Sinfonia Gulf Coast 2018-2019 Season Program

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As a proud sponsor of Sinfonia, we applaud the 2018–2019 Season & Maestro Demetrius Fuller.

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sinfonia: entertain | educate | inspire Our region’s only fully professional symphony orchestra Welcome to season 13 and thank you for joining us!

Thank You, our many patrons, sponsors and community collaborators. Sinfonia would not be what it is today without your support!

I would like to focus on Sinfonia’s mission, which comprises the three words at the top of this page.

ENTERTAIN- Sinfonia continues to present world-class concert events that engage the highest caliber, award-winning guest artists such as Kristin Chenoweth, Bernadette Peters, to Mary Wilson of The Supremes and R&B Legend Roberta Flack. Sinfonia also continues to engage the very best orchestral musicians in the Southeast U.S. whose level of musicianship, concert after concert, is impressive and inspiring.

EDUCATE- Music education remains at the core of our existence. By impacting more than 115,000 school children since 2007, Sinfonia is providing critical arts education to a very diverse group in both Okaloosa and Walton Counties, both designated underserved in the arts by the Florida Division of Cultural Affairs. Our partnership with Carnegie Hall’s LINK UP program has resulted in the largest music education concert in Northwest Florida, TWICE, and we are on track to serve nearly 3,700 3-5 graders in 2019!

INSPIRE- Sinfonia exists to culturally enhance our community by presenting live music on a level unparalleled in our region. We aim to inspire students through education programs, live concerts, and the Sinfonia Youth Orchestra program.

Thank you to our many generous sponsors that comprise this publication, who help us entertain, educate and continue to inspire. Their support is instrumental to our success, and so is yours…

Did you know that ticket sales only cover a small fraction of Sinfonia’s operating costs each season?

Your tax-deductible contribution will enable Sinfonia to continue to provide great music and educational outreach to our community.

In the meantime, send me a note if you have any questions: dfuller@sinfoniagulfcoast.org Musically yours,

Demetrius Fuller Music & Artistic Director

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SIN GULF ONIA COAST season 13

contents 13 A Note from Our President 15 Founding Partners 16 Season Sponsors 20 Orchestra Layout/Personnel 22 Donors 25 Become a Supporter 27 Demetrius Fuller bio 29 Note of Thanks 31 Sinfonia Education Initiatives 51 Classical Connections 1 73 Sinfonia’s Holiday Pops 81 Sinfonia Gala Event A SwINGIN’ LITTLE CHrISTmAS starring Jane Lynch 89 Classical Connections 2 100 Crescendo!

105 Bernstein, Broadway & Beyond 120 ANImANIACS in Concert!

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A NOTE from our president

2018-2019 season, Sinfonia will have impacted more than 125,000 students what an amazing line up of concerts and since 2007. internationally renowned guest artists maestro Demetrius Fuller and the Sinfonia On behalf of the Sinfonia Gulf Coast Board Gulf Coast team has orchestrated for us! of Directors, and our phenomenal musicians that comprise the orchestra, I For those of you that have been with us welcome you to the 2018-2019 season! before, you already know the caliber of concerts and events that Sinfonia Gulf Coast is honored to present to our community. To those of you, who are new to the Sinfonia experience, wELCOmE!

welcome to Sinfonia Season 13!

And if our concert events weren’t enough, we hope that you will join us for our annual and largest fundraiser Crescendo! to benefit Sinfonia Gulf Coast and its music education initiatives throughout Okaloosa and walton Counties. These include: LINK UP in partnership with Carnegie Hall for 3rd-5th graders, Paint the music for 3rd8th graders, musicians and guest artists in the schools, the Sinfonia Youth Orchestra programs, and a continued partnership with Sacred Heart Hospital’s Arts in medicine project. By the conclusion of the 2018-2019 BOARD OF DIRECTORS: Steve Barber Jerry Brown Patti Burcham Jeff Dannelly

Hense Ellis Demetrius Fuller Debra Henry Jennifer Howard

Nina Jeffords Kate Kelley Don roberts

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A STANDING OVATION FOR OUR FOUNDING PARTNERS

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2018 | 2019 SEASON PrESENTING SPONSOr

CLASSICAL CONNECTIONS PRESENTING PRESENTING SPONSOR MEDIA SPONSOR

PRESENTING CONCERTS SPONSOR

PODIUM PARTNERS

SEASON PRESENTING EDUCATION SPONSORS

INDIVIDUAL IMPRESARIOS Dana & Glenn Armentor Renee & James Beaman Janis & Don Bishop Harriet Crommelin & Stephen Marlette Heavenly & Bill Dawson

Maureen & Keith Gamble Tammy & Jim Pierce Shirley Simpson Pamela Wellborn Bobbie & Jack White

SINFONIA MILITARY TICKET PROGRAM PRESENTING SPONSOR

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SEASON SPONSORS PLATINUM SPONSORS

INSIGHT INVESTMENTS LLC

SEASON MEDIA SPONSORS

SEASON PRESENTING ACCOMMODATIONS SPONSORS

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Violins Derek Ratzenboeck+ Kristin Pfeifer Yu* Kate Kelley* Petra Bubanja Minyoung Cho Ken Davis Taylor Giorgio Jiwon Hwang Grace Kim Sara Fay Brianna Rhodes Megan Sahely Marisa Votapek Viola Laurel Yu* 20 | sinfonia gulf coast

Daren Fuster* Josiah Coe Maria Santacruz Meghan Yost Cello Adam Collins* Chun-Hsin Chang^ Jordan Galvarino Andrea Beltran Landers Aleksandra Pereverzeva Double Bass Bleda Elibal* Maurice Belle* Melanie Punter

Trent Harper Gabriel Monticello Flute Jessica Sherer* Angela McCuiston Rachel Nozny Oboe Casey Knowlton* Asher Kelly Clarinet Samuel Peliska* Nancy Saleeby

Bassoon Richard Hopkins* Shannon Lowe Kayleigh Bagley Horn William Schaffer* Matthew Tavera^ Chris Phelps Debra Finlayson Trumpet Brian Buerkle* Aaron Witek

Trombone Kenneth Johnson* Dunwoody Mirvil Bass Trombone Jonathan Lacey Tuba Daniel Rowland Percussion John Thomas III* Luis Rivera Timpani Brian Nozny

Harp Rebekah Atkinson Piano Dan Smith Librarian Sara Fay Personnel Manager Laurel Yu +Concertmaster *Principal ^Asst. Principal sinfonia gulf coast | 21

SIN GULF ONIA COAST donors as of 11/1/18 Maestro’s circle $50,000+ Dugas Family Foundation Emeril Lagasse Foundation Impact 100 Nw Florida VIE magazine

podiuM partner $20,000+ Alys Beach Foundation Dana & Glenn Armentor Harriet Crommelin & Stephen marlette Heavenly & Bill Dawson Hilton Sandestin Beach Golf resort & Spa Janis & Don Bishop Jimmy Choo Lynn & Steve Dugas maureen & Keith Gamble merrill Lynch wealth management Seaside Shirley Simpson St. Joe Community Foundation VIP Destin

conductor’s circle $10,000+ Cumulus media Dermatology Specialists | Aqua med Spa Dr. michael Stickler Demetrius Fuller & Jimmy Chambers Destin Center for Family & Cosmetic Dentistry Emerald Ladies Journal Gatehouse media Grand Boulevard Hancock whitney Bank J.r. & George Hendricks Krueger, Fosdyck & Associates ~ merrill Lynch Linda miller mcNeese Title - Demetria & richard mcNeese muriel & Jim Dollar Okaloosa Gas Pam wellborn Pamela & Frank Burge 22 | sinfonia gulf coast

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Demetrius Fuller music & artistic director

Innovative and energetic conductor Demetrius Fuller is garnering critical acclaim at home and abroad. The 2018-2019 season marks his thirteenth as music and artistic director of Florida's Sinfonia Gulf Coast. Fuller has redefined the cultural landscape of Northwest Florida by offering inspiring and artistically evocative performances that have excited critics and patrons alike.

