: O. Cedric Rowntree*
1965–67: Frank E. Holley *
1967–69: Thomas C. Taylor*
1969–71: Thomas H. Miller*
1971–72: Mrs. Frederick J. Wilkens*
1972–73: Edward C. McIrvine
1973–74: Robert J. Strasenburgh*
1974–75: John A. Santuccio
1975–76: Robert J. Strasenburgh*
1976–78: Dr. Louis Lasagna*
1978–80: Edward C. McIrvine
1980–82: Peter L. Faber
1982–84: Paul F. Pagerey*
1984–85: Peter L. Waasdorp*
1986–89: Robert H. Hurlbut*
1989–91: Paul W. Briggs
1991–93: Karen Noble Hanson*
1993–95: Ronald E. Salluzzo
1995–98: A. Thomas Hildebrandt
1998–00: Harold A. Kurland, Esq.
2000–04: David C. Heiligman
2004–06: Ingrid A. Stanlis
2006–09: James M. Boucher
2009–11: Suzanne D. Welch
2011–13: Elizabeth F. Rice
2013–15: Dr. Dawn F. Lipson
2015-17: Jules L. Smith, Esq.
2017-19: Ingrid A. Stanlis
2019-2024: Ross P. Lanzafame, Esq.
* Deceased
2 PM
NAZARETH
COLLEGE - BESTON
HALL, GLAZER
MUSIC
PERFORMANCE
CENTER
Andreas Delfs, conductor
For Andreas Delfs’ biography, please see page 5. Jeanelle Thompson, violin
The Dr. Ralph F. Jozefowicz Chair
Josh Newburger, viola
The William Gamble Chair
BOHUSLAV MARTINŮ Toccata 8:20
I. Toccata (Allegro moderato)
WOLFGANG AMADEUS
Sinfonia concertante in E-flat major 30:00 MOZART for Violin, Viola, and Orchestra, K.320d [364]
I. Allegro maestoso
II. Andante
III. Presto
Jeanelle Thompson, violin
Josh Newburger, viola
INTERMISSION
FRANCIS POULENC
Sinfonia concertante in E-flat major 30:00 for Violin, Viola, and Orchestra
I. Allegro con fuoco
II. Molto vivace
III. Andante cantabile
IV. Finale: Prestissimo et tres gai
SERIES
SPONSORS:
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
SUNDAY MATINEES AT NAZ: MOZART & POULENC
CONNECT WITH US:
ARTISTS
JEANELLE THOMPSON, violin
The Dr. Ralph F. Jozefowicz Chair
Jeanelle Thompson joined the Rochester Philharmonic Orchestra as Principal Second Violin in May of 2022. Prior to joining the RPO she performed as a substitute with the Cleveland Orchestra throughout the United States, Europe, and Asia and was a member of the Preparatory Chamber Music faculty at the Cleveland Institute of Music.
Jeanelle has performed with the Pittsburgh Symphony Orchestra and the Minnesota Orchestra and has appeared as guest concertmaster of the Bangor, Youngstown, Cleveland Institute of Music, and Lexington Bach Festival orchestras. She has attended the Aspen Music Festival, Brevard Music Center, Perlman Music Program, Strings Music Festival, and the Verbier Festival.
A native of Arizona, Jeanelle made her solo debut with the Phoenix Symphony at the age of 16. In 2016 she received her undergraduate degree from the Cleveland Institute of Music where she studied with William Preucil and was awarded the Dr. Jerome Gross Prize in Violin.
JOSH NEWBURGER, viola
The William Gamble Chair
Josh Newburger is the principal violist of the RPO and assistant professor of orchestral repertoire at the Eastman School of Music. Originally from Austin, TX, Josh could at one time often be found performing in the bars and clubs on 6th street. He was a member of the locally-adored indie pop orchestra Mother Falcon and a frequent guest of iconic Austin multi-instrumentalist Oliver Rajamani.
In more recent years he has served as the assistant principal violist of the Pacific Symphony and performed as a guest principal for the Santa Barbara Symphony and the Fresno Philharmonic. He has also had the privilege of subbing with the sections of the Cleveland Orchestra, LA Phil, Orchestre Philharmonique de Radio France, San Diego Symphony, Colorado Symphony, and Buffalo Philharmonic, and has been a featured soloist with the RPO in Bach’s Sixth Brandenburg Concerto, the Schulhoff Concerto for String Quartet and Winds, and Mozart’s Sinfonia Concertante.
While residing in the Los Angeles area, Josh recorded for numerous film and TV productions. Among other credits, he can be heard on the soundtracks for movies from the Star Wars, Lego Movie, Creed, Charlie’s Angels, and IT franchises, and TV series including The Mandalorian, The Orville, and American Dad.
Josh has also performed in more than 20 countries through relationships with the Verbier Festival Chamber Orchestra and Ivan Fischer’s Budapest Festival Orchestra.
Josh received his Bachelor’s degree in violin from the New England Conservatory as a student of Nicholas Kitchen, and his Master’s degree in viola from Yale, where he studied with Ettore Causa.
ROGER MASTROIANNI
JEANELLE THOMPSON JOSH NEWBURGER
7:30 PM
27
SUN SEPT 28
2 PM
KODAK HALL
AT EASTMAN
THEATRE
SAMUEL BARBER
Andreas Delfs, conductor
For Andreas Delfs’ biography, please see page 5. Anne Akiko Meyers, violin
INTERMISSION
ANTONÍN DVORÁK
Concerto for Violin and Orchestra, Opus 14 25:00
I. Allegro
II. Andante
III. Presto in moto perpetuo Anne Akiko Meyers, violin
Symphony No. 6 in D major, 41:00 Opus 60
I. Allegro non tanto
II. Adagio
III. Scherzo (Furiant). Presto
IV. Finale. Allegro con spirito
CONCERT SPONSORS: THE FRED M. AND LURITA D. WECHSLER ENDOWMENT FUND
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
CONNECT WITH US:
PHOTO: JOSEP MOLINA
ARTISTS
ANNE AKIKO MEYERS, violin
Anne Akiko Meyers is a GRAMMY® Award-winning violinist and one of the world’s most celebrated musicians. With nearly four decades of performing experience, she is a powerful force in contemporary music, serving as a muse and passionate advocate for today's leading composers. Throughout her career, she has commissioned, premiered, and recorded more than 40 critically acclaimed recordings of groundbreaking violin works. The Strad hails her as “the Wonder Woman of commissioning” for her close collaborations with Arvo Pärt, Einojuhani Rautavaara, John Corigliano, Arturo Márquez, Philip Glass, Michael Daugherty, Mason Bates, Billy Childs, Morten Lauridsen, Wynton Marsalis, and Eric Whitacre, among other visionary composers.
In the 2025-2026 season, Meyers premieres Eric Whitacre’s The Pacific Has No Memory with the Orpheus Chamber Orchestra, Colorado Music Festival, and Los Angeles Chamber Orchestra, releases four new world premiere recordings, and performs in recitals and with leading orchestras around the world.
The new releases include Blue Electra, a violin concerto by Michael Daugherty with David Alan Miller and the Albany Symphony; Beloved, including Billy Childs’s requiem In The Arms of the Beloved and selections by Ola Gjeilo and Eric Whitacre, with Grant Gershon and the Los Angeles Master Chorale; Philip Glass’s New Chaconne and Violin Concerto No. 1, with Gustavo Dudamel and the Los Angeles Philharmonic; and Adam Schoenberg’s Orchard in Fog, with Gemma New and the New Zealand Symphony Orchestra. Meyers also collaborates this season with Tiler Peck and Andrew Litton of New York City Ballet in a new work set to Lalo’s Symphonie Espagnole
In 2024, her recording of Arturo Márquez’ s Fandango, with Gustavo Dudamel and the LA Philharmonic, received two Latin GRAMMY® Awards: Best Classical Album and Best Contemporary Composition. Premiered in 2021 at the Hollywood Bowl, Fandango has been performed more than 40 times with 16 different orchestras around the world. Meyers returns to the Hollywood Bowl this September to reprise Fandango with the LA Philharmonic under Giancarlo Guerrero.
