On the Upbeat May 2013 • Volume 6, Edition 7
Mahler “Resurrection” May 18 & 19, 2013
Jennifer Black, Soprano Tamara Mumford, Mezzo-Soprano Santa Barbara Choral Society
A few words
JoAnne Wasserman, Artistic Director Quire of Voyces Nathan Kreitzer, Director
Dear Santa Barbara Symphony Family, As we are in the final event of our 60th celebration season, I can still hear in my mind the vibrant and passionate notes of Rachmaninoff’s Piano Concerto No. 2 played by the international star Andrè Watts which opened this historic year. This season, we’ve offered a combination of classic masterpieces such as Beethoven’s 5th Symphony, Mozart’s Sinfonia Concertante, Mendelsohnn’s Scottish Symphony and Saint-Saens’ Organ Symphony, next to contemporary pieces and a world premiere of a Concerto Grosso by the fabulous Baltimore-based composer Jonathan Leshnoff written especially for us and for this memorable anniversary. We have also featured unconventional solo instruments such as Harp and Flute, and danced to the overwhelming rhythms of American classics by Bernstein and Gershwin. And à propos of dancing, I am sure you enjoyed our collaboration with State Street Ballet flying on the fairy wings of Stravinsky’s Firebird. I couldn’t think of a more exciting way to end this season than with the glorious and powerful music of Gustav Mahler’s Second Symphony. We have extended the stage of the Granada to meet the requirements of this gigantic masterpiece, and together with our two Continues on Page 2
MAHLER Symphony No. 2 for Soprano, Mezzo-Soprano, Chorus and Orchestra in C minor, “Resurrection” Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck Andante moderato: Sehr gemächlich In ruhig fliessender Bewegung “Urlicht”: Sehr feierlich aber schlicht (Mezzo-Soprano) Finale, on Klopstock’s ode “Auferstehen” (Chorus, Soprano and Mezzo-Soprano Soloists) This concert is performed without intermission. sponsored by
MARILYNN L. SULLIVAN PRINCIPAL CONCERT SPONSOR
Dick & Marilyn Mazess
SANTA BARBARA CHORAL SOCIETY SPONSORS
Join Ramón Araïza for “Behind the Music” beginning one hour before each concert!
Sponsored by Marlyn Bernard Bernstein & Dunvegan Associates, Inc. 1
Nir, From Page 1 soloists and more than 100 singers of the Santa Barbara Choral Society and Quire of Voyces, this concert brings to a climax this unforgottable anniversary. And looking ahead to next season, each concert has been conceived and designed to offer a unique and inspiring
experience to our dear audience, starting with The Planets by Gustav Holst, and featuring pieces by Mozart, Verdi, Dvoˇrák as well as contemporary works by Rouse, Brosse and Sheriff. I thank you all for supporting our Symphony, and wish you a wonderful summer!
Jennifer Black soprano
Lyric soprano Jennifer Black is making exceptional strides in her very young career. Recent concert engagements include her Munich Philharmonic debut, performing Musetta in La bohème; and this summer she sings the solo in Mahler’s Fourth Symphony with the Castleton Festival. On the stage, Black has recently performed the role of Mimì in La bohème in her Seattle Opera debut; Juliette
in Roméo et Juliette with Arizona Opera; a return to the Metropolitan Opera as Javotte in Manon, as well as appearances in La Rondine, La bohème, and The Makropuos Case; a return to the Théâtre du Capitole de Toulouse to debut the role of Norina in Don Pasquale; Violetta in La traviata at the Nashville Opera; and Desdemona in Otello with the Lyrique-en-Mer/ Festival de Belle-Île. Next, Jenna performs Adina in L’Elisir d’Amore with the Teatro Municipal in Santiago, Chile.