A versatile conductor, Fuller has been chosen to work with some of the world's most prestigious conductors and orchestras. He is an award recipient from the National Foundation for Advancement in the Arts, the Werner Foundation, and the International Music Foundation.

Fuller trained at the University of Cincinnati College-Conservatory of Music, earning both his bachelor's and master's degrees in music.

Callahan, Samuel Robles, Steven Winteregg, Tan Dun (giving the Southeastern US premiere of his Crouching Tiger Concerto) and Chris Brubeck (giving the Southeastern US premiere of both his violin concerto Spontaneous Combustion and symphonic tribute Ansel Adams: America, which was co-composed with his father, the late Dave Brubeck). During the 2013-2014 season, Fuller led the Southeast US premiere of Identity: Zhongshan Zhuang, co-composed by Victor Cheng and Michael Gordon Shapiro. During the 2014-2015 season, Fuller and Sinfonia co-commissioned and performed the US premiere of Chris Brubeck and Guillaume Saint-James's Brothers in Arts and the world premiere of Nico Muhly's full orchestration of his electric violin concerto Seeing Is Believing.

Abroad, Fuller was invited several times by Maestro Kurt Masur to conduct the l'Orchestre Nationale de France (Paris) in a set of conductor readings. In July 2007, Fuller was one of two conductors selected worldwide to conduct the Iraqi National Symphony and three other Iraqi orchestras in a groundbreaking Unity Academy in Erbil, Northern Iraq, sponsored by American Voices and the US Department of State. In 2009, New York City-based Musicians for Harmony appointed Fuller as one of three artistic advisors-an honor shared with musical luminaries Arnold Steinhardt of the renowned Guarneri String Quartet and violinist Cho-Liang Lin.

As an accomplished clarinetist, Fuller has performed in the Dame Myra Hess Chamber Music Series sponsored by the International Music Foundation and broadcast live on Chicago's WFMT 98.7 FM. Festival appearances include the Opera Theatre of Lucca (Italy), David Oistrakh Festival (Estonia), Aspen Music Festival, Cabrillo Festival of Music, and Eastern Music Festival (USA). He has appeared in master classes with Gustav Meier, Michael Tilson Thomas, Daniel Lewis, Marin Alsop, Neeme Jarvi, Jorma Panula, Larry Rachleff, David Loebel, and the late Robert Shaw. Fuller has been fortunate to work with various icons in the music industry, including Roberta Flack, Kristin Chenoweth, Bernadette Peters, Mary Wilson, Patti LuPone, Chris Brubeck, Sharon Isbin, and Pink Martini, among others.

Locally, Fuller serves on the boards of the, Okaloosa Arts Alliance, Alaqua Animal Refuge, and is a trustee of the Destin Charity Wine Auction Foundation. He is a past chair of the American Cancer Society's Cattle Barons' Ball and continues to serve as a grant panelist for the Florida Division of Cultural Affairs.

An advocate of contemporary music, Fuller has premiered, commissioned and/or collaborated with composers such as Augusta Read Thomas, Dorothy Hindman, Thomas Schneller, Ricardo Zohn-Muldoon, Joel Hoffman, Moiya

Photo by Marcia Wright Reynolds sinfonia gulf coast | 27

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e OF THANKS Sinfonia Board of Directors Demetria & Richard McNeese Sinfonia Founding Partners Don & Betty Hefner Sinfonia Ushers Elaine & Geno Tucker Sinfonia Volunteers Emerald Coast Convention Center Sinfonia Youth Orchestra Parents Heather Tate 2018-2019 Hulda & Dick Mahlum Sinfonia Season Sponsors Jack & Bobbie White 2018-2019 Jimmy Chambers Crescendo! Committee Kate Kelley Alex Brown Kay Phelan Bijoux, Jack & Leslie McGuckin Alexis Miller, Alys Beach Brenda Shoffner Lauren Gall Candis & Jack Wilson Lindsey Smith Christine Carter Lisa & Gerald Burwell Dana & Glenn Armentor Lori Eckert Deborah Elmore Lorre James

Lynn & Steve Dugas Lynn Wesson Marjorie Cox Gray MaryEdith Malin Michelle Boerstler Myra Williams Nathanael Fisher Pam Wellborn Sandy & Grieg Buckley Scott Russell Star Darling Stephanie & Chuckles Robinson Tim Krueger Walda & Wade Edelson Whitney Lee Zandra Wolfgram

The Florida Division of Cultural Affairs is Florida’s state arts agency. The Division promotes arts and culture as essential to quality of life for all Floridians. Arts and culture contribute to a vibrant and creative Florida. These diverse resources include arts in education, local arts agency, state service organization, theater, dance, folk art, literature, media arts, museum, multidisciplinary, music, sponsor/presenter, and visual arts programs and projects.

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SIN GULF ONIA COAST season 13 sinfonia personnel music and Artistic Director Demetrius Fuller Director of Events Elaine Tucker marketing Coordinator Kate Kelley Artistic Administrator and Personnel manager Laurel Yu Education Coordinator MaryEdith Malin Auction & Special Events Coordinator Deborah Elmore Sinfonia Youth Orchestra music Director Aaron Vaughen Production manager TSC Productions Orchestra Librarian Sara Fay Administration and Box Office Hours Monday - Friday 10:00 a.m. - 3:00 p.m.

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SIN GULF ONIA COAST

CLASSICAL CONNECTIONS Hanzhi Wang, accordian Thursday, October 25, 2018 | 7:30pm Grace Lutheran Church PrOGrAm NOTES

Dance Card Jennifer Higdon l. raucous rumpus (a fanfare) ll. Breeze Serenade lll. Jumble Dance lV. Celestial Blue V. machina rockus Aconcagua Concerto for Bandoneón and Orchestra “Aconcagua” Astor Piazzola Serenade for String Orchestra Peter Tchaikovsky l. Pezzo in forma di Sonatina ll. waltz lll. Elegie lV. Finale

Jennifer Hidgon (1962-) Dance Card

“Dance Card” is a celebration of the joy, lyricism and passion of a group of strings playing together! This piece is made up of five movements, each of which is designed so that it can also be played as a separate work. From a string fanfare, through fentle serenades, and actual wild dances, the musicians get a chance to highlight their soloistic and ensemble playing. This work reflects the deeps commitment that string players bring to, not only the many years of learning to play their instruments, but also how that dedication manifests in gorgeous music-making as an ensemble. And when we attend as audience members, we in effect, fill our dance card with that shared experience. Commissioned by the New Century Chamber Orchestra, the river Oaks Chamber Orchestra, and Chicago Sinfonietta.

Astor Piazzola (1921-1992) Concerto for Bandoneón and Orchestra “Aconcagua”

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Ever since the second half of the twentieth century, the Argentinean tango has been synonymous with the name of Ástor Piazzolla. Just as George Gershwin’s rhapsody in Blue brought jazz to the concert hall, Piazzolla’s “Nuevo Tango” style, which integrated classical ideas on form and counterpoint into the popular Buenos Aires dance, helped legitimize the tango as art music. As a child, the precocious Piazzolla learned to play the bandoneón, an accordion-like free reed instrument used in a tango band, and he spent many nights in his late teens and

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twenties playing in Buenos Aires nightclubs.