She has appeared on The Tonight Show, NPR’s Tiny Desk, CBS Sunday Morning, Countdown with Keith Olbermann, The Emmy Awards, The View, NPR’s Morning Edition, All Things Considered, Evening at Pops, and Great Performances. She has made more than 40 critically acclaimed recordings, and has appeared multiple times on the cover of leading industry magazines, including Gramophone, Strings and The Strad.
Meyers has performed at distinguished events that include the Bicentennial Celebration of Australia, the opening of the Arvo Pärt Centre in Estonia, the Grammy Salute to Music Legends celebrating John Williams, and an A&E broadcast of the Beethoven Violin Concerto at the 40th Pablo Casals Festival with the Montreal Symphony and Krzysztof Penderecki.
Born in San Diego, Meyers grew up taking lessons from Alice and Eleonore Schoenfeld at the predecessor of the Colburn School of Performing Arts. At The Juilliard School, she studied with the legendary instructor Dorothy DeLay, and with Masao Kawasaki and Felix Galimir. She recorded her debut album of the Barber and Bruch Violin Concertos with the RPO at Abbey Road Studios at 18.
Meyers is the recipient of the Avery Fisher Career Grant, the Distinguished Alumna Award and an Honorary Doctorate from The Colburn School, and is a member of the Asian Hall of Fame. She performs on the Ex-Vieuxtemps Guarneri del Gesù, dated 1741—considered one of the finest-sounding violins in existence. anneakikomeyers.com
ANNE AKIKO MEYERS
JOSEP MOLINA
PROGRAM NOTES
MASON BATES
Mothership for Orchestra & Electronica
B.PHILADELPHIA, PA, USA
January 23, 1977
An art form best experienced live, classical music struggles to find a place in the era of digital media and on-demand listening. However, there have been notable efforts to bring classical music along in the Internet age. One of those efforts was launched by the London Symphony Orchestra with conductor Michael Tilson Thomas in 2009: an orchestra assembled entirely from worldwide open auditions on YouTube, with the ensuing Carnegie Hall concert streamed on the platform. Although it verged on spectacle, it was a significant event for the classical music world, reaching an unprecedented viewership. The experiment was repeated in 2011, this time with the ensemble converging on the Sydney Opera House, again with Tilson Thomas at the podium. Tilson Thomas commissioned the then 34-year-old composer Mason Bates, who is also a nightclub DJ and electronica artist, to create a piece for the occasion. That work is Mothership
Bates described it in program notes: “This energetic opener imagines the orchestra as a mothership that is ‘docked’ by several visiting soloists, who offer brief but virtuosic riffs on the work’s thematic material over action-packed electro-acoustic orchestral figuration.” Bates outlined the work as a scherzo with a double trio, forging a connection to works like Schumann’s Second Symphony. The scherzo is marked by techno beats and cinematic orchestral figurations reminiscent of outer space, a wink towards film composers such as John Williams. The trio sections are as open as interplanetary space, providing room for the ‘docked’ soloists to improvise. The 2011 YouTube Symphony finale concert was, at the time, the largest live stream ever on YouTube, surpassing a live-streamed U2 concert.
SAMUEL BARBER
Violin Concerto
B. WEST CHESTER, PENNSYLVANIA March 9, 1910
D. NEW YORK, NEW YORK January 23, 1981
The Barber Violin Concerto is one of those cautionary tales where history has proven initial judgments wrong. A wealthy patron of the young violinist Iso Briselli commissioned the young composer Samuel Barber in 1939 to write a violin concerto shortly after the two musicians graduated from the Curtis Institute for Music. When Briselli brought the first two movements to Albert Meiff, his violin teacher, Meiff aired major concerns. Feeling the piece didn’t fit the violin, he suggested to the work’s commissioner that “major surgery” was needed (and volunteered himself as its surgeon). Briselli quite liked the first two movements but asked Barber for a flashier finale. He got what he asked for—a fiendishly difficult third movement—but Briselli didn’t love it. Barber held steadfast in his creative work and asked Briselli to forgo the rights to the premiere. Instead, violinist Albert Spalding premiered it with the Philadelphia Orchestra in 1941. It was certainly Briselli’s loss; the work became one of the great concertos in the violin repertoire. It’s hard to understand what Meiff’s criticisms were of the first movements. The violin is given unrelentingly sustained lyricism, even over octave leaps, in the first movement, which displays the instrument’s most singing qualities. The second movement is also an intimate, passionate appeal. The finale is in perpetual motion, a knuckle-buster for the violinist. It all features Barber’s brand of modernism, which was neo-Romantic with atmospheric dissonance, welcomed by audiences at a time when twelve-tone and other abstract, atonal experiments were in vogue.
PROGRAM NOTES
ANTONÍN DVOŘÁK
Symphony No. 6 in D Major
B. NELAHOZEVES, BOHEMIA, AUSTRIAN EMPIRE
September 8, 1841
D. PRAGUE, BOHEMIA, AUSTRO-HUNGARIAN EMPIRE
May 1, 1904
Lively syncopated dance rhythms and exotic, modal inflections are characteristic features of Bohemian folk music, which many Czech composers eagerly incorporated into their concert works. And while the great Czech composer Antonín Dvořák used some of those sounds overtly, such as in his Slavonic Dances, he developed a style of composition that was more a synthesis of influences than an assemblage. It set him apart from his more senior Czech counterpart, Bedřich Smetana, who had more nationalistic aims. Shaped by the cosmopolitan city of Prague, Dvořák was focused on bridging cultural differences, seeking a symbiosis of traditional and modern sounds in his works, aiming to appeal to both the German-speaking, Austrian public and Czech audiences in Prague. Dvořák’s Sixth Symphony, written for Viennese audiences (a planned premiere that never materialized due to anti-Czech sentiments in Vienna), is a demonstration of how Bohemia’s folk traditions could seamlessly fold into the classical tradition. Even some of the main melodies are architected with the movement and rhythm of Bohemian folk songs, but in this setting sound as stylistically romantic as any might from a culturally German composer.
On the classical side, Dvořák’s influences were, among others, Beethoven, Brahms, and Wagner. Unbeknownst to Dvořák, Brahms, too, became fascinated with the Czech composer’s music when judging a composition competition that Dvořák entered. They forged a friendship, and Brahms helped Dvořák build his reputation in Vienna. Dvořák’s fascination with and indebtedness to Brahms is evident in his Sixth Symphony, which shares the same key, structure, and mood as Brahms’s Second Symphony, written only three years prior. Although not overladen, the symphony also has the same luxuriously dense texture as Brahms’s Second; you could almost swim in it. In a letter to his publisher in 1880, after completing the symphony, Dvořák expressed his excitement to show the Sixth Symphony to Brahms, and there is evidence that Dvořák traveled to Vienna in November 1880 for this purpose. Unfortunately, we don’t have any record of Brahms’s response. Scholars also note some similarities with Beethoven’s Ninth and have mined its themes for related material.
The first movement, Allegro non tanto, is pastoral in character. It grows out of the interval of a fourth, first suggested in the winds before the strings expand it into a full opening theme. A movement in sonata form, Dvořák inventively moves in and out of themes, which seem to change with the countryside winds, also utilizing a rhythmic anacrusis with rustic-like bowing to add a Czech flair and developmental force. The movement finds closure after a pesante march, which dies down before an unexpected final unison fanfare. This is the movement that best shows Dvořák’s synthesis of folk music with the symphonic tradition. The second movement, an Adagio in ternary form, begins idyllically but transitions into a turbulent middle section, ultimately returning to more sentimental material. The third movement scherzo is a Furiant, a rapid-fire Czech dance, featuring the dance’s characteristic metric alternations, syncopated accentuations, and hemiolas in an exotic minor mode— Dvorak’s most explicit reference to his homeland’s folk sources. The movement was such a hit with Czech audiences that the orchestra was forced to repeat it at the work’s 1881 premiere in Prague. The Finale movement’s dotted rhythm themes also suggest a Bohemian reference, and the main theme’s characteristic interval of a fourth recalls the opening movement. The movement—and symphony— approaches the end with a fugue-like presto before the concluding fireworks.
Program notes © 2025 Anna Reguero, PhD, a Rochester-based scholar and arts writer.