Tamara Mumford mezzo-soprano A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Mumford made her debut there as Laura in Luisa Miller, and has since appeared as Smeaton in the new production of Anna Bolena, and in productions of Rigoletto, Ariadne auf Naxos, Il Trittico, Parsifal, Idomeneo, Cavalleria Rusticana, Nixon in China, The Queen of Spades, the complete Ring Cycle, and The Magic Flute. Other recent opera engagements have included the title role in the American premiere of Henze’s Phaedra and the title role in The Rape of Lucretia at the Opera Company of Philadelphia, the title role in Dido and Aeneas at the Glimmerglass Opera, Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms, Isabella in L’Italiana in Algeri at the Palm Beach Opera, the title role in The Rape of Lucretia, conducted by
Lorin Maazel at the Castleton Festival; the title role in Carmen at the Crested Butte Music Festival, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano in Italy; and the title role in La Cenerentola at Utah Festival Opera. A native of Sandy, Utah, Mumford holds a Bachelors of Music from Utah State University. Her many awards include the Arthur E. Walters Memorial Award in the 2005 Opera Index Competition, second place in the advanced division in the 2005 Palm Beach Opera Competition, and awards in the 2005 Sullivan Foundation Competition, the 2005 Connecticut Opera Guild Competition and the 2004 Joyce Dutka Foundation Competition. Mumford was also a Mathias Winner and PBS Concert Soloist for the 2001 MacAllister Awards. 2
Santa Barbara Choral Society JOANNE WASSERMAN is in her 20th season as conductor and artistic director of the Santa Barbara Choral Society. She has worked with an impressive list of outstanding choral and orchestral conductors, including John Alexander and Lawrence Christensen and participated in master classes with Paul Salamunovich, the late Robert Shaw and Roger Wagner. She has also participated as a Master Class Conductor at the Oregon Bach Festival under Helmut Rilling. Ms. Wasserman has been Chorus Master for Opera Santa Barbara, has served on the faculty of California State University, Northridge and currently conducts the Women’s Chorale at Westmont College. She has conducted the Choral Society’s International Performance Tours of Mozart’s Requiem in Eastern Europe, Haydn’s Theresiennemesse and Lauridsen’s Lux Aeterna in Italy and Bavaria, Mass at the High Altar at St. Peter’s Basilica in the Vatican and Faure’s Requiem in Spain. Local highlights include conducting Choral Society’s acclaimed performances at The Granada of Orff’s Carmina Burana, Verdi’s Requiem, Vaughan-Williams’ A Sea Symphony and LoveLoveLove: A Tribute to the Beatles with Sir George Martin. She conducted both the Worldwide Rolling (Mozart) Requiem performance on the
The Santa Barbara Choral Society is a nonprofit music organization, community-based in performance and education, and serves the public by performing choral music at the highest level and fostering musical development and appreciation within the Santa Barbara community
first anniversary of 9/11 in 2001 and the 10-year anniversary performance In Remembrance in 2011. In the Masterworks at San Roque series, she conducted the Bach B Minor Mass in 2011 and in 2012, the West Coast premier of the Rain Sequence by noted African-American composer Dr. Rollo Dillworth.
Quire of Voyces The Santa Barbara Quire of Voyces was founded in 1993 to rediscover the sacred a capella choral music of the Renaissance and modern age. Nathan Kreitzer conducts twenty-five, annually auditioned, professional singers from the Central Coast who volunteer their talents to present the highest quality of performance all in historic settings. The ensemble performs the works of several living composers such as Eric Whitacre, Stephen Paulus, Michael McGlynn, Steven Sametz, Carl Rütti, and Frank Ticheli and continues to premier new works of composer-inresidence, Michael Eglin. Nathan J. Kreitzer is founder and artistic director of the Quire of Voyces. He began his career in music singing in the church. He later studied voice and conducting at California State University, Fresno, where he earned a Bachelor’s degree in Vocal Performance. He holds a Master’s degree in Choral Conducting from the University of California at Irvine. As a professional vocalist, he has appeared with the Santa Barbara Chamber Orchestra, the Ventura Master Chorale, the Pacific Chorale of
Orange County, the Irvine Camerata, as well as the Oregon Bach Festival Singers directed by Helmuth Rilling. He has studied under such conductors as Gary Unruh, John Alexander, and Robert Page. He has been singing and conducting professionally since 1989 and currently resides happily with his family in Santa Barbara where he is the Director of Choral and Vocal Activities at Santa Barbara City College and Director of Music at First United Methodist Church.