At the same time, he studied classical composition with Alberto Ginastera, and through his recommendation, was awarded a grant to study in Paris with the famed Nadia Boulanger. while in Paris, Piazzolla realized (with Boulanger’s help) his true calling: to revitalize and reinvent the tango of his homeland. In his quest to do so, he composed over three thousand pieces, 500 of which he recorded himself. In the Concerto for Bandoneón and Orchestra, his unique fusion of the tango style and classical structure reached its pinnacle. Piazzolla’s publisher, Aldo Pagani, respected the piece so much that he even referred to and marketed the concerto as Aconcagua, the highest mountain top in South America.

The beginning of the first movement is like walking into a tango club in the middle of the night. From the first note, the bandoneón and orchestra are locked in a tight rhythmical embrace that resembles two passionate lovers dancing. But Piazzolla’s own equation for “nuevo tango” (“tango + tragedy + comedy + whorehouse”) requires variety. Throughout the movement, the bandoneón removes itself from the orchestra and dances alone with unsurpassable virtuosity. The second movement is an anguishing tune of grief, completing the tragic portion of Piazzolla’s stylistic recipe. The third movement betrays harmonic influences by Piazzolla’s Brazilian predecessor Heitor Villa-Lobos and virtuosic influences from the great gypsy fiddlers.

Questions of musical innovation aside, this piece stands as an “Aconcagua” of the bandoneón literature based on the prerequisite technical facility alone.

Piotr Ilyich Tchaikovsky (1840-1893) Serenade in C Major, Op. 48 In October of 1880, Tchaikovsky wrote to his patron and confidante Nadezhda von meck: “You can be assured, dear friend, that my muse has been benevolent lately, when I tell you that I have written two long works very rapidly: a festival overture for the upcoming

Exhibition and a serenade in four movements for string orchestra. The overture [the 1812 Overture] will be very noisy. I wrote it without much warmth and enthusiasm—therefore it has no great artistic value. The serenade, on the other hand, came from an inward impulse. I felt it, and I venture to hope that this work is not wholly lacking in artistic qualities.”

The Serenade was an immediate success, and remained one of Tchaikovsky’s personal favorites. It remains is one of the most popular romantic scores for string orchestra.

Tchaikovsky described the opening movement (Pezzo in forma di sonatina) as “...my homage to mozart; it is intended to be an imitation of his style.” The opening passage clearly hearkens back to the slow introductions to a few of mozart’s symphonies, but the middle section of the work is set in one of the lighest of Classical forms, the sonatina: a sonata form with very little in the way of development. The waltz (moderato) is lilting and graceful, spinning out two lovely themes, and occasionally slowing to hold the highest note in a phrase for moment before continuing its forward motion. The Elegy (Largo elegiaco) is also in a very simple form.

The beginning is a emotional passage for the entire orchestra, which gives way to a more agitated section (Poco più animato).

The opening music returns at the end, and is expanded in a brief coda.

The Finale (Tema russo) is the most nationalistic of the Serenade’s movements.

For the opening passage (Andante), Tchaikovsky borrows a folk tune from the Volga region, passing it from the upper strings to the lower. The main theme of the movement, marked Allegro con spirito, is a popular dance tune from moscow, and this is pitted against a more songlike melody of distinctively russian character. Tchaikovsky skillfully weaves these themes together until the very end, when he brings back the very opening music of the first movement, followed with a lively coda to the finale. sinfonia gulf coast | 53

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hanzhi wang, accordian Praised for her engaging stage presence and performances that are technically and musically brilliant, Hanzhi Wang is the first accordionist to join the roster of Young Concert Artists in its 57-year history of discovering extraordinary musicians.

Her concert career has already taken her around the globe with performances in Europe and Asia.

Ms. Wang will make her debut in the Young Concert Artists Series in New York, opening the 2018-19 season in The Peter Marino Concert at Zankel Hall at Carnegie Hall. Her Washington, DC debut in the Young Concert Artists Series at the Kennedy Center will be copresented with Washington Performing Arts.

A First Prize Winner of the 2017 Young Concert Artists International Auditions, she was awarded numerous special performance prizes for upcoming concerts with the Candlelight Concert Society in Columbia, MD; the Sinfonia Gulf Coast in Destin, FL; the Tri-I Noon Recitals at Rockefeller University in New York City; the Vancouver Recital Society; Tannery Pond, the Usedom (Germany) Festival; the Chamber Orchestra of the Triangle; the University of Florida Performing Arts Prize; and the Krannert Center at the University of Illinois/Urbana.

Ms. Wang also appears next season with IRIS Orchestra in Tennessee, at the Bravo! Vail Music Festival, and at YCA alumnus’s Alexander Fiterstein Clarinet Academy in Minneapolis. To inspire the next generation of young accordionists, Ms. Wang has lectured and given master classes at the Manhattan School of Music, the International Summer Campus of the Royal Danish Academy of Music, the Tianjin Music Conservatory and Beijing’s Capital Normal University. She has served on the jury for the Accordion Competition of Rome, the International Accordion Festival in Alcobaça, Portugal, and the International Castelfidardo Accordion Music Competition in Italy. In August 2018

Naxos will release its first-ever solo accordion CD, Ms. Wang’s "In the Path of H.C. Andersen.”

It features works by Danish composers including "The Little Match Girl," written for her by Martin Lohse. Ms. Wang’s artistry has been recognized by other contemporary composers as well, with works dedicated to her by James Black and Sophia Gubaidulina, with whom she has worked extensively.

Hanzhi Wang holds the Ruth Laredo Prize and the Mortimer Levitt Career Development Award for Women Artists of YCA. She earned her Bachelor’s degree at the China Central Conservatory of Music in Beijing, and her Master’s degree at the Royal Danish Academy of Music in Copenhagen as a student of Geir Draugsvoll.

Hanzhi Wang appears by arrangement with Young Concert Artists, Inc. www.yca.org and is the winner of the 2017 Sinfonia prize offered to YCA.

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jennifer higdon, composer Jennifer Higdon is one of America's most acclaimed and most frequently performed living composers. She has become a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 20 I0 Grammy for her Percussion Concerto and a 2018 Grarnmy for her Viola Concerto.

Higdon enjoys several hundred performances a year of her works, and blue cathedral is one of today's most performed contemporary orchestral works, with more than 500 performances worldwide. Her works have been recorded on more than sixty CDs. Higdon's first opera, Cold Mountain, won the International Opera Award for Best World Premiere and the opera recording was nominated for 2 Grammy awards. She now holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.

We would like to welcome our returning and new Snowbirds to the region and congratulate Sinfonia Gulf Coast and Maestro Demetrius Fuller on another great season!

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chris mann, vocals Chris Mann is no stranger to the spotlight. His debut album Roads (Universal/Republic Records) hit #1 on Billboard's Heatseekers Chart and appeared on the Billboard Top 200 and iTunes charts. His sophomore release, Constellation, followed suit, also topping the Billboard and iTunes charts.

Mann has starred in his own concert and holiday TV specials for PBS, Chris Mann In Concert: A Mann For All Seasons and Home For Christmas.

Riding the wave of success, he toured to sold-out audiences across America, Mexico and Asia.

Mann lit up a global audience with his 2012 post Super Bowl XLVI performance on NBC’s The Voice which was watched by a record-breaking 37.6 million viewers. His chart-topping duet with superstar Christina Aguilera solidified him as one of the most unique voices in the history of the show.