7:30 PM
Jeff Tyzik, conductor
For Jeff Tyzik’s biography, please see page 6. Brie Cassil, vocalist
Jesse Nager, vocalist Tony Vincent, vocalist
& STUART What Cha’ Gonna Do for Me? 3:50
Margaritaville 4:30 BECKER & FAGEN Reelin’ in the Years 4:25
SERIES
CONCERT
SPONSORS:
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
ARTISTS
BRIE CASSIL, vocalist
Brie Cassil is a versatile singer, actor, and composer who has captivated audiences worldwide with her remarkable talent. Raised in Missouri, she performed in school shows and with her high school orchestra. She later moved to New York City, performing in numerous productions.
Cassil’s versatility is evident in her portrayal of iconic characters like Mimi in Rent, Little Sally in Urinetown, Belle in Beauty and the Beast, and Suzy in the off-Broadway cast of The Marvelous Wonderettes. Her versatility across rock, opera, pop, and musical theater has brought her to prestigious stages worldwide.
From leading musical workshops in Brazil to opening for renowned artists like Adler, Cassil’s international performances have taken her across the globe. She has had the privilege of performing on the grand stages of hundreds of theaters, including the iconic Nassau Coliseum and the legendary Carnegie Hall.
JESSE NAGER, vocalist
Jesse Nager is an alum of LaGuardia High School of the Performing Arts and The University of Michigan He starred as Smokey Robinson in the Broadway revival of Motown The Musical (NAACP Theatre Award Nomination) and was featured in the original productions of Motown The Musical, Mamma Mia, Mary Poppins, Scandalous, Good Vibrations, Windows, and Fame! Regional highlights include Being Alive (dir. Billy Porter), A Midsummer Night’s Dream (Papermill), Jesus Christ Superstar (Asolo Rep, The Ordway), as well as concerts, readings, and workshops of Children Of Eden, Hercules, Rocky, and Aladdin. He has performed with Mariah Carey and Shania Twain at Madison Square Garden, and his vocals have been heard on both seasons of NBC’s Smash, as well as the movie Hairspray, and numerous recordings nationwide.
As a producer/director/choreographer/arranger/writer, Jesse is the founder and Artistic Director of The Broadway Boys, a collective of Broadway tenors reimagining musical theater with pop, funk, and rock. The Broadway Boys have toured the world and have been featured on America’s Got Talent, The Today Show, and their first album debuted at #6 on the iTunes chart.
TONY VINCENT, vocalist
Tony Vincent is a recording artist, actor, and producer whose career has spanned more than two decades across New York City, London, and Nashville. He first gained national attention as a finalist on NBC’s The Voice, after releasing two major-label albums rooted in indie-pop.
Vincent moved into rock-based musical theater soon after, performing on Broadway in RENT, Jesus Christ Superstar, and Green Day’s American Idiot. He also appeared in the film version of Jesus Christ Superstar and Andrew Lloyd Webber: Masterpiece (Live from Beijing)
In London’s West End, he originated the role of Galileo Figaro in We Will Rock You, Queen’s theatrical production. That collaboration led to a global broadcast performance of Bohemian Rhapsody for Queen Elizabeth II’s Golden Jubilee, seen by more than 200 million viewers.
Today, he performs internationally—headlining concerts, symphonic shows, and private events—while also running his South Nashville studio, SoundShop370. There, he works with artists as a producer, writer, and collaborator, and leads a hands-on artist development program for emerging vocalists, musicians, and musical theater performers.
BRIE CASSIL JESSE NAGER
7:30 PM SAT OCT 11
7:30 PM
KODAK HALL AT EASTMAN THEATRE
Paolo Bortolameolli, conductor Blake Pouliot, violin
RICHARD WAGNER Der fliegende Holländer Overture 11:00
CAMILLE SAINT-SAËNS
Concerto No. 3 in B minor for Violin 30:00 and Orchestra, Opus 61
I. Allegro non troppo
II. Andantino quasi allegretto
III. Molto moderato e maestoso - Allegro non troppo Blake Pouliot, violin
INTERMISSION
SERGEY PROKOFIEV
Symphony No. 3 in C minor, Opus 44 34:00
I. Moderato
II. Andante
III. Allegro agitato
IV. Andante mosso - Allegro moderato
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
ARTISTS
PAOLO BORTOLAMEOLLI, conductor
Chilean-Italian conductor Paolo Bortolameolli is a dynamic presence on the podium, as well as a lecturer and arts advocate. He serves as Music Director of the Orquesta Sinfónica Azteca (Mexico) and the National Youth Symphony Orchestra of Chile, and as Principal Guest Conductor of the Filarmónica de Santiago. Between 2022 and 2024, he debuted with the New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Royal Liverpool Philharmonic, and Hong Kong Philharmonic, and returned to the Hollywood Bowl, Kansas City Symphony, Helsinki Philharmonic, Orquesta Filarmónica de Buenos Aires, and Orquesta Sinfónica Nacional de Colombia.
Recognized five times by Chile’s Arts Critics Association as Symphonic and Opera Conductor of the Year, Paolo has led major ensembles worldwide including Orquesta Sinfónica Simón Bolivar in Caracas, Polish National Radio Symphony Orchestra, Houston Symphony, Cincinnati Symphony, Detroit Symphony, Haydn Orchestra in Bolzano, Gulbenkian Orchestra in Portugal, and the Orchestra della Toscana in Florence.
As now Former Associate Conductor of the LA Philharmonic, he led Meredith Monk’s ATLAS at Walt Disney Concert Hall in 2019. He is passionately committed to new music, including the works of Gabriela Ortiz, Jorge Peña Hen, and Miguel Farías, whose Estallido he commissioned and premiered with the Los Angeles Philharmonic in 2022.
In 2018 he was was a guest-lecturer for a TED Talk in New York. His talk has already gathered more than 770,000 views on YouTube.
Paolo holds a Master of Music degree (Yale School of Music, 2013), a Graduate Performance Diploma (Peabody Institute, 2015), a Piano Performance Diploma (Universidad Católica de Chile, 2006) and a Conducting Diploma (Universidad de Chile, 2011).
BLAKE POULIOT, violin
Winner of the Grand Prize at the 2016 Orchestre Symphonique de Montréal Manulife Competition, Blake Pouliot’s 2024-2025 symphonic highlights include debuts with the LA Philharmonic at the Hollywood Bowl, San Diego Symphony and Rafael Payare, the Houston Symphony, Grand Rapids Symphony, Rhode Island Philharmonic, and the San Antonio Symphony. Blake expands his presence in Europe this season with performances with the London Philharmonic and Alevtina Ioffe, Chamber Orchestra of Europe with conductor Mattias Pintscher and cellist Alisa Weilerstein, KYMI Sinfonietta and Orchestre National des Pays de la Loire.
During his time as Soloist-in-Residence of Orchestre Métropolitain in 2020/21, Pouliot and Yannick NézetSéguin performed Mozart’s Violin Concerto No. 5 and Piazzolla’s The Four Seasons which led to Pouliot’s 2022 debut with the Philadelphia Orchestra at the Kimmel Centre, performing John Corigliano’s The Red Violin (Chaconne for Violin and Orchestra) with Nézet-Séguin. Highlights elsewhere include Beethoven’s Triple Concerto with Orchestre Symphonique de Montréal in 2022/23, with Angela Hewitt and Bryan Cheng, as well as performances of the Paganini, Mendelssohn, Saint-Saëns concerti and Bruch’s Scottish Fantasy in subscription concertos across North America.
Pouliot released his debut album of 20th century French music on Analekta Records in 2019. Featuring Ravel’s Tzigane and Violin Sonata in G, Debussy’s Violin Sonata in G minor and Beau Soir, the recording received critical acclaim including a five-star rating from BBC.
Raised in Toronto, Pouliot studied with Marie Berard and Erika Raum as a graduate of the RCM Taylor Academy, and was then admitted into the studio of Robert Lipsett at the Colburn Conservatory of Music in Los Angeles. Pouliot performs on the 1729 Guarneri del Gesù on generous loan from an anonymous donor.