Program Notes by Dr. Richard E. Rodda Gustav Mahler (1860-1911)
friend Siegfried Lipiner, titled Totenfeier, of Adam Mickiewicz’s Polish epic Dziady, which appeared just as work on the tone poem was begun. Though he inscribed his manuscript, “Symphony in C minor/First Movement,” Mahler had no clear idea at the time what sort of music would follow Totenfeier, and he considered allowing the movement to stand as an independent composition. He completed and dated the orchestral score of the movement on September 10, 1888 in Prague, where he was conducting performances of Die Drei Pintos at the German Theater. The next five years were ones of intense professional and personal activity for Mahler. He resigned from the Leipzig Opera in May 1888 and applied for posts in Karlsruhe, Budapest, Hamburg and Meiningen. To support his petition for this last position, he wrote to Hans von Bülow, director at Meiningen until 1885, to ask for his recommendation, but the letter was ignored. Richard Strauss, however, the successor to Bülow at Meiningen, took up Mahler’s cause on the evidence of his talent furnished by Die Drei Pintos and his growing reputation as a conductor of Mozart and Wagner. When Strauss showed Bülow the score for the Weber/Mahler opera, Bülow responded caustically, “Be it Weberei or Mahlerei [puns in German on ‘weaving’ and ‘painting’], it makes no difference to me. The whole thing is a pastiche, an infamous, out-of-date bagatelle. I am simply nauseated.” Mahler, needless to say, did not get the job at Meiningen, but he was awarded the position at Budapest, where his duties began in October 1888. During 1889, both of Mahler’s parents died—his father in February, his mother just eight months later—so the responsibility for supporting his brothers and sisters fell upon him. A ne’er-do-well brother, Alois, fled to America. Gustav moved Emma and Otto from their home in Bohemia to Vienna, where they could all be close to their sister Leopoldine, who had previously married and settled in the Habsburg capital. Justine
Symphony No. 2 in C minor, “Resurrection” (1888-1894) Four piccolos, four flutes, four oboes, two English horns, two E-flat clarinets, four B-flat clarinets, bass clarinet, four bassoons, contrabassoon, six horns, four trumpets, four trombones, tuba, trumpets and horns off-stage, two timpani, percussion, organ and strings. Approximately 80 minutes. In August 1886, the distinguished conductor Arthur Nikisch, later music director of the Boston Symphony Orchestra, appointed the 26-year-old Gustav Mahler as his assistant at the Leipzig Opera. At Leipzig, Mahler met Carl von Weber, grandson of the great composer, and the two worked on a new performing edition of the virtually forgotten Weber opera Die drei Pintos (“The Three Pintos,” two being impostors of the title character). (In an episode that bore on the composition of the First Symphony, Mahler, always subject to intense emotional turmoil, fell in love with Carl’s wife during his frequent visits to the Weber house. The lovers planned to run away together, but at the decisive moment she left Mahler stranded, quite literally, at the train station.) Following the premiere of Die Drei Pintos, on January 20, 1888, Mahler attended a reception in a room filled with flowers. That seemingly beneficent image played on his mind, becoming transmogrified into nightmares and waking visions, almost hallucinations, of himself on a funeral bier surrounded by floral wreaths. The First Symphony was completed in March 1888, and its successor was begun almost immediately. Mahler, spurred by the startling visions of his own death, conceived the new work as a tone poem entitled Totenfeier (“Funeral Rite”). The title was apparently taken from the translation by the composer’s close
NOTES, From Page 3
(“Primal Light”) for contralto solo, was completed; by the end of the month, the Andante, newly conceived, was finished. Mahler composed with such frenzy that summer that his sisters almost urged him to give up his work lest his health be ruined. Natalie Bauer-Lechner, a close friend who left a revealing book of personal reminiscences of the composer, related that he looked strained and drawn and was “in an almost pathological state” at Steinbach. “Don’t talk to me of not looking well,” he reprimanded. “Don’t ever speak to me of this while I am working unless you want to make me terribly angry. While one has something to say, do you think that one can spare oneself? Even if it means devoting one’s last breath and final drop of blood, one must express it.” By the end of summer 1893, the first four movements of the Symphony were finished but Mahler was still unsure about the work’s ending. The finality implied by the opening movement’s “Funeral Rite” seemed to allow no logical progression to another point of climax. As a response to the questions posed by the first movement, he envisioned a grand choral close for the work, much in the manner of the triumphant ending of Beethoven’s last symphony. “When I conceive a great musical picture, I always arrive at a point where I must employ the ‘word’ as the bearer of my musical idea,” he confided. “My experience with the last movement of my Second Symphony was such that I literally ransacked world literature, even including the Bible, to find the redeeming word.” Still, no solution presented itself. In December 1892, Bülow’s health gave out and he designated Mahler to be his successor as conductor of the Hamburg Philharmonic concerts. A year later Bülow went to Egypt for treatment, but he died suddenly at Cairo on February 12, 1894. Mahler was deeply saddened by the news. He met with the composer Josef Förster the