Continuing his meteoric rise, Mann was personally cast by Sir Cameron Mackintosh and Lord Andrew Lloyd Webber as The Phantom in The Phantom of the Opera's 25th Anniversary Tour.

Mann donned the iconic mask for over 700 performances with critics hailing him as “the best Phantom since Michael Crawford.”

After years building his presence on the national stage, he's back in the studio working on his new album, NOISE. Co-written and co-produced by Mann, the upcoming album takes him back to his pop roots, reminiscent of his early days playing clubs in New York City. It also features a powerful duet with one of Mann's idols, Grammy-winning artist, India.Arie.

appeared on Ellen, The Today Show, Conan, The Tonight Show with Jay Leno, The Late Late Show with James Corden and Christmas in Washington.

But of all of these dream performance opportunities, Mann cherishes one above the rest. Chris was invited to sing to honor his country at the National Memorial Day Concert on PBS. During that unforgettable concert, Chris performed on the West Lawn of the United States Capitol for an audience of over 300,000 and millions of TV viewers to honor American service men and women and their families--an experience he will never soon forget.

Chris has performed with the National Symphony for President and Mrs. Barack Obama, headlined at The John F. Kennedy Center for the Performing Arts in Washington, D.C. and at New York City's famed Christmas in Rockefeller Center Concert. He has also sinfonia gulf coast | 75

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jane lynch JANE LYNCH is an Emmy and Golden Globe winner for her portrayal of Sue Sylvester on “Glee” and she is currently the two-time Emmy Award-winning host of NBC's “Hollywood Game Night”. In 2015, Jane embarked on her own live concert tour, See Jane Sing with Kate Flannery, Tim Davis and The Tony Guerrero Quintet.

Their holiday album, “A Swingin' Little Christmas” is available from iTunes, Amazon and other outlets.

kate flannery KATE FLANNERY is best known for her 9 seasons as Meredith the drunk on NBC’s “The Office”. Recent TV appearances include “The New Girl”, “American Housewife”, “Another Period” and “Brooklyn Nine Nine”. Kate is currently Jane Lynch’s sidekick in her anti cabaret act, See Jane Sing having played the Kennedy Center, Joe’s Pub and 30 cities across the country.

Her original cult comedy lounge act, the Lampshades regularly plays comedy festivals and in and around Hollywood.

Barbra Streisand’s 2017 concert tour, Jane Lynch’s “Swingin’ Little Christmas”, The People’s Choice Awards, Josh Groban’s “Stages”, Childish Gambino, the feature film “Beauty and The Beast”, TV's “The Americans”, and "The Goldbergs”.

the tony guerrero quintet

tim davis TIM DAVIS has been singing and touring for the past three years in See Jane Sing. Tim’s music producing and singing credits include all six seasons of "Glee", ABC’s “Boy Band”, the feature film "Love Is Afoot", Lady Gaga’s Super Bowl 2017 halftime show, Pentatonix Christmas,

THE TONY GUERRERO QUINTET has been a staple of the Southern California jazz scene for many years. Featuring Tony Guerrero (trumpet and piano), Matt Johnson (drums), Mark Visher (woodwinds), Dave Siebels (keyboards) and David Miller (stand-up bass), they are currently touring the country with "See Jane Sing" with Jane Lynch, Kate Flannery and Tim Davis. This past Christmas they released their holiday album "A Swingin' Little Christmas", that landed a spot in the top twenty of the Billboard charts. The single "Winter's Never Cold" (an original Tony Guerrero composition) went to #8 on the Billboard charts. The album is available on iTunes sinfonia gulf coast | 83

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PrOGrAm NOTES

SIN GULF ONIA COAST CLASSICAL CONNECTIONS Alexi Kenney, violin Saturday, February 2, 2019 | 7:30pm Village Baptist Church Orchids Grow Here Dorothy Hindman Concerto for Violin, op. 35, D major Erich Korngold l. moderato nobile ll. romance - Andante lll. Finale - Allegro assai vivace Symphony No. 9, op. 95, E minor (From the New World) Antonin Dvořák l. Adagio - Allegro molto ll. Largo lll. Scherzo - molto vivace lV. Allegro con fuoco

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Dorothy Hindman (1966 -) Orchids Grow Here (2017-18)

I left my hometown of miami, Florida straight out of graduate school in 1994 to marry my true love. Sixteen years later, we both returned to join the faculty of the acclaimed Frost School of music at the University of miami. Since that time, I have discovered to my delight that orchids will happily grow outside in South Florida. I have since filled my garden with orchids.

The motives in Orchids Grow Here for wind ensemble (2017) are like the blooms on a spray of orchids: elegant repetitions of glorious colors and shapes that are similar yet individual, beautiful, essential contributions to the whole. In this work, I hope to capture the ebullience and effusive joy of the prolific sprays of orchids that grace my garden each spring.

Orchids Grow Here was commissioned as a wind ensemble fanfare in 2017 by The Florida Orchestra, to celebrate their fiftieth anniversary season. It was arranged in 2018 for orchestra for the Sinfonia Gulf Coast and Demetrius Fuller. This is the premiere of the orchestra version.

Erich Wolfgang Korngold (1897 - 1957) Violin Concerto in D major, op.35 Erich wolfgang Korngold was born in Vienna on may 29, 1897, and died in Hollywood on November 29, 1957. He composed the Violin Concerto in 1946. It was premiered by Jascha Heifetz with the St. Louis Symphony Orchestra under the direction of Vladimir Golschmann on February 15, 1947. By the mid 1920s, Korngold was regarded as a prodigious talent, was also considered a representative of the past; his devotion to the romantic style of the turn of the century gave him a retrospective position in the Vienna of Schoenberg, Berg, and webern. He arranged operettas (including some of Strauss’s A Night in Vienna and Cagliostro in Vienna); the great German director max reinhardt invited him to Berlin for productions

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of Fledermaus and La belle Hélène. By this time Korngold had already found a new métier, one in which he was to become a pre eminent master—as a composer of scores for films in Hollywood. He visited first in 1933, accompanying reinhardt, who was to film A Midsummer Night’s Dream, and who wanted Korngold to adapt mendelssohn’s score of incidental music for the film. He began to compose original scores, too, and immediately discovered that he had a special flair for this kind of work. Two of his scores (Anthony Adverse and The Adventures of Robin Hood) received Oscars. when the Nazis overran Austria, Korngold found a welcoming home in California, where, by 1947, he had composed eighteen film scores of great distinction.

He vowed not to write any more concert music until “the monster in Europe is removed from the world.” But after the war he gave up writing film music and returned to the concert hall, with his Violin Concerto in D major. For some thirty years, the great violinist Bronislaw Huberman used to ask, whenever he visited the Korngolds, “Erich, where’s my concerto?” when writing the film score for Another Dawn in 1937, it struck Korngold that one of the themes would provide excellent material for a concerto, and it was with this that he began soon after the war ended.

If you are a devoté of movies from the 1930s, you may be surprised to find that you recognize some of the music in this concerto.

Korngold, who realized that most classical musicians did not consider film music to be serious, decided to recycle some of the musical ideas that had already appeared in films (much as J. S. Bach would turn a piece for unaccompanied violin into the overture to a festive cantata, or Handel would turn a cheery little Italian duet into one of his most famous choruses in Messiah). And it was not unknown for a composer of film music to do the same thing. Prokofiev reworked the isolated, sometimes fragmentary musical cues from the film score for Alexander Nevsky into a cantata that is one of his most satisfying large-scale concert works, and just about the

time Korngold was writing his violin concerto, ralph Vaughan williams was turning his musical score for Scott of the Antarctic into his Sinfonia Antartica.

