OCTOBER 2023
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OCTOBER 2023
Contents 8
WELCOME MESSAGE
Book I • October 6–15
18 NEWS The latest from the LA Phil
OCT 6–8 LA Phil: Stravinsky and Shostakovich with Dudamel
22 FEATURE Frank Gehry on Walt Disney Concert Hall
OCT 10 Chamber Music: Sounds of Italy and Spain
10 ABOUT THE LA PHIL
30 SUPPORT THE LA PHIL
OCT 11 Colburn Celebrity Recital: Jean-Yves Thibaudet • Lisa Batiashvili • Gautier Capuçon OCT 13–15 LA Phil: Gershwin and Rachmaninoff
E a o y
P1 PROGRAM NOTES
Book II • October 20–31 OCT 20–22 LA Phil: Sibelius and Swan Lake OCT 20 KCRW Series: Marisa Monte
OCT 27–29 LA Phil: An Alpine Symphony with Salonen OCT 31 Halloween Organ, Film & Music: The Phantom of the Opera
LISA BATIASHVILI
JEAN-Y VES THIBAUDET ESA-PEKK A SALONEN
GAUTIER CAPUÇON
Cover, Page 10, Page 23 photos by Danny Clinch for the LA Phil.
MARISA MONTE THE PHANTOM OF THE OPERA
4 PERFORMANCES MAGAZINE
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Los Angeles Philharmonic Publications 2023 Editor Anna Ress Art Director Natalie Suarez Design Studio Fuse Editorial Coordinator Michail Sklansky Explore more at: laphil.com
Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Program Manager Audrey Duncan Welch Digital Manager Lorenzo Dela Rama
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6 PERFORMANCES MAGAZINE
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LOS ANGELES PHILHARMONIC ASSOCIATION
Welcome to the LA Phil This month we begin our celebration of Frank Gehry, whose iconic Walt Disney Concert Hall has elevated both the LA Phil and the city of Los Angeles itself. When the building opened in 2003, it didn’t just look spectacular, with its aerospace-engineered forms reminiscent of musical movement—it also sounded astonishing. This vast step-up in acoustics allowed the orchestra to hear such detail and clarity that it lifted LA Phil performances to new heights, and the space allowed even bolder programs and artistic projects. Gehry imagined this space as “a living room to the city”; a place where Angelenos would feel a sense of community. Today, residents take respite in the landmark’s shaded garden and pose for pictures in front of its silvery arcs. The concert hall is a vital part of LA’s Grand Avenue corridor, which has continued to grow as an arts and cultural center. From shaping our buildings to designing sets for major productions, Gehry shares a long history with the LA Phil and is part of our artistic family. You can explore this innovation at work during an exhibit of Gehry’s architectural models in BP Hall at Walt Disney Concert Hall, presented this month in collaboration with the Getty Research Institute. Throughout his career, Frank Gehry challenged architecture’s role and its capacity for expression. With Walt Disney Concert Hall, he also strove to make music more accessible—an aspiration shared wholeheartedly by Music & Artistic Director Gustavo Dudamel and the LA Phil. We hope that you, like every visitor, feel that you belong here.
Board of Directors CHAIR
Teena Hostovich
Thomas L. Beckmen* Jonathan Kagan* VICE CHAIRS David C. Bohnett* Reveta Bowers* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*
Darioush Khaledi Winnie Kho Francois Mobasser Margaret Morgan Leith O’Leary Andy Park Sandy Pressman Richard Raffetto
DIRECTORS
Geoff Rich
Nancy Abell
Laura Rosenwald
Gregory A. Adams
G. Gabrielle Starr
Julie Andrews
Jay Stein*
Camilo Esteban Becdach
Christian Stracke*
Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma*
Jason Subotky Ronald D. Sugar* Vikki Sung Jack Suzar Sue Tsao
R. Martin Chavez
Jon Vein
Christian D. Chivaroli, JD
Megan Watanabe
Donald P. de Brier*
Ah
Regina Weingarten
Louise D. Edgerton
Alyce de Roulet Williamson
Lisa Field
Irwin Winkler
David A. Ford
Debra Wong Yang
Alfred Fraijo, Jr. Jennifer Miller Goff*
HONORARY LIFE DIRECTORS
Carol Colburn Grigor
Frank Gehry
Marian L. Hall
Lenore S. Greenberg
Suzanne Hart
Bowen H. “Buzz” McCoy
Antonia Hernández*
Of
*Executive Committee Member as of October 1, 2023 8 PERFORMANCES MAGAZINE
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Music is good for you — mind, body, and spirit. Official partner in health & harmony
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ABOUT THE LA PHIL
Gustavo Dudamel
Music & Artistic Director, Walt and Lilly Disney Chair Gustavo Dudamel is driven by the belief that music has the power to transform lives, to inspire, and to change the world. Through his dynamic presence on the podium and his tireless advocacy for arts education, he has introduced classical music to new audiences around the globe and has helped provide access to the arts for countless people in underserved communities. Dudamel currently serves as Music and Artistic Director of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon. His film credits include Steven Spielberg’s adaptation of West Side Story, Star Wars: The Force Awakens, and The Simpsons, and he led the LA Phil with Billie Eilish in the concert film Happier Than Ever: A Love Letter to Los Angeles. He has performed at the Super Bowl halftime show, the Academy Awards, and the Nobel Prize concert, and has worked with international superstars Christina Aguilera; Ricky Martin; Tyler, The Creator; Coldplay; and others. His extensive discography includes 67 releases and four Grammy Awards. Inspired by his transformative experience as a youth in Venezuela’s immersive musical training program El Sistema, he created the Dudamel Foundation in 2012, which he co-chairs with his wife, actress and director María Valverde, with the goal “to expand access to music and the arts for young people by providing tools and opportunities to shape their creative futures.” In July and August 2022, the Dudamel Foundation brought its Encuentros initiative to the Hollywood Bowl as part of the 100thanniversary season, in a two-week intensive global leadership and orchestral training program for young musicians from around the world that culminated in a concert at the Hollywood Bowl and a tour with the Orquesta del Encuentro to the legendary Greek Theatre in Berkeley, CA.