same day and played through the Totenfeier with such emotion that his friend was convinced it was offered “in memory of Bülow.” Förster described the memorial service at Hamburg’s St. Michael Church on March 29th: “Mahler and I were present at the moving farewell.... The strongest impression to remain was that of the singing of the children’s voices. The effect was created not just by Klopstock’s profound poem [Auferstehen—‘Resurrection’] but by the innocence of the pure sounds issuing from the children’s throats. The hymn died away, and the old, huge bells of the church opened their eloquent mouths and their mighty threnody poured forth to the entire port city. “The funeral procession started. At the Hamburg Opera, where Bülow had so often delighted the townspeople, he was greeted by the funeral music from Wagner’s Götterdämmerung [conducted by Mahler]. A great moment, full of reverence, remembrance and thankfulness. “Outside the Opera, I could not find Mahler. But that afternoon I could not restrain my restlessness, and hurried to his
went to Budapest to keep house for her brother. But this time of grief held yet one more shock, for Leopoldine fell gravely ill with a brain tumor and died late in the year. In 1891, Mahler switched jobs once again, this time leaving Budapest to join the prestigious Hamburg Opera as principal conductor. There he encountered Bülow, who was director of the Hamburg Philharmonic concerts. Bülow had certainly not forgotten his earlier low estimate of Mahler the composer, but after a performance of Siegfried he allowed that “Hamburg has now acquired a simply first-rate opera conductor in Mr. Gustav Mahler... who equals in my opinion the very best.” Encouraged by Bülow’s admiration of his conducting, Mahler asked for his comments on the still unperformed Totenfeier. Mahler described their September 15th encounter: “When I played my Totenfeier for Bülow, he fell into a state of extreme nervous tension, clapped his hands over his ears and exclaimed, ‘Beside your music, Tristan sounds as simple as a Haydn symphony! If that is still music then I do not understand a single thing about music!’ We parted from each other in complete friendship, I, however, with the conviction that Bülow considers me an able conductor but absolutely hopeless as a composer.” Mahler, who throughout his career considered his composition more important than his conducting, was deeply wounded by this behavior, but he controlled his anger out of respect for Bülow, who had extended him many kindnesses and become something of a mentor. Bülow did nothing to quell his doubts about the quality of his creative work, however, and Mahler, who had written nothing since Totenfeier three years before, was at a crisis in his career as a composer. The year after Bülow’s withering criticisms, Mahler found inspiration to compose again in a collection of German folk poems by Ludwig Achim von Arnim and Clemens Brentano called Des Knaben Wunderhorn (“The Youth’s Magic Horn”). He had known these texts since at least 1887, and in 1892 set four of them for voice and piano, thereby renewing some of his creative self-confidence. The following summer, when he was free from the pressures of conducting, he took rustic lodgings in the village of Steinbach on Lake Attersee in the lovely Austrian Salzkammergut, near Salzburg, and it was there that he resumed work on the Second Symphony, five years after the first movement had been completed. Without a clear plan as to how they would fit into the Symphony’s overall structure, he used two of the Wunderhorn songs from the preceding year as the bases for the internal movements of the piece. On July 16th he completed the orchestral score of the Scherzo, derived from Des Antonius von Padua Fischpredigt, a cynical poem about St. Anthony preaching a sermon to the fishes, who, like some human congregations, return to their fleshly ways as soon as the holy man finishes his homily. Only three days later, Urlicht
NOTES, From Page 4
day to day perplexes us and drags us down, our heart is gripped by a dreadfully serious voice which always passes us by in the deafening bustle of daily life: What now? What is this life—and this death? Do we have an existence beyond it? Is all this only a confused dream, or do life and this death have a meaning?— And we must answer this question if we are to live on. “The next movements are conceived as intermezzi. “2nd movement—Andante (in the style of a Ländler). You must have had the experience of attending the funeral of a person dear to you and then, perhaps, on the way back suddenly the picture of a happy hour long, long past arises in your mind like a ray of sun undimmed by anything—and you can almost forget what has happened. “3rd movement—Scherzo, based on Des Antonius von Padua Fischpredigt. When you awaken from the nostalgic daydream [of the preceding movement] and you must return to the confusion of real life, it can easily happen that the ceaseless motion, the restless, senseless bustle of daily activity may strike you with horror, as if you were watching a whirling crowd of dancers in a brightly lighted ballroom—watching them from the darkness outside and from such a great distance that you cannot hear the music. Then life can seem meaningless, a gruesome, ghostly spectacle, from which you may recoil with a cry of disgust! “4th movement—Urlicht (mezzo-soprano solo). The moving voice of naïve faith sounds in our ear: ‘I am of God, and desire to return to God! God will give me a lamp, will light me unto the life of eternal bliss!’ “5th movement. We again confront all the dreadful questions and the mood of the end of the first movement. It is ‘the voice of him that crieth in the wilderness.’ The end of all living things has come. The Last Judgment is announced and the ultimate terror of this Day of Days has arrived. “The earth quakes, the graves burst open, the dead rise and stride hither in endless procession. The great and the humble of this earth: kings and beggars, the just and the unjust—all are coming—and their cry for mercy, for grace, sounds terrorstricken in our ears. Our senses fail us and all consciousness fades away at the approach of the eternal Spirit. The ‘Great Summons’ resounds: the trumpets of the apocalypse call. Amid the ghastly silence we seem to hear a distant, distant nightingale, like a last trembling echo of earthly life. Softly there sounds a choir of saints and heavenly creatures: ‘Rise again, yes, thou shalt rise again.’ And the glory of God appears. A miraculously mild light penetrates us to the heart—all is still and blissful. And behold: there is no judgment; there are no sinners, no righteous ones, no great and no humble—there is no punishment and no reward! “An almighty love shines through us with blessed knowing and being.”
apartment as if to obey a command. I opened the door and saw him sitting at his writing desk, his head lowered and his hand holding a pen over some manuscript paper. Mahler turned to me and said: ‘Dear friend, I have it!’ “I understood. As if illuminated by a mysterious power I answered: ‘Auferstehen, ja auferstehen wirst du nach kurzen Schlaf.’ I had guessed the secret: Klopstock’s poem, which that morning we had heard from the mouths of children, was to be the basis for the closing movement of the Second Symphony.” On June 29, 1894, just three months later, Mahler completed his monumental “Resurrection” Symphony, six years after it was begun. The great scope of the new Symphony, both in length and in performing forces, made its premiere a significant undertaking. Richard Strauss, then director of the Berlin Philharmonic (as successor to Bülow!), wanted to premiere the work, but he was unable to secure the vocal forces needed for the closing sections, so he arranged a performance of the first three movements only for March 4, 1895 and invited Mahler to conduct. (Mahler was still reeling on that date from the suicide of his beloved younger brother Otto less than a month before. Subject to migraines during times of great stress, Mahler was almost incapacitated by blinding headaches during the rehearsals and premiere.) Though the Symphony was performed as an incomplete torso, the audience approved it warmly, recalling the composer-conductor to the stage at least five times with its applause. The critics, however, vilified the new piece, ignoring the success it had gained with the public. When the complete work was presented on December 13th, the critics again decried the score. (One representative comment scorned “the cynical impudence of this brutal and very latest music maker.”) Despite critical carping, the Second Symphony became Mahler’s most often heard work during his lifetime: the score was published in 1897, he chose it for his Viennese farewell performance in 1907, and it was the first of his works he conducted (on December 8, 1908 with the New York Symphony Orchestra) after coming to America. In its concept, musical realization and emotion, the “Resurrection” Symphony is an overwhelming experience. Though its foundations in structure and technique are unshakable, this work seems to scorn technical analysis in favor of identifying its progression of images and feelings. The composer himself wrote of the emotional engines driving this Symphony, and his thoughts are given here as a guide to the unfolding of the work: “1st movement. We stand by the coffin of a well-loved person. His life, struggles, passions and aspirations once more, for the last time, pass before our mind’s eye.—And now in this moment of gravity and of emotion which convulses our deepest being, when we lay aside like a covering everything that from
©2012 Dr. Richard E. Rodda
Marilynn Sullivan Commitment to Core Values
ver the years, the Santa Barbara Symphony Orchestra Association has been blessed to be supported by some of the community’s most caring and generous individuals. To know many of these people and count them as part of the Symphony family has helped to shape our core values, and never has this been more so than with our beloved Marilynn Sullivan. An honorary Member of both the Symphony League and the Symphony Association boards for many years, Marilynn has devoted untold energy to the growth of the organization. In fact, it was after her husband Tom gave her a concert for her 60th birthday in May of 1995 that she began the tradition of sponsoring each May concert thereafter. After Marilynn’s husband passed away in 2002, she increased her commitment to the organization, with the purchase of the awardwinning Music Van in Tom’s memory—and what’s more, she has been supporting it ever since. This immensely important tool represents the foundation of the Symphony’s suite of education programs, reaching 2,200 3rd grade students each fall for what is usually their very first introduction to classical music. Amy Bassett, Director of Education and Community Engagement for the Symphony, says “Marilynn has been instrumental in providing support to the Symphony’s Education Programs not only through her
advocacy of each program’s goal, but also through her continued support of the Music Van. Many people don’t realize when they see the van pull up to schools that it’s Marilynn who is behind the funding, upkeep, and in many aspects the manner in which we are able to create the experience for these kids.”