Korngold was, naturally, familiar with the great tradition of romantic violin concertos, and he composed a piece that would fit snugly into that world, offering the soloist the opportunity for lyricism, by turns gentle and soaring, and for spectacular virtuosity. After completing two movements, he asked a violinist friend to play through it; The result was disastrous; the friend made many false starts and made the piece sound horribly cacophonous. Korngold was on the verge of dumping the piece, but a friend of his was the manager of Jascha Heifetz, whose breathtaking virtuosity and assurance was world famous. when he looked at the work, Heifetz urged Korngold to make the finale even more demanding technically.

Huberman never got around to playing “his” concerto; in the end the piece was premiered

by Jascha Heifetz. The concerto was a great success in St. Louis, but Korngold was worried about the response of the New York critics, who sniffed at film music and were unlikely to be generous. Indeed they were not. Though audiences loved the work, the critic of the New York Sun famously, and rather nastily, called it “more corn than gold.” For some years it was only the Heifetz recording that made it possible to hear the concerto. But times have changed, Korngold’s star has risen, and many violinists have found the concerto very much worth putting in their repertory.

The soloist opens the work with a long passage, rising yearningly, drawn from Korngold’s score for the 1937 film Another Dawn. The second theme of the movement comes from the 1939 film Juárez. His first Academy Award score, Anthony Adverse (1936), provided the material for the delicate emotions of the romance, and the lighthearted comedy of The Prince and the Pauper(1937) provided the lively material for the racing finale. The Korngold concerto is not a work to puzzle over; it is one, rather, to sit back and simply enjoy.

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Antonin Dvořák (1841 - 1904) Symphony No. 9 in E minor, op. 95 “From the New World” Antonín Dvorák composed the last of his nine symphonies between January and may 1893.

A testament to the composer's experiences from his time living in the United States, where he composed the Ninth, it has remained one of the most popular works of the symphonic repertory ever since its sensational world premiere in New York City.

By the 1890s, Dvorák's international fame made him among the most highly regarded of living composers. Yet despite his identification as the epitome of Czech music-not to mention a deep-seated fear of traveling-he undertook the lengthy voyage to the New world for a sojourn in the United States that lasted from 1892 to 1895 (with one fivemonth interlude back home). Like Haydn's late-life visits to England, the encounter proved to be of enormous mutual significance. It inspired, among other works, the Symphony No. 9 (tagged by Dvorák himself as music "From the New world") and the Cello Concerto.

Dvorák's American sojourn led to feelings of intense homesickness, but it also had tremendous artistic payoff and helped to further expand the composer's reputation (as well as his fortune, since Thurber offered a fabulously generous salary). By this point, Dvorák had reached a moment in his career when it proved to his advantage to have a reprieve from "certain artistic pressures in Europe," as michael B. Beckerman writes in his excellent book on the American years, New worlds of Dvorák.

Dvorák launches the first movement with hints of the epic breadth of the work to unfold, yet his gestures are at the same time concise and concentrated. After a brief introduction and a burst of almost Beethovenian fury, the main theme erupts from the horns. with an easily recognizable upward-downward direction, it will recur in each movement and even spawns

the additional themes here, including the closing one entrusted to flute (which seems to evoke a different, rustic world but is also closely related). Dvorák then develops this small store of musical material with tremendous dramatic verve.

One particularly American angle comes into play in the two middle movements. we know that Dvorák was intrigued by Henry wadsworth Longfellow's epic poem of 1854, The Song of Hiawatha. He even remarked that the Largo grew from a sketch for an operatic treatment of the epic that was never realized, while the Scherzo had been inspired by a scene "where the Indians dance." In Beckerman's view, a host of images from Hiawatha pervades the score, from Longfellow's pastoral evocations of the landscape to the tragic passage of minnehaha's forest funeral. whatever the case, this is music of deeply engaging beauty, framed by magical harmonic modulations at the outset. It's astonishing how much emotional resonance Dvorák evokes from the ultrafamous but simple English horn melody (folk-like and pentatonic), clothing it in a variety of orchestral colors.

The Scherzo boils over with Dvorák's signature rhythmic drive. He works in the firstmovement theme to surprising effect in the transition to the middle section and again at the close. A rousing brass fanfare launches the finale with powerful momentum. material from the preceding movements reappears, including the Largo tune in more-dramatic guises. Dvorák makes space for his richly melodic gift while at the same time shaping a thrillingly urgent climax. Yet in the final moments, as the main themes recombine, "victory" hardly seems to be the point. Dvorák commentator David Hurwitz describes the ending as a "tragic finale," noting that "even that very American-sounding boogie-woogie bass line and last-minute turn to the major key can't efface the sadness that lingers as the final chord fades slowly and gently to triple piano." The truly American sound of the blues isn't far off.

dorothy hindman, composer Dorothy Hindman’s blend of punk/grunge music with a spectralist sensibility has been called “bright with energy and a lilting lyricism” (New York Classical Review), “dramatic, highly strung” (Fanfare), “varied, utterly rich and sung with purpose and heart” (Huffington Post), “powerful and skillfully conceived” (The Miami Herald), and “music of terrific romantic gesture” (The Buffalo News). Of her latest CD Tightly Wound, ICON magazine says, “Hindman’s music weds technique and syntax of classical music with the directness and impudence of rock. Highly recommended for rockers wishing to get their proverbial feet wet in post-20th century classical music.”

Her over 400 performances span 30 states and 16 countries, in major venues including Carnegie Hall, the United Nations, Boston’s Jordan Hall, the American Academy in Rome, Amsterdam’s Muziekgebouw, Berlin’s BKA-Theater, and Miami’s Adrienne Arsht Center. Numerous festival appearances include the Havana Contemporary Music Festival, Australian Flute Festival, 2015 Birmingham New Music Festival, Charlotte New Music Festival, and Nuovi Spazi Musicali Festival.

Hindman’s music is performed by the world’s top new music performers including Bent Frequency Chamber Ensemble (Atlanta), Empire City Men’s Chorus (NYC), Bang-on-a-Can’s bassist Robert Black, cellist Craig Hultgren, percussionist Stuart Gerber, Caraval Quartet (NYC), Atlas Saxophone Quartet (Chicago), Corona Guitar Kvartet (Denmark), and orchestras including the Alabama Symphony, the Brevard Symphony Orchestra, the Florida Orchestra, and the North Florida Symphony.

Hindman’s awards and recognition includes Iron Composer 2015, a 2015 Artist Access Grant from the Miami-Dade County Department of Cultural Affairs, NoteNova Choral Competition, Caprice Saxophone Quartet, Almquist Choral Composition Award, Nancy Van de

Vate International Composition Prize for Opera, International Society of Bassists Solo Composition Competition, ASCA/National Symphony Orchestra/Kennedy Center Commission Competition, G. Schirmer 1997 Young Americans Choral Competition, an Alabama State Council on the Arts Individual Artist Fellowship, and the NACUSA Young Composers Competition.

Guest teaching appearances include the 2018 Charlotte New Music Festival, the 2016 Summer Composition Intensive at St. Mary’s College, the 2016 and 2017 Miami International Piano Festival Academy, and the 2015 AmiCa Credenze POP Festival in Sicily. Her residencies include 2017 and 2009 Seaside Escape to Create Fellowships, Visiting Artist at the American Academy in Rome, the Visby International Centre for Composers, and Composer-inResidence for the Goliard Ensemble.