BLAKE POULIOT
PAOLO BORTOLAMEOLLI
PROGRAM NOTES
RICHARD WAGNER
Overture to The Flying Dutchman
B. LEIPZIG, GERMAN May 22, 1813
D. VENICE, ITALY February 13, 1883
Before he attained operatic fame, Richard Wagner was crossing from London to Paris to escape unpaid debts in Germany when his ship was caught in a violent storm. The experience, including a quick refuge in the Norwegian Fjords and hearing the tales of its sailors, served as the inspiration for his opera Der fliegende Holländer, also known as The Flying Dutchman. The opera marked his first step towards his Gesamtkunstwerk ideals, a novel technique in which specific musical figures and themes had direct associations with the characters and emotions of the story, a total synthesis of music and drama.
The overture, which also opens the opera, is the full story in miniature form. The Flying Dutchman is stuck between the living and the dead due to a curse that condemns him to sail the ocean indefinitely except for a oncein-every-seven-years excursion to find true love, which will redeem him and break the spell. In one excursion to the shore, he meets the sea captain named Daland, who offers his daughter Senta to the stranger. Senta and the stranger fall in love, despite Senta having a boyfriend. The boyfriend’s protests threaten Senta and the stranger’s plans, but after learning the stranger’s identity as the Flying Dutchman, Senta throws herself into the ocean to be with the Dutchman. She dies, and her love releases the Dutchman from his purgatory so he may die, too. They attain love through death, a common theme across Wagner’s operas.
Wager wrote fantastical music to tone paint the mythical story. The opening horn call is of open intervals, expressing the loneliness of the Dutchman, after which chromatic grace notes and dramatic, dissonant chords speak to his predicament. The turbulent waves of the stormy sea are represented in chromatic surges in the string section. However, a lyrical and tonal section, led by the oboe, portrays Senta and her instant love for the stranger, who turns out to be the Dutchman. The rest of the story unfolds as expected in the music, shifting between the lovers and the situational maelstrom, with the lovers’ final ascent to heaven depicted in hymn-like glory.
CAMILLE SAINT-SAËNS
Violin Concerto No. 3
B. PARIS, FRANCE October 9, 1835
D. ALGIERS, FRANCE December 16, 1921
French composer Camille Saint-Saëns can be best described as non-partisan in the musical politics of his time. Coming of age during the mid-nineteenth-century debates between story-based program music and authentic, absolute music, Saint-Saëns took a neutral position, defending program music just as he embraced absolute forms. He additionally felt indebted to earlier periods in classical music’s development and advocated that the music of the past should be studied and appreciated in the present. However, by avoiding controversy and taking the middle ground, Saint-Saëns’s music is sometimes perceived as unprogressive. As the critic Douglas Charles Parker once wrote, “It is obviously difficult to estimate accurately the value of a man who has been a classicist, a romanticist, an individualist with a great reverence for the past, a pedagogue of the best type, a partisan of programme music.”
In the 1870s and 1880s, Saint-Saëns wrote some of his most successful works, including the Violin Concerto No. 3 in B minor. The concerto is absolute in that it doesn’t attempt to set a vivid tale to music. But it is no less expressive than a work of program music. It features beautifully evocative melodies with plenty of violin pyrotechnics over appealing harmonies and orchestration. The first movement, an Allegro non troppo, is a dramatic, minor-key Romantic oration. The second movement, Andantino quasi allegretto, is tender and graceful. Listeners may detect some Latin influence in the final movement, as Saint-Saëns wrote the work while in Spain and dedicated it to the Spanish violinist Pablo de Sarasate, who premiered it in 1881. A rousing brass-and-strings chorale features near the end of the movement, a homage to earlier musical forms that Saint-Saëns was fond of including in works of this period.
PROGRAM NOTES
SERGEI PROKOFIEV
Symphony No. 3
B. SONTSOVKA, BAKHMUTSK
REGION,
YEKATERINOSLAV DISTRICT, UKRAINE April 23, 1891
D. MOSCOW, RUSSIA March 5, 1953
Visitations by demons, supernatural séances, and a woman burned at the stake for her occult visions are just some of the haunting and metaphysical events buried deep in Prokofiev’s Symphony No. 3. The symphony’s musical content originates in Prokofiev’s opera The Fiery Angel. Based on a symbolist novel, the opera’s plot centers around a woman named Renata who has fallen in love with visions of a spirit angel, whom she believes has taken earthly form as Count Heinrich. She marries the count, but in a devastating blow, he leaves her. She enlists the help of a knight, Ruprecht, who accompanies her on her scandalous paranormal attempts to reunite with the count, which are unsuccessful. The knight, however, falls for Renata, a love that remains unrequited. Renata eventually checks into a convent, where she is labeled a witch and is burned at the stake. It’s prime Halloween fodder for an October concert.
Prokofiev worked on the opera for over a decade, making every attempt to secure a performance. Both outside circumstances (one interested opera director was fired after it was discovered he was having an affair) and concerns about the subject matter stifled its production. Prokofiev never saw a production in his lifetime. But having invested so much energy in the opera, Prokofiev wasn’t about to let it go to waste. Upon hearing the work in concert format, Prokofiev reworked the music into what we now know as his Third Symphony.
Chilling dissonant chords open the first movement, a diabolical referendum on the story ahead. Although this is a symphony with an opening movement in sonata form, the work unfolds like a soundtrack, driven by the sudden contrasts, raucous outbursts, and sarcastic extremes of its underlying plot. Swells, glissandi, tremolos, bitonality, and more create Renata’s alternative reality. The second movement, Andante, is a distorted meditation with glassy, strange textures. The third movement, Allegro agitato, launches into a manhunt, with music that could be straight out of a horror film. Prokofiev’s eerie string glissandos here predate the modernist experiments of composers like Krzysztof Penderecki. The final movement is Renata’s judgment day, starting with an angry death march and featuring Prokofiev’s strident writing for the strings and brass. A quieter middle section pensively recalls the strange love that drove Renata’s actions. But Renata meets her fate with harsh bell tolls and the orchestra in chaos.
Program notes © 2025 Anna Reguero, PhD, a Rochester-based scholar and arts writer.
18 7 PM SUN OCT 19
2 PM
KODAK HALL AT EASTMAN THEATRE
Ron Spigelman, conductor
Directed by David Yates
Produced by David Heyman, David Barron and J.K. Rowling
Written by Steve Kloves
Based on “Harry Potter and the Deathly Hallows” by J.K. Rowling
STARRING:
Daniel Radcliffe
Rupert Grint
Emma Watson
Helena Bonham Carter
Robbie Coltrane
Music by Alexandre Desplat
Warwick Davis
Ralph Fiennes
Michael Gambon
John Hurt
Jason Isaacs
Cinematography by Eduardo Serra
Gary Oldman
Alan Rickman
Maggie Smith
David Thewlis
Julie Walters
Edited by Mark Day
Produced by Heyday Films
Distributed by Warner Bros. Pictures
About Warner Bros. Discovery Global Themed Entertainment (WBDGTE), Warner Bros. Discovery Global Themed Entertainment (WBDGTE), part of Warner Bros. Discovery Global Brands and Experiences, is a worldwide leader in the creation, development, and licensing of location-based entertainment, live events, exhibits, and theme park experiences based on the biggest franchises, stories and characters from Warner Bros.’ film, television, animation, and games studios, HBO, Discovery, DC, Cartoon Network and more. WBDGTE is home to the groundbreaking locations of The Wizarding World of Harry Potter at Universal theme parks around the world, Warner Bros. World Abu Dhabi, The WB Abu Dhabi, The FRIENDS Experience, The Game of Thrones Studio Tour and countless other experiences inspired by the Wizarding World, DC, Looney Tunes, Scooby-Doo, Game of Thrones, FRIENDS and more. With best-in-class partners, WBDGTE allows fans around the world to physically immerse themselves inside their favorite brands and franchises.
Legal Line
All characters and elements © & ™ Warner Bros. Entertainment Inc. Publishing Rights © JKR.
SERIES
SPONSORS:
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
CONNECT WITH US:
HARRY POTTER AND THE DEATHLY HALLOWS™—PART 2–IN CONCERT
ARTISTS
RON SPIGELMAN, conductor
Australian conductor Ron Spigelman was recently appointed the Principal Pops Conductor of the Buffalo Philharmonic. Earlier in his career he was the Associate Conductor in Buffalo Philharmonic and the Fort Worth Symphony, Music Director of the Texas Ballet Theater, San Angelo Symphony (TX), Texas Chamber Orchestra, Springfield Symphony (MO), and the Lake Placid Sinfonietta (NY) where he is now conductor emeritus. He has also served as Principal Pops Conductor of the Fort Worth and Syracuse Symphony.