“THE RARE CLASSICAL ARTIST TO HAVE CROSSED INTO POP-CULTURE CELEBRITY.” —The New York Times’ Zachary Woolfe and Laura Cappelle
10 PERFORMANCES MAGAZINE
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ABOUT THE LA PHIL
Los Angeles Philharmonic
“SO FAR AHEAD OF OTHER AMERICAN ORCHESTRAS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.” —The New Yorker’s Alex Ross The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2023/24 season is the orchestra’s 105th. Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, The Ford, and the Hollywood Bowl. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. Situated in a 32-acre park and
under the stewardship of the LA Phil since December 2019, The Ford presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles. The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry. The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As
part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season. The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy Award-winning recordings featuring the music of Johannes Brahms, Charles Ives, and Andrew Norman. Deutsche Grammophon has released a comprehensive box set in honor of the orchestra’s centennial. The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity. Their names are Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).
12 PERFORMANCES MAGAZINE
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ABOUT THE LA PHIL
Los Angeles Philharmonic Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair
Zubin Mehta Conductor Emeritus Esa-Pekka Salonen Conductor Laureate Rodolfo Barráez Assistant Conductor Ann Ronus Chair
John Adams
John and Samantha Williams Creative Chair
Herbie Hancock Creative Chair for Jazz
FIRST VIOLINS Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair
Nathan Cole First Associate Concertmaster
Ernest Fleischmann Chair
Bing Wang Associate Concertmaster
Barbara and Jay Rasulo Chair
Akiko Tarumoto Assistant Concertmaster Philharmonic Affiliates Chair
Rebecca Reale Michele Bovyer Deanie and Jay Stein Chair
Rochelle Abramson Camille Avellano Margaret and Jerrold L. Eberhardt Chair
Minyoung Chang I.H. Albert Sutnick Chair
Tianyun Jia Jordan Koransky Edith Markman Ashley Park Stacy Wetzel Justin Woo
SECOND VIOLINS Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair
Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
Ingrid Chun Jin-Shan Dai Chao-Hua Jin Jung Eun Kang Nickolai Kurganov Varty Manouelian Michelle Tseng Suli Xue Ayrton Pisco* Nebyu Samuel*
VIOLAS Teng Li Principal
John Connell Chair
Ben Ullery Assistant Principal Jenni Seo Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel
* Judith and Thomas L. Beckmen LA Phil Resident Fellow +
On sabbatical
Jarrett Threadgill*
Nancy and Leslie Abell LA Phil Resident Fellow Chair
CELLOS
Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair
Elise Shope Henry
Michele Grego+ Evan Kuhlmann
Contrabassoon Evan Kuhlmann
Mari L. Danihel Chair
HORNS
Bram and Elaine Goldsmith Chair
Piccolo
Andrew Bain Principal
Ben Hong Associate Principal
OBOES
Robert deMaine Principal
Sadie and Norman Lee Chair
Dahae Kim Assistant Principal Jonathan Karoly David Garrett Barry Gold Jason Lippmann Gloria Lum
Linda and Maynard Brittan Chair
Serge Oskotsky Brent Samuel+ Ismael Guerrero*
Sarah Jackson Sarah Jackson
Marc Lachat Principal
Carol Colburn Grigor Chair
Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele Carolyn Hove
English Horn Carolyn Hove
John Cecil Bessell Chair
David Cooper Associate Principal Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine
Loring Charitable Trust Chair
Elyse Lauzon
Reese and Doris Gothie Chair
Ethan Bearman Assistant
Bud and Barbara Hellman Chair
Elizabeth Linares Montero*
BASSES
CLARINETS
Christopher Hanulik Principal Diane Disney Miller and Ron Miller Chair
Boris Allakhverdyan TRUMPETS Principal Thomas Hooten Michele and Dudley Principal Rauch Chair
Kaelan Decman Associate Principal
Burt Hara Associate Principal
Oscar M. Meza Assistant Principal
Andrew Lowy Michael Taylor Eiffert
David Allen Moore
M. David and Diane Paul Chair
James Wilt Associate Principal Nancy and Donald de Brier Chair
Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Nicholas Arredondo*
E-Flat Clarinet
Christopher Still
Andrew Lowy
Ronald and Valerie Sugar Chair
Bass Clarinet
Jeffrey Strong
FLUTES
Whitney Crockett Principal
Denis Bouriakov Principal
Virginia and Henry Mancini Chair
Michael Taylor Eiffert
BASSOONS
Shawn Mouser Associate Principal Ann Ronus Chair
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
TROMBONES David Rejano Cantero Principal James Miller Associate Principal
Bass Trombone John Lofton
Miller and Goff Family Chair
TUBA Mason Soria
TIMPANI Joseph Pereira Principal