Her music appears on twelve CDs, including her critically acclaimed Tightly Wound (innova 965) and Tapping the Furnace (innova 878). “Hindman offers extraordinary glimpses into interesting topics, concepts of modernity and structured complexity. … for many listeners the composer’s first CD Tapping The Furnace represents a remarkable discovery,” says Kulturni Magazin UNI. Her work is the title track on Corona Guitar Kvartet’s Taut (2015) on Albany Records.

Other labels include Capstone and Living Artists.

Scores are available from Subito Music, NoteNova, and dorn/Needham.

Hindman is Associate Professor of Composition at the Frost School of Music, University of Miami. She has been new music critic for the Miami Herald and South Florida Classical Review, and hosted WVUM’s Po Mo Show, devoted to a post-modern mix of classical music written since 1980. dorothyhindman.org

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alexi kenney, violin The recipient of a 2016 Avery Fisher Career Grant, violinist Alexi Kenney has been named "a talent to watch" by the New York Times, which also noted his "architect's eye for structure and space and a tone that ranges from the achingly fragile to full-bodied robustness." His win at the 2013 Concert Artists Guild Competition at the age of nineteen led to a critically acclaimed Carnegie Hall debut recital at Weill Hall.

Highlights of Alexi's 2018-19 season include debuts with the Omaha Symphony, Sinfonia Gulf Coast, Asheville Symphony, Bay Atlantic Symphony, and Wheeling Symphony, and his return to the Indianapolis Symphony. His recital engagements include the University of Florida, Union College (NY), and University of Southern Maine. Abroad, he will appear in recital with Orion Weiss at Wigmore Hall (London, UK) and debuts with the Orchestre de Chambre de Lausanne (Lausanne, Switzerland). Alexi has appeared as soloist with the Detroit, Columbus, California, Amarillo, Jacksonville, Portland, Riverside, Santa Fe, and Tulare County symphonies, the Las Vegas Philharmonic, the Staatstheater Orchestra of Cottbus, Germany, and A Far Cry. He has appeared in recital on Carnegie Hall's 'Distinctive Debuts' series and at Caramoor, the Isabella Stewart Gardner Museum and Jordan Hall in Boston, the Phillips Collection in Washington D.C., the Green Music Center at Sonoma State University (CA), and Lincoln Center's Mostly Mozart Festival. He has been profiled by Strings magazine and the New York Times, written for The Strad, and has been featured on Performance Today, WQXR-NY's Young Artists Showcase, WFMT-Chicago, and NPR's From the Top.

Institute and regularly performs at festivals including ChamberFest Cleveland, Festival Napa Valley, the Lake Champlain Chamber Music Festival, the Marlboro Music Festival, Music@Menlo, Open Chamber Music at Prussia Cove (UK), Ravinia, and Yellow Barn. He has collaborated with artists including Pamela Frank, Miriam Fried, Steven Isserlis, Kim Kashkashian, Gidon Kremer, and Christian Tetzlaff.

Born in Palo Alto, California in 1994, Alexi holds a Bachelor of Music and Artist Diploma from the New England Conservatory in Boston, where he studied with Donald Weilerstein and Miriam Fried. Previous teachers include Wei He, Jenny Rudin, and Natasha Fong.

Chamber music continues to be a main focus of Alexi's life - he is a new member of the Chamber Music Society of Lincoln Center's The Bowers Program (formerly CMS Two) beginning in the 2018-19 season. He tours with Musicians from Marlboro and musicians from Ravinia's Steans sinfonia gulf coast | 97

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SHADES OF BUBLÉSM: A Three-Man Tribute to Michael Bublé celebrates the continuing career of multiple Grammy Award-winning recording artist Michael Bublé by performing his incredible catalog of music while adding the sensational three-part harmony sound made popular by those famous “guy-groups” from the 1950s and 60s. Since debuting at a sold-out concert in April 2015, this trio has entertained tens of thousands at theatrical concerts across the USA, gala events, and headline performances onboard luxury cruise ships.

Delivering a set list comprised only of songs recorded or performed live by Michael Bublé, this world-class act honors – but doesn’t imitate – the sophistication, retro style, and high-energy fun that Bublé himself brings to his concerts while engaging new fans with thrilling new vocal arrangements. Songs from the show, including big-band standards (“Come Fly With Me,” “You’re Nobody till Somebody Loves You,” “All of Me”), classic hits from the 50s to the 80s (“Be My Baby,” “Heartache Tonight,” “Twist and Shout,” “Crazy Little Thing Called Love”), as well as Billboard chart-toppers from today (“Home,”

“Everything,” “Haven’t Met You Yet”) come together in one amazing concert that celebrates so many memorable eras of popular music.

Audiences worldwide have complimented the group’s professionalism, musicality, choreography, arrangements, and dashing good looks… but what engages concertgoers most is the fun, energy, and excitement that gets everyone clapping and singing along to their favorite songs. Their CD release, SHADES OF BUBLÉSM: A Three-Man Tribute to Michael Bublé, can be found Amazon.com or their website: www.shadesofbuble.com!

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SIN GULF ONIA COAST Bernstein, Broadway & Beyond To continue the worldwide celebrations of the Leonard Bernstein centennial in 2018, Sinfonia teams up with Broadway star and recording artist morgan James, star of the concert stage, screen and Broadway Nicholas rodriguez, to feature the best of Bernstein’s timeless concert and Broadway masterpieces including “west Side Story” and “Candide”.

Bernstein’s oldest daughter Jamie will serve as host for the evening.

BERNSTEIN, BROADWAY & BEYOND Morgan James & Nicholas Rodriguez, vocalists Jamie Bernstein, host Saturday, March 2, 2019 | 7:30pm Village Baptist Church PrOGrAm NOTES

Leonard Bernstein (1918-1990) Citizen Artist

From the time he was a young man, my father spoke out whenever he saw an injustice, or an atrocity, or a dire need. It often got him into trouble. Indeed, by the time he was able to view his own FBI file in the 1980’s, it was 800 pages long. That’s because J. Edgar Hoover had been keeping tabs on that pesky Bernstein guy since the 1940’s. But that was my father’s way: he didn’t shrink from raising his voice in protest when he thought it was necessary to speak up.

And whenever he could, he put his own music to work to express the ideas he believed in. many of his compositions explore humanity’s struggle to rise above evil.

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my father never lost his idealism; there was a part of him that felt if he could just write a good enough melody, he might be able to heal the world. Of course, he knew this was impossible; he wasn’t crazy. But the impulse to make the world a better place through his notes drove him forward as a composer. what I hear in my father’s music – and what moves me the most -- is that he cannot and will not give up on the possibility of a better world. In fact he’s dreaming that world for us, through his notes.

That dream drove him forward as a conductor, too. On November 24, 1963, he

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out of step; now in retrospect, he looks prescient. His music sounds utterly fresh and contemporary to our modern ears – and his willingness to stand up to authority makes him a hero to young composers everywhere.

conducted mahler's Symphony No. 2, resurrection, in a televised tribute to President Kennedy, who had been assassinated two days earlier. On the broadcast my father said, “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.” I see that quote all too often these days; it’s a social media favorite every time there’s a terrorist incident, or a school shooting.

During the Vietnam war, my father composed his theater piece Mass, which channeled the angry protests of the young people in those days who were confronting a bellicose and irresponsible government. The piece was commissioned for the inauguration of the Kennedy Center for the Performing Arts in washington, DC. President Nixon was advised against attending the event; his henchmen warned that Bernstein had inserted a “secret message” in Latin to embarrass the president.