Recent guest conducting appearances include Atlanta, St. Louis, Baltimore, Utah, Oregon, Kansas City, Vancouver, Nashville Symphonies, and the Minnesota Orchestra.
He has conducted Symphonic, Ballet, Opera, Musical Theatre, and Pops plus over 30 live-to-film productions including all eight of the Harry Potter films. Guest artists he has accompanied include Horacio Gutierrez, Rachel Barton Pine, Richard Stoltzman, Marvin Hamlisch, Peter Paul & Mary, James Taylor, Leslie Odom Jr., Gladys Knight and many others.
Career highlights include the world premiere of Pegasus by Lowell Liebermann with the Dallas Symphony, his Carnegie Hall debut with the Buffalo Philharmonic, and the world premiere recording of Sylvan by Michael Torke with the Lake Placid Sinfonietta.
Ron lives in Tulsa, Oklahoma with his wife Laura, and their 6 children. He is board president of Harmony Project Tulsa, bringing instrumental instruction to underserved youth in collaboration with the Tulsa Public Schools. He also recently graduated summa cum laude with a bachelor’s degree in Family and Human Development at Arizona State University receiving the dean’s medal for academic excellence and is pursuing a master’s in liberal studies.
HARRY POTTER AND THE DEATHLY HALLOWSTM PART 2 SYNOPSIS
In the epic finale, the battle between the good and evil forces of the Wizarding World™ escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord VoldemortTM. It all ends here.
RON SPIGELMAN
ARTISTS
ALEXANDRE DESPLAT, composer
Alexandre Desplat, born on August 23, 1961, in Paris, France, is a prolific composer known for his orchestral film scores that draw from a wide range of influences including Claude Debussy, Maurice Ravel, Bernard Herrmann, and jazz and world music. His full name is Alexandre Michel Gérard Desplat.
His musical journey began at a young age. He started playing the piano at five, picked up the trumpet later on, and then switched to the flute at nine. His parents, both students at the University of California, Berkeley, introduced him to a wide variety of music. He developed an early appreciation for film music, collecting Bernard Herrmann’s Hitchcock soundtracks as a teen. This love for film music was further ignited when he heard John Williams’s Star Wars score in 1977. Other early sources of Desplat’s inspiration include the music of Maurice Jarre, Nino Rota, and Georges Delerue.
Desplat studied at the Conservatoire de Paris under Claude Ballif, and also took a summer course under Iannis Xenakis. He furthered his studies under Jack Hayes in Los Angeles. At the age of 20, after leaving the Conservatoire, he joined a theatrical troupe where he wrote and played music. His journey into film scoring began in the 1990s, and his big break in Hollywood came in 2003 with the soundtrack for the film “Girl with a Pearl Earring”.
His career has spanned over four decades, during which he has received numerous accolades including two Academy Awards, three British Academy Film Awards, three César Awards, two Golden Globe Awards, and two Grammy Awards. He was made an Officer of the Ordre national du Mérite and a Commander of the Ordre des Arts et des Lettres both in 2016. Some of his notable works include the scores for “The Grand Budapest Hotel” (2014), “The Shape of Water” (2017), “The Queen” (2006), “The King’s Speech” (2010), “Argo” (2012), “The Imitation Game” (2014), and the final two films in the Harry Potter series.
Desplat’s sophisticated orchestrations and his ability to seamlessly blend different musical styles have made him a sought-after composer in the film industry, contributing to both low-budget independent productions and large-scale blockbusters.
ALEXANDRE DESPLAT
ARTISTS
JUSTIN FREER, president/founder/producer, CineConcerts
American composer/conductor JUSTIN FREER was born and raised in Huntington Beach, CA. He has established himself as one of the West Coast’s most exciting musical voices and is a highly sought-after conductor and producer of film music concerts around the world. Freer began his formal studies on trumpet, but quickly turned to piano and composition, composing his first work at eleven and giving his professional conducting debut at sixteen.
Continually composing for various different mediums, he has written music for world-renowned trumpeters Doc Severinsen and Jens Lindemann and continues to be in demand as a composer and conductor for everything from orchestral literature to chamber music around the world.
He has served as composer for several independent films and has written motion picture advertising music for some of 20th Century Fox Studios’ biggest campaigns including Avatar, The Day the Earth Stood Still, Aliens in the Attic. As a conductor Freer has appeared with some of the most well known orchestras in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic and the Philadelphia Orchestra. He is also one of the only conductors to have ever conducted in both the ancient Colosseum and Circus Maximus in Rome.
Renowned wind conductor and Oxford Round Table Scholar Dr. Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife and serene reflection.”
Freer has been recognized with numerous grants and awards from organizations including ASCAP, BMI, the Society of Composers and Lyricists and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting hundreds of full length music score performances live with film for such wide ranging titles as Rudy, Gladiator, The Godfather, Breakfast at Tiffany’s, It’s A Wonderful Life, and the entire Harry Potter Film Franchise.
Mr. Freer earned both his B.A. and M.A. degrees in Music Composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer/conductor Jerry Goldsmith.
JUSTIN FREER ANGELA MARKLEW
ARTISTS
BRADY BEAUBIEN, co-founder/producer, CineConcerts
A Stanford graduate and All-American athlete, Brady Beaubien studied cognitive neuroscience before founding Interlace Media, an award-winning motion graphics company.
As a premiere CG animation studio and creative agency for feature films, Interlace defined the global campaigns of over 100 major Hollywood movies, including the Avatar, X-Men, Rio, Ice Age, and Die Hard franchises.
In 2013 Beaubien co-founded CineConcerts, a company dedicated to reinventing the experience of theatrical presentation and orchestral music. He currently produces CineConcerts’ full repertoire of film-concert experiences, including Gladiator Live, The Godfather Live, DreamWorks Animation in Concert, Elf in Concert, and the entire Harry Potter Film Concert Series
Beaubien helps lead the company’s vision for immersive XR technology and innovative presentations of media, including writing Star Trek: The Ultimate Voyage, a live concert experience that celebrates 50 years of iconic material. He also works to ensure that CineConcerts inspires a return to communal entertainment and continues to offer modern audiences and the world’s youth a chance to reconnect with concert halls and local orchestras. Beaubien is a member of YPO Beverly Hills and is on the board of several companies dedicated to Web3 and frontier technologies.
Beaubien is also accomplished in the world of architectural design, with his projects including Matsuhisa Paris at the Le Royal Monceau-Raffles and The Citrus on Hollywood’s Melrose Avenue, an impassioned commercial structure that represents a commitment to the metropolitan providence of Los Angeles. At The Citrus, advanced technologies merge with wood, glass, and Japanese gardens, in an organic and modernist design. Additionally, Beaubien partnered with world renown sushi chef Nobu Matsuhisa to personally design his new restaurant concept in the picturesque building.
Beaubien lives in Massachusetts and California, with his wife Emmy and their two children, Archer and Channing.
ABOUT CINECONCERTS
CineConcerts is one of the leading producers of live and digital music experiences performed with visual media, and continues to redefine entertainment. Founded by Producer/Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts will engage over 4.8 million people worldwide in concert presentations in over 3,000 scheduled performances in 48 countries through 2025, and recently launched CineConcerts +PLUS - a global digital network and app suite with hundreds of exclusive podcast episodes and produced content. CineConcerts continues to work with some of the most prestigious orchestras and venues in the world including the Chicago Symphony Orchestra, Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Philharmonia Orchestra, and more. Recent and current live and digital concert experiences include Elf in Concert, The Pinball Concert (Digital), The Polar Express in Concert, Rudy in Concert, The Passion of the Christ in Concert, The Da Vinci Code in Concert, The Harry Potter Film Concert Series, Gladiator Live, The Godfather Live, It’s a Wonderful Life in Concert, DreamWorks Animation In Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert Tour, Breakfast at Tiffany’s in Concert, and A Christmas Dream Live
Justin Freer President/Founder/Producer
Brady Beaubien Co-Founder/Producer
Chief XR Officer / Head of Publicity & Communications
Andrew P. Alderete
Director of Operations Andrew McIntyre
Senior Marketing Manager Brittany Fonseca
Senior Social Media Manager Si Peng
Worldwide Representation WME
Music Preparation JoAnn Kane Music Service
Sound Remixing Justin Moshkevich, Igloo Music Studios
BRADY BEAUBIEN CHRIS COMBES
Scan
the full
from May 1, 2025 through July 31, 2025
SYMPHONY
($50,000 AND ABOVE)
City of Rochester
Glover-Crask Charitable Trust
Gouvernet Fund for the Arts at RACF&
Lisk Morris Foundation, Inc. & Monroe County
CORPORATE PARTNERS, FOUNDATIONS, AND ORGANIZATIONS
The Rochester Philharmonic Orchestra gratefully acknowledges the following corporate, foundation, and community organizations for their generous support. Please contact the Development Office at development@rpo.org with questions or corrections. Listings are in recognition of our current donors from May 1 through July 31, 2025.