Children try out violins for the very first time with the Music Van.
In this final concert of our 60th season, it is fitting to take a moment and salute one of our most active and tireless contributors to the core values we all share. Thank you Marilynn, for your leadership and example over these past many years!
MUSIC | PASSION | ENERGY
OCTOBER 12-13 TED ATKATZ, Percussion WAGNER: Tannhauser Overture ROUSE: Percussion Concerto HOLST: The Planets
NOVEMBER 23-24 MATTHIAS BAMERT, Guest Conductor
Selections from VERDI’S greatest Operas, from Nabucco to Aida
DONALD FOSTER, Clarinet
FEBRUARY 15-16 HÉLÈNE GRIMAUD, Piano
BRAHMS: Piano Concerto No. 2 TCHAIKOVSKY: Romeo and Juliet ELGAR: Salut D’Amor RAVEL: Daphnis and Chloe
NOAM SHERIFF: Akeda DVORˇÁK: Concerto for Cello SHOSTAKOVICH: Symphony No. 5
MARCH 15-16 TIMOTHY CHOOI, Violin
MOZART: Serenade No. 10, Eine Kleine Nachtmusik and Symphony No. 25
MILHAUD: Creation of the World COPLAND: Concerto for Clarinet BEETHOVEN: Symphony No. 7
ROSSINI: William Tell Overture BRUCH: Violin Concerto No. 1 PROKOFIEV: Classical Symphony BROSSE: Millennium Overture GRIEG: Peer Gynt Suite
SARA SANT’AMBROGIO, Cello
NEW YEARS EVE POPS CONCERT CONDUCTOR: BOB BERNHARDT
Santa Barbara’s best New Year’s Eve party!
*Not a part of subscription series
Concerts are Saturday at 8pm and Sunday at 3pm at the Granada Theatre, 1214 State Street, Santa Barbara, California. Programs and artists subject to change.
Santa Barbara Symphony Orchestra Association 1330 State Street, Suite 102 • Santa Barbara, CA 93101 805.898.9386 • www.TheSymphony.org
Behind the Music
Ramón Araïza’s pre-concert talks are a hit with concert goers.
Now in his seventh season with the Symphony, we are thrilled to bring you concert pianist, composer/arranger and music scholar Ramón Araïza and his lively, interactive pre-concert talks. These dynamic 30 minute discussions take you on an insightful and humorous tour of the music you’re about to hear. With Ramón’s extensive musical background, presentation style and passion for the subject, he breathes life into each composer and their works. Don’t miss these great talks!
Get more out of your concert, come early for “Behind the Music.”
Saturday Evening: 7:00-7:30pm Sunday Matinee: 2:00-2:30pm
Behind the Music at the Granada Theatre is generously sponsored by Marlyn Bernard Bernstein and Dunvegan & Associates.
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©On the Upbeat, MAY 2013 VOL. 6, EDITION 7. Published for Symphony Series concert subscribers by the Santa Barbara Symphony, 1330 State Street, Suite 102, Santa Barbara, CA 93101, (805) 898-9386 — A non-profit organization.
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Published on May 12, 2013
May 18-19, 2013 at the Granada Theatre Nir Kabaretti, Conductor Jennifer Black, Soprano Tamara Mumford, Mezzo-soprano Santa Barbara Choral S...