The secret message turned out to be “Dona nobis pacem” -- a standard line in the Catholic liturgy. It was a typical moment of Nixon Administration paranoia. But in any case, there was certainly nothing secret about my father’s anti-war stance; that’s one of the reasons Leonard Bernstein’s name appeared on Nixon’s infamous white House Enemies List.

In addition to leaving us with so much wonderful music, and with so many ways of understanding music better, perhaps Leonard Bernstein’s greatest gift was to musicians themselves. many of today’s composers, who feel free to write in any number of styles, directly attribute their compositional freedom to Bernstein’s own refusal to wear the 12-tone straitjacket. At the time, he may have seemed

Leonard Bernstein lived long enough to see the Soviet Union lose its iron grip on eastern Europe, and to see the Berlin wall come down. On Christmas Day of 1989, my father conducted a multinational orchestra, chorus and soloists in a historic performance of Beethoven’s Ninth, broadcast worldwide from the newly reunified city of Berlin. For the occasion, my father changed Schiller’s “Ode to Joy” text to “Ode to Freedom.” The event was a magnificent expression, in my father’s final year, of his lifelong commitment to using music as an engine for peace, compassion, and brotherhood – the very same goals that Beethoven himself strove to express through his own symphonies.

All my father’s words, deeds, and ways of living provide a shining example to young artists today – musicians in particular -- who are newly galvanized to forgo the ivory tower and, instead, share their creativity with their communities, and reach out with their artistry to help make the world a better place. These young people refer to themselves as Citizen Artists. It’s a beautiful name for a beautiful way to be – and without a doubt, Leonard Bernstein was Citizen Artist Number One. He put his music-making to greater purpose whenever he could. we think of that Beethoven 9th at the fall of the Berlin wall; we think of the songs reflecting feminism, civil rights and gay rights within his piece Songfest; we think of his theatre piece mass, which protested the Vietnam war; we think of his Journey for Peace concert in Hiroshima, and his “music for Life” concerts to benefit AIDS research.

In the myriad celebrations for Bernstein at 100, we’re not just looking backward; we’re contemplating the future. This is where music

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their times and somehow also preserve and encapsulate them. Everywhere one hears his internal struggle to sound inevitable as the tumultuous era of the second half of the 20th century unfolded itself. He is as once linked with the music of Benjamin Britten and Dimitri Shostakovich, as well as George Gershwin and Aaron Copland.

is going: music in the service of others; music to heal an ailing planet; music to raise hope and neutralize hatred; music as a manifestation of love. These are the ingredients of my father’s unique legacy, and his 100th birthday is a wonderful opportunity – for orchestras, soloists, teachers, and music fans of every stripe -- to celebrate Leonard Bernstein: not only as the iconic 20th century composer that he was, but also as a template for the passionate -- and compassionate -musician of the 21st century.

while his music finds its spiritual home in his world view, his music speaks with a New York accent, even though he was born in massachusetts. His love affair with Europe and his sensitivity to his russian and Jewish roots are never far from his lyrical expressivity, with its fragile sense of optimism, its loneliness, its humor and its demand for acceptance. All of this is wrapped in the rhythmic propulsion of a great American urban landscape. He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity.

Bernstein as Composer

by John Mauceri Few composers capture their time and become the iconic voice of their age. Leonard Bernstein found his "voice" in the early 1940s and projected the sound of urban and urbane America from the period of world war II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin wall and Soviet communism. writing for small ensembles, symphony orchestras, Broadway, film and opera houses, Leonard Bernstein projected a simple message of understanding and hope employing both complex and simple forms and styles - yet always sounding like "Bernstein," a voice best known in his score to west Side Story.

Exploring his output, one finds the famous and obscure — works that both are reflective of sinfonia gulf coast | 109

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jamie bernstein, host Jamie Bernstein is an author, narrator, and filmmaker who has transformed a lifetime of loving music into a career of sharing her knowledge and excitement with others.

Jamie’s memoir, Famous Father Girl, published by HarperCollins, details her youth growing up in an atmosphere bursting with music, theatre and literature. Her father, composer-conductor Leonard Bernstein, and her mother, pianist and actress Felicia Montealegre—who filled the house with a veritable who’s-who of friends in arts and letters—created an ebullient atmosphere that turned Jamie into a lifelong cultural enthusiast.

Inheriting her father’s passion for sharing and teaching, Jamie has devised several ways of communicating her own excitement about classical music. In addition to The Bernstein Beat, a family concert about her father modeled after his own groundbreaking Young People’s Concerts, Jamie has also written and narrated concerts for audiences of all ages about Mozart, Aaron Copland, and Stravinsky, among others.

As a concert narrator, Jamie has appeared everywhere from Beijing to London to Vancouver. In addition to her own scripted narrations, Jamie also performs standard concert narrations, such as Walton’s “Facade,” Copland’s “A Lincoln Portrait” and her father’s Symphony No. 3, “Kaddish.” A frequent speaker on musical topics, Jamie has presented talks around the world, from conferences in Japan to seminars at Harvard University. In Spanish-speaking locations such as Madrid and Caracas, Jamie narrates en español—thanks to her Chilean-born mother Felicia, who raised her three children to be bilingual.

has won numerous prizes on the festival circuit, and is currently viewable on Netflix. More about Crescendo: the Power of Music can be found at www.crescendofilmdoc.com In addition to writing her own scripts and narrations, Jamie writes articles and poetry, which have appeared in such publications as Symphony, DoubleTake, Town & Country, Gourmet, Opera News, and Musical America. She also edits “Prelude, Fugue & Riffs,” a newsletter about issues and events pertaining to her father’s legacy.

Jamie is a devoted mom to her two grown children, Frankie and Evan. She is an avid scrabble and tennis player, and makes an annual pilgrimage to the Utah desert to recharge her spiritual battery.

In her role as broadcaster, Jamie has produced and hosted shows for radio stations in the United States and Great Britain. She has presented the New York Philharmonic’s live national radio broadcasts, as well as live broadcasts from Tanglewood.

Jamie is the co-director of a film documentary, Crescendo: the Power of Music—which focuses on children in struggling urban communities who participate in youth orchestra programs for social transformation inspired by Venezuela’s groundbreaking El Sistema movement. The film sinfonia gulf coast | 113

morgan james, vocals "A phenomenal talent whose feel for classic soul music is bone deep…

This woman is on fire." - The New York Times

One voice is all it takes. The right vocalist can make you fall in love at first listen, elicit tears, or bring you back to a different era altogether. A microphone and a stage remain the only necessities. That holds true for New York-based soul singer and songwriter Morgan James.

On her sophomore album, Reckless Abandon, James casts an unbreakable spell with a powerhouse voice and a soulful poise. Freedom and expansion are the threads that bind the collection of 12 original, co-penned tracks with writers from LA to NYC to Nashville and in between. The result is an fusion of pop, funk, and R&B with a classic approach.

James delivers an impassioned performance that showcases her virtuosic vocal range that spans from sultry to spontaneous and controlled, effortlessly. From The Juilliard School to Broadway, by way of a beaten soul-searching path, Morgan made leading appearances in Berry Gordy’s Motown: The Musical, Godspell, and more. Regardless of genre, James delivers passion and technical prowess that is rivaled by few.

Since Hunter’s release, Morgan’s music videos have accumulated more than 75 million views (and climbing). Achieving viral acclaim while appearing in several videos with Scott Bradlee’s Postmodern Jukebox, Morgan also joined the collective on globe spanning tours through the US, Europe, Australia, and New Zealand. As a solo artist, Morgan has performed at such notable venues as the Hollywood Bowl, Montreal Jazz Festival, Carnegie Hall and The Kennedy Center.