Andrea Holland Coaching Hoselton Auto Mall
Sheila Konar Fund for Alzheimer’s Services
Rochester Philharmonic League
St. John’s
OVERTURE
Waldron Rise Foundation in honor of Anne G. Whitman&
CONCERTO
($25,000–$49,999)
Canandaigua National Bank & Trust
The Kilian J. and Caroline F. Schmitt Foundation
MusicPower.org
Wegmans Food Markets
SONATA
($10,000–$24,999)
ESL Charitable Foundation
The Community Foundation
Kimbo il Café di Napoli
LSI Solutions, Inc.
M&T Bank
Pittsford Federal Credit Union^ TwoPoint Capital Management
SUITE
($5,000–$9,999)
Grace & Disgrace
Heathwood Assisted Living & Memory Care
($3,000–$4,999)
Max A. Adler Charitable Foundation
Akerman, LLP
The Bank of Castile, a Tompkins Community Bank
Mengel Metzger Barr & Co.
Novem Group
Paris-Kirwan Associates, Inc.
RE/MAX Realty Group, Andrew J. Burke
Rochester Institute of Technology
Spall Management Corp.
The Westport Fund
PARTNER
($1,000–$2,999)
Bristol Mountain Brown and Brown of New York
BRX Research
CPL Architects, Engineers and Landscape Architects
Davie Kaplan, CPA, P.C.
DGA Builders
EFPR Group, LLP
Flaum Management Company, Inc.
Goodbody & Associates, Merrill
Lynch Private Wealth
Greater Rochester Orthopaedics, P.C.
Harter Secrest & Emery LLP
HCR Home Care
Insero & Co.
IT Insights
The Johnson Browning Family Fund
KPMG, LLP
Music Performance Trust Fund
Nazareth University
The QMC Group
Rubens Family Foundation
Sage Rutty & Co., Inc.
Schreiner Family Fund
Wells Fargo Advisors
FRIENDS
($1-$999)
Aldridge Tinker Fund
Fox Pest Control
MATCHING GIFT
COMPANIES
Charities Aid Foundation of America
Constellation Brands
Johnson and Johnson Matching
Gift Foundation
Kim Miers Nicholas Vitello
EXECUTIVE
MANAGING
Scan to view the full listing from May 1, 2025 through July 31, 2025
MAESTRO’S CIRCLE LEADERSHIP GIVING SOCIETY
The Rochester Philharmonic Orchestra gratefully acknowledges the generous individuals listed here who help us continue to enrich and inspire the community through the art of music. While space only permits us to list pledged gifts made at the Benefactor level and above in the printed program book, we value the generosity and vital support of all donors and have moved all donors from Contributor amount and above to be listed in our digital edition donor roll on www.rpo.org/donor-recognition. Please contact us at development@ rpo.org questions or corrections. Listings are in recognition of our current donors from May 1 through July 31, 2025.
MAESTOSO ($50,000 AND ABOVE)
Anonymous
Stephen and Janice Ashley&
Allen* and Joyce Boucher&
Jim and Maria Boucher&
Mary Ellen Burris&
William L. and Ruth P. Cahn^&
Joan and Paul Casterline**&
Terence Chrzan and Susann Brown*&
Christine Colucci
Judy and Joe Darweesh
Karen Duguid and Wallace Johnson&
Mr. and Mrs. James T. Englert&
Julia B. Everitt*
Dr. and Mrs. Elmar Frangenberg&^L
Betsy and Jay*Friedman&
Barbara and Patrick Fulford&
Marjorie and James Fulmer&
Mr. and Mrs. Ronald A. Furman**&
Nancy and Peter Gaess&
Sue Habbersett*
Mrs. Laura J. Hameister^&S
Daniel W. Hinz*
H. Larry and Dorothy C. Humm&
Nicholas and Kathryn JospeS&
Dr. Ralph F. Jozefowicz& Ross P. Lanzafame, Esq.&
PRESTISSIMO ($25,000-$49,999)
Anonymous
Anne and Steve* Bauer
Patrick and Irene Burke&
Diana R. Clarkson, Esq. and James Donnelly& George Daddis, Jr., Ph.D.&
VIVACE ($10,000-$24,999)
Anonymous
Stewart Beecher
Brian and Nancy Bennett
Carol and John Bennett&
Stuart* and Betsy Bobry
Mr. and Mrs.* Harlan D. Calkins&
Keith and Joan Calkins
Jeff and Sue Crane^&
Alison and John Currie&
Katie and Rob Dermody&S
ADAGIO ($2,500-$9,999)
Anonymous
Barbara and John Bruning&
Andrew J. Burke, RE/MAX
Realty Group
Ann Burr and A. Vincent Buzard
Betsy and John Carver&
Barbara A. Colucci^
Karen E. Dau
Rufus K. Dryer, II
Joan and Harold* Feinbloom
Emerson and Vernita Fullwood&
Jeffrey and Lynne Halik&
Amy R. Hecker and Howard S. Decker&
Joyce and Warren* Heilbronner&
Tom and Nan Hildebrandt&
Ron DoughertyS&
James and Stephanie Fischer&
Mr. and Mrs. Thomas Forsyth
P. Robert and Mary Anne Fox
Shirley B. and Kevin Frick
Judith Fulmer
Amy R. Hecker and Howard S. Decker&
David and Barrie Heiligman&
Lois and Will Irwin
Kevin FrischS
Laura L. Fulton and Martin Zemel
Dan Fultz
Rob W. Goodling
Robert and Deborah HallS
David and MaryAnn Hamilton&
Dick Hare in memory of
Marilyn Hare&
Ian and Kathalee* Hodge
Connie KaminskiS
PHILHARMONIC FRIENDS
ADVOCATE ($1,000-$2,499)
Daisy AlgarinS
Anonymous
Jack and Kathleen BeadlingS
David M. Berg and Dawn K. Riedy
Kristine Bouyoucos
Jennifer Bowen
Simon* and Josephine Braitman
Anastasia Broikos
Dan and Amanda Butler
Mr. and Mrs. John Buttrill
Jeanne Carlivati
The Carpenter Family
Chuck and Joanne Cavallaro
Clark Family Fund at the RACF
Katherine Lindahl&
Dr. Dawn F. Lipson^
Jack McGowan and Kathleen Muscato&
Michael and Frances Millard&
William J. O’Connor, Jr.&
Deborah Onslow&S
Pace Family Fund&
Larry and Betsy Rice&
Nathan J. and Susan S. Robfogel&
Nellie J. Rosenberg&
Ron and Sharon Salluzzo&
Drs. Eva and Jude Sauer&
Kathleen Holt and Stephen Lurie
Elsbeth J. Kozel&
Bruce Jacobs
Connie Leary and James O’Connell&
Barbara E. Marshall& Victor Poleshuck&
Laurie and David Kennedy
Joseph and Dale Klein
Elsbeth J. Kozel&
Karen and Gerald Kral&
Marc Libman and Meghann Postgate
Curtis and Elizabeth Long&S
Daniel M. Meyers&
Noel and JoBeth NicholsL&
Kathy Purcell
Nancy and Vincent Reale
Vincent and Zuzanna Kwon&
Sue and Michael LococoS
Douglas* and Marcia Lowry
Mr. and Mrs. Bruce W. Marche
Maron Mench
Paul Marc and Pamela Miller Ness&
John and Tobie Olsan
James and Joyce Porrey
Robert and Anne QuiveyS
David and Betsy Riedman
Beth R. CrossS
Frederick Dushay, M.D. in memory of Anita B. Dushay
John and Cathy Englert
Gail R. Flugel
Linda and David FriedmanS
Richard and Vicki* Schwartz
Dr. and Mrs. Sidney H. Sobel&
Ingrid Stanlis&
Sandra and Richard Stein&
Josephine S. Trubek& Krestie Utech&
Patricia Ward-Baker&
Louise Woerner and Don Kollmorgen
Robert A. Woodhouse& Geff and Cindy Yancey&
Deborah Ronnen and Sherman Levy*
Elise and Stephen* Rosenfeld, M.D.
Drs. Carl and OJ Sahler&
Katherine T. and Jon L. Schumacher&
Nathan J. and Susan S. Robfogel
Marion Swett Robinson& Dr. Charlotte Ryan
Mrs. Robert M. Santo& Joan M. Schumaker
Heidi B. Schwarz, M.D.& Carol Whitbeck& Helen B. Yorkey
Mr. Fritz Ruebeck and Dr. Cecilia MeagherS
Mr. and Mrs. James Ryan, Jr.
Ava Sauer
Mr. and Mrs. Lawrence M. Schenck
David and Julie Weinstein
Steve and Sarah Wicker
Eleanor Williams
Kitty J. Wise&L
Dr. David Gentile and Dr. Carla Beckham
Jacquie and Andrew Germanow
Dr. and Mrs. Andrew Goodman
Debbie and Michael Gordon
David L. Guadagnino and Mary Beauchamp
James and Jennifer Guelzow
Laurie Haelen and Mary McCrank
Hugh and Mary Clare Hamlin
Susan and Chris Holliday
Henry* and Ellen Horey-Thiede
Bob and Sarah Hurlbut
Dr. and Mrs. Harold Kanthor
Tom and Kate Kidera
James Kraus
BENEFACTOR ($500-$999)
Barbara and David AckroydS
Anonymous
Luenza Boone
Donald and Mary BoydS
Nancy and Joseph* Briggs
Drs. David Bushinsky and Nancy Krieger
Mitchell Chait
Ron and Laura D’Angelo
Bryce Davis
Christopher and Carla Denninger
Terrence R. Doherty
Marcia L. Elwitt
Gerald G. Estes
Karolina Fero
Justin and Lauren Finch
Sarah Fitts-Romig
Ann and Steve Fox
Jerry J. Gambino, Jr.
Kimberly and Lou Gangi
Paulette GissendannerS
Catherine Gueli
Scan to view the full listing from May 1, 2025 through July 31, 2025
IN MEMORY OF…
Joanne Anderson
Dolores Young
John F. Bovenzi
Catherine Bovenzi
Douglas Cline
Patte Bishop
Timothy and Marilyn Downs
Jane Littwitz
John Littwitz
Curtis and Elizabeth Long&S
Chen and John MageeS
Scott Manspeaker
Karen and Joseph McCune
Pete* and Sally Merrill
Dr. David Mock
Mr. and Mrs. Robert J. Guerin
Linda and John Haight
Marshall and Joan Holub Handfield
Marilyn* and Dick Hare&
Christopher Hastings
John and Ruth Hazzard
Andrew and Kathleen Holt
Philip and Eleanor Hopke
Mr. and Mrs. John Hustler
Yana Ignatovich
Will and Lois Irwin
Connie KaminskiS
Barbara and Robert Kay
Barbara Klein
Lenore* and Marshall Lesser
Doris and Austin Leve
Philip and Lilac McEvoy
Dick and Sandra McGavern
Pennie McNulty and Chris VanQuekelberg
Clayton and Kimberly Millard
BRAVO TRIBUTES
Andy Nahas
Nixon Family Foundation
Deborah Onslow&S
Dee and Horace E. Perry
Jerry Peters
Douglas and Diana Phillips
Martin and Laurie Reinhold
Joan and James* Ryan, Sr.
Ann C. Morsch
Suzanne and Richard Portland
Sujatha Ramanujan and James Chwalek
Elizabeth and Eric Rennert
Robert and Ann Reimer
Victoria Romig
Shannon Routhouska
Mrs. Bonnie B. Sale
Barbara and George Segel
Rich Sensenbach
Lily Shaw and Robert Hallstrom*
Ms. Suzanne Spencer
Ann H. Stevens and William J. Shattuck&
Joyce Sudak and Christopher Carretta
Mimi and Sam Tilton
James T. Townsend
Sally Turner
William and Susan VanTyle
Thomas and Jeanne Verhulst
Yvonne J. SanerS
Ms. Maureen A. Stables
Nancy Stevens and David Williams
Kevin and Erica Surace
Steve and Cheryl Swartout
Gene and Nancy Tonucci
Harry and Ruth* Walker
Rodney Young
Suzanne Verstraten
Karl and Aimee Vilcins
Bonnie and John Walden
Robert Wason and Barbara McIver
Pierce and Elizabeth Webb
Dr. Bridgette Wiefling
Jeff Wright and Betty Wells
Mr. and Mrs. Ted Zornow
& Denotes donor(s) has/ have contributed to the RPO& Comprehensive Capital Campaign S Denotes donor(s) has/have a recurring Sustaining Circle contribution to the RPO * Denotes donor(s) is/are deceased. ^ Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).
The Rochester Philharmonic Orchestra gratefully acknowledges the following individuals and organizations for their generous support by honoring or remembering in memory of, the individuals listed below. Listings are in recognition of tribute gifts received from May 1, 2025 through July 31, 2025.
Tribute gifts are a special way to remember loved ones or commemorate special occasions such as birthdays, anniversaries, weddings, births or graduations. If you would like to make a memorial or honorarium gift, please visit www.rpo.org/donate or contact the Development office at 585/454-7311 ext. 249 or email development@rpo.org.
Jane Dunham
Bonnie Buske
Nancy Van Iseghem
Terry B. Grissing
Edward Grissing
Robert E. Hallstrom
Lily Shaw
Ellen Fenger
Josephine Trubek
Margaret Vanas
Stanley Cullen
Jacquelyn and Richard Howitt
Jane E. Doles
Paul Doles
Paul Donnelly
Eugene Ver
Frances R. Howell, Jr.
Jennifer McRae Fitzsimmons
Anne M. Jones
Robert Jones
Elaine L. Kraus
James Kraus
William Smith O’Brien
Bernard Gershenson and Paula Gocker
Victoria Romig
Sarah Fitts-Romig
Anne W. Sullivan
Philip and Eleanor Hopke
R. Alan and Deborah Lattime
Robert W. Sweeney
Gerald Estes
IN HONOR OF…
Maura McCune Corvington
Joseph McCune and Karen Smith-McCune
George DeMott and Andrea
Holland’s Wedding
Elizabeth Osta and George Van Arsdale
Kim Hartquist, RPO Librarian
Marcia Lowry
Lis Bischoff-Ormsbee
Noel and JoBeth Nichols
Nathan and Susan Robfogel’s 60th
Wedding Anniversary
Charles and Kathleen Salitan
Valerie Salitan
Jeff Tyzik, RPO Principal Pops
Conductor
James Townsend
Jane and Paul Wargo
Jessica Best
Jean Webster
Kathleen VanOrden
Scan to view the full listing from May 1, 2025 through July 31, 2025
Anonymous
Marie Aklin*
Betty Jane Altier*
Alva Angle*
Catherine N. Asmuth*
Jean Boynton Baker*
John B. and Margaret Barnell*
RPO GEORGE EASTMAN LEGACY SOCIETY
Members of the RPO George Eastman Legacy Society are true believers in the power of music. The RPO George Eastman Legacy Society honors those individuals who remember the Rochester Philharmonic Orchestra through a planned gift. The RPO’s team of development professionals are available to work with you and your advisors to create a plan that will help you meet your financial and philanthropic goals. For more information, please contact the Development Office at 585.454.7311.
Mary M. Gooley*
Barbara Jean Gray-Gottorff*
George Greer*
Jean Groff*
Sue C. Habbersett*
William B. Hale*
Mrs. Laura J. Hameister
Walter J.* and Jeanne M. Beecher
Walter S. Beecher
Nancy and Harry Beilfuss**
Carol and John Bennett
Jack and Carolyn Bent
Donald Berens*
Ellen S. Bevan*
Stuart* and Betsy Bobry
James R. Boehler*
Marilyn Bondy
Beverly T. Bowen*
John W.* and Margaret Z.* Branch
William and Ruth Cahn
Mary Allison Callaway and Paul R. Callaway*
Catherine B. Carlson*
Norris F. Carlson*
Margaret J. Carnall*
Susann* and Terence Chrzan
Nancy A. Clemens*
Barbara Colucci
Christine Colucci
Mary Consler*
Judy and Joe Darweesh
Alfred L. Davis*
Barbara Dechario*
Paul Donnelly*
Marilyn A. Drumm*
Amelia N. Dunbar*
Frederick Dushay
Richard and Harriet Eisenberg*
James T. and Ellen Englert
John R. Ertle*
Julia B. Everitt*
Glenn and Rebecca Fadner
Ruth H. Fairbank*
Joan and Harold* Feinbloom
Albert Fenyvessy*
Donald C.* and Elizabeth Fisher
Catherine and Elmar Frangenberg
Carolyn and Roger Friedlander
Betsy Friedman
Karyl P. Friedman
Linda and David Friedman
Patrick and Barbara Fulford
William L. Gamble*
Sharon Garelick
Rob W. Goodling
Marilyn* and Dick Hare
Karen G. Hart*
Monica R. Hayden*
Warren* and Joyce Heilbronner
David W. Hinz*
Jean Hitchcock
Norman L. Horton*
Mrs. Samter Horwitz*
H. Larry and Dorothy C. Humm
Mr. and Mrs. Robert D. Hursh*
Carol A. Jones
Nick and Kitty Jospe
Dr. Ralph F. Jozefowicz
Nancie R. Kennedy*
Robert T. Kimbrough*
Marcella Klein and Richard Schaeffer
Glenn and Nancy Koch
Ross P. Lanzafame, Esq.
Jeanne Lareau*
Marshall and Lenore* Lesser
Drs. Jacques* and Dawn Lipson
Sue and Michael Lococo
William C.* and Elfriede K. Lotz
Mr. and Mrs. Daniel Mahar
Linda Malinich*
Joseph J. Mancini*
Gerard Mayer*
John T. McAdam*
Pete* and Sally Merrill
Donald R. Messina*
Robert J. and Marcia Wishengrad Metzger
Dan Meyers
Mrs. Elizabeth O. Miller*
Jane E. Miller*
Mary L. Mitchell*
Deanne Molinari
Eleanor Morris*
Mrs. Marjorie Morris*
Patricia McCurdy Morse*
John S. Muenter
Diane F. Nelson*
Paul Marc and Pamela Miller Ness
Carolyn Noble*
Deborah Onslow
Margaret Paaschen*
Mary Anne Palermo
Ms. Lydia Susan Palmer
Eleanor T. Patterson*
Suzanne F. Powell
Robert and Ann Quivey
Ernest Rashiatore*
Eileen D. Ramos*
Marjorie Cohen Relin*
Doris Repenter*
Dr. Ramon L. and Judith S. Ricker
Dr. Suzanne H. Rodgers*
Dick* and Bea Rosenbloom
Elise and Stephen* Rosenfeld
Pearl W. Rubin*
Wallace R. Rust
Ron and Sharon Salluzzo
Wesley Saucke
Peggy W. Savlov*
James G. Scanzaroli*
David G. and Antonia T. Schantz
William and Susan Schoff
Peter Schott and Mary Jane Tasciotti
Jon L. and Katherine T. Schumacher
Laura M. Seifferd*
Libba and Wolf Seka
Gretchen Shafer*
Virginia Durand Shelden*
Elbis A. Shoales, M.D.
Carol Shulman
Anna Rita Staffieri*
Ingrid Stanlis
Abby and David Stern
Patricia E. Stott
Betty Strasenburgh*
Martha Ann* and Daniel Tack
Amanda Tierson
Ivan Town*
Carol Van Hoesen*
Elizabeth Van Horn*
Harry and Ruth Walker
Patricia Ward-Baker
Margaret Webster*
Robin and Michael* Weintraub
Jean B. Wetzel*
Mildred Wischmeyer*
Kitty J. Wise
John and Laurie Witmeyer
Helen W. Witt*
Mary Alice and Robert Wolf*
Susan and Lawrence Yovanoff
Nancy and Mark Zawacki
Alan Ziegler and Emily Neece
Mr. and Mrs. Ted Zornow
* Denotes donor(s) is/are deceased.
^Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).
ABOUT US
Since its founding by George Eastman in 1922, the Rochester Philharmonic Orchestra has been committed to enriching and inspiring our community through the art of music. Currently celebrating our Centennial Season, the RPO is dedicated to maintaining its deep commitment to artistic excellence, educational opportunity, and community engagement.
Today, the RPO presents up to 120 concerts per year, serving nearly 170,000 people through ticketed events, education and community engagement activities, and concerts in schools and community centers throughout the region. Nearly one-third of all RPO performances are educational or community-related. In addition, WXXI 91.5 FM rebroadcasts approximately 30 RPO concerts each year. For more information, visit rpo.org.
IMPORTANT INFORMATION
TICKETS: The RPO Patron Services Center is located at 255 East Avenue in the back of the Farash Place building in downtown Rochester. Free parking is available in a small lot between the parking garage and building. Open Monday through Friday 10 AM–5PM.
NIGHT-OF-CONCERT PURCHASES: RPO will-call tickets and concert tickets are available at the RPO tables in the Eastman Theatre Box Office lobby starting 90 minutes prior to concert time.
PARKING: Paid parking for Kodak Hall at Eastman Theatre is available at the East End Garage, located next to the theatre. Paid parking for the Performance Hall at Hochstein is available at the Sister Cities Garage, located behind the school at Church and Fitzhugh Streets.
PRE-CONCERT TALKS: All ticketholders are welcome to attend free pre-concert talks held one hour before all Philharmonics concerts and all Jeff Tyzik-conducted Pops concerts. Ticketholders are asked to sit anywhere they would like in the orchestra level of the theatre, then head to their reserved seat for the concert.
SERVICES FOR PATRONS WITH DISABILITIES: Wheelchair locations and seating for those with disabilities are available at all venues; please see the house manager or an usher for assistance. Elevators are located in the Eastman Theatre Box Office lobby. A wheelchair-accessible restroom is available on the first floor.
SERVICES FOR HARD-OF-HEARING PATRONS: Audio systems are available at Kodak Hall at Eastman Theatre; headsets may be obtained from an usher prior to the performance.
CHANGING SEATS: If you find it necessary to be reseated for any reason, please contact an usher who will bring your request to the House Manager.
LOST AND FOUND: Items found in Kodak Hall will be held at the Eastman Theatre Box Office, 433 E. Main Street. For more info, call 585-274-3000.
ELECTRONIC DEVICES: The use of cameras or audio recording equipment is strictly prohibited. Patrons are asked to silence all personal electronic devices prior to the performance.
REFRESHMENTS: Food and drink are not permitted in the concert hall, except for bottled water. Refreshments are available for purchase in Betty’s Café located on the orchestra level of Kodak Hall at Eastman Theatre.
TICKET DONATION: If you are unable to attend a concert, please consider donating your tickets to us as a tax-deductible contribution. Return your tickets to the RPO no later than 2 PM the day of the performance to make them available for resale.
Bravo is published cooperatively by the Rochester Philharmonic Orchestra and Buffalo Spree
Joyce Tseng| Editor, Rochester Philharmonic Orchestra
Meg Spoto | Creative Director, m dash studio
Don Anderson | Program Annotator, Don Anderson ©
Editorial Offices: Rochester Philharmonic Orchestra
255 East Avenue, Suite LL02
Rochester NY 14604
585-454-7311 • Fax: 585-423-2256
Publisher and Designer: Buffalo Spree Publishing, Inc. 1412 Sweet Home Road-Suite 12, Amherst, NY 14228 Advertising Sales: 716-972-2250
CONNECT WITH US facebook.com/RochesterPhilharmonic @rocphils (Instagram) www.youtube.com/c/RochesterPhilharmonicOrchestra linkedin.com/company/rocphils