She continues to wow audiences the world over through electric live performances with her touring band.

Reckless Abandon is the follow-up to James’ debut album, Hunter and Morgan James Live (Epic Records). She can also be heard on countless theatre and concept soundtracks. James shines in adopting a diverse range of musical ideas to recreate them with her own identity and flare.

Her rendition of Prince’s “Call My Name” was the last cover to be personally approved by Prince before his death. The track garnered success as it reached Top 15 on Billboard Magazine’s Urban AC chart, while The Wall Street Journal called Hunter “A superb new album.” sinfonia gulf coast | 115

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nicholas rodriguez, vocals Nicholas Rodriguez has had an extensive career on Broadway (Tarzan), film (Sex and the City 2) and the concert stage. He recently toured the US as Captain Georg Von Trapp in The Sound of Music directed by Jack O’Brien.

His debut album, based on his one-man show of the same name, The First Time... fuses Rodriguez's love of theatre with the music of jazz, blues, folk and pop. It was released PS Classics, the label dedicated to the heritage of Broadway and American popular song, and is available on iTunes and at www.psclassics.com.

Nicholas made his Broadway debut in Disney’s production of Tarzan. Off-Broadway he starred in The Toxic Avenger: The Musical, Almost Heaven: Songs of John Denver, Death for Five Voices, Colette Collage, and Bajour. He’s also traveled the world on tours of Jesus Christ Superstar (Jesus), Evita (Che), and Hair (Claude).

He starred opposite Kathleen Turner in Mother Courage and Her Children at Arena Stage in Washington, DC where he recently played Billy Bigelow in Carousel (Helen Hayes Nomination), Sebastian in the World Premier of Destiny of Desire, Freddy in My Fair Lady (Helen Hayes nomination), Fabrizio in Light in the Piazza, and was also seen as Curly in Oklahoma! for which he received a 2011 Helen Hayes Award for “Best Actor in a Musical” and was named “Top 10 Performers of 2010” by Hilton Als of The New Yorker.

On the big screen, Rodriguez was seen in Sex and the City 2. He is also featured on the film’s soundtrack.

Nicholas’ Regional Credits include: Guys and Dolls (Sky Masterson) Beauty and the Beast (Beast), Camelot (Lancelot), Les Miserables (Javert), Oklahoma! (Curly), Damn Yankees (Joe Hardy), The Ten Commandments (Aaron) with Val Kilmer (also on DVD), South Pacific (Joe Cable), The King & I as “Lun Tha” with Lou Diamond Phillips, Nefertiti (Akhenaten), Cinderella (Prince Charming), Last 5 Years, Candide with Harrisburg Opera, Love, Valour, Compassion! (Ramon), Master Class (Tony).

He made his Carnegie Hall debut in a one night only concert version of Guys and Dolls directed

by Jack O’Brien and starring Nathan Lane, Megan Mullaly and Len Cariou.

He is perhaps best known for the role of Nick Chavez on ABC’s One Life to Live for which he received the GLAAD Media Award , the 2009 Visibility Award, and , along with his co-stars Men of the Year. He has also appeared on Madame Secretary.

Venturing into the world of the web, Nicholas joined the ensemble cast of Then We Got Help for which he received a Best Actor Nomination for the American Soap World Awards.

His solo shows have enjoyed sold out runs at Birdland, Orlando Cabaret Festival, The MUNY, Signature Theatre, ZACH Theatre, and many others. He has performed at Radio City Music Hall, 54 Below, Feinstein’s, Birdland, and the Metropolitan Room in New York City When not on stage, Nicholas volunteers for The Harvey Milk school in New York City, and SMYAL in Washington, DC for which he received the 2011 Outstanding Community Ally Award.

A native Texan, he holds a BM and MM in Vocal Performance from the University of Texas at Austin.

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randy rogel Randy has won three Emmy Awards (nominated for ten), a Peabody Award, two Annie awards, three Leo Awards, and the Ovation Award. He recently co-wrote the hit song Poisonous Love for Kristen Chenoweth with John Powell for the major motion picture Rio 2.

He was show-runner for the animated series 1001 Nights and won Leo Awards for Writing and Best Animated Series. At Disney, Randy wrote songs and scripts for the animated movies Peter Pan Return to Neverland, Cinderella II, Cinderella III, Winnie the Pooh, Around the World In Eighty Days, The Three Musketeers, and 101 Dalmatians II. Randy spent nine years on staff at Warner Bros.

Animation where he began as an original writer on the Batman series and then joined the staff of Steven Spielberg’s Animaniacs, for which he wrote most of the songs and many of the scripts.

Randy is a West Point graduate with ten years service as an officer in the combat arms. He has a B.S. in Engineering from the academy and a Masters Degree in International Relations from Boston University.

rob paulsen Born in Detroit, Rob Paulsen spent his childhood in Livonia and Rochester, attending Junior and Senior high school in Grand Blanc, Michigan.

Rob loved cartoons like most kids but aspired to be a professional hockey player. "Fortunately, thanks to some big, strong, kid from Winnipeg who drilled me so hard my ears are still ringing, I learned around the age of 18 I had neither the talent now the temperament to make a living playing hockey. So, I turned to my other passions: singing and acting." The goal of bringing absolute believability to a character, live-action or animated, is what every actor strives for.

Those who are committed to their career and who combine experience, passion and skill are likely to succeed. With over 2,000 half-hours of animation credit's, Rob's versatility shines in his starring roles as the voices of Donatello (Nickelodeon's Teenage Mutant Ninja Turtles), Yakko Warner, Pinky and Dr. Scratch'n'Sniff in the Peabody and two-time Emmy award-winning series Animaniacs. Rob

himself has been nominated for three Emmys with one win and six Annies with three wins. As passionate about "paying it forward" as he is about his lucrative career, Rob supports various charities, particularly those benefitting children and military veterans. In his leisure time, Rob enjoys golf, cruising the PCH, and occasionally lacing up his skates for another chance to relive his past glory on the rink. He spends the majority of his free time with his wife, Parrish, and their Yorkshire terriers, Pooshie and Tala. "Laughter's the best medicine: the cool thing is, you can't OD and the refills are free."

maurice lamarche Maurice LaMarche known for voicing The Brain in Animaniacs and its spin-off "Pinky and the Brain", his Emmy-winning performances in Futurama, and impersonating Orson Welles in numerous series and films. Only the third person in history, and the second in the last 50 years, to be the official voice of Popeye. His credits as a major voice talent include the Simpsons, American Dad, the motion picture Zootopia and more. After a ten-year career in stand-up comedy, touring with such acts as Rodney Dangerfield, George Benson, Kool & The Gang, George Carlin and David Sanborn, and culminating in a breakout appearance on HBO's The 9th Annual Young Comedians Special (1985), he and fellow voice actors Rob Paulsen and Jess Harnell comprise several skits at a variety of Comic Cons and events. LaMarche is always greeted by thunderous applause when he does his most favorite incarnation, The Brain.

"Rob Paulsen and Randy Rogel don't just put on a great show for 'Animaniacs' fans. They put on a great show period. You could know nothing about Yakko, Wakko and Dot and still have just as good of a time as the people who grew up watching 'Animaniacs' every day afterschool in the 90s." ~ Danny Gallagher, Dallas Observer “What an honor to have Rob Paulsen and Randy Rogel perform “Animaniacs in Concert” in our room.

Rob’s energy and Randy’s music were truly a thrill!“ ~ Joe’s Pub (New York) "Animaniacs live is a fantastic show, and great for the whole family!" ~ The Rialto Theatre (Tucson)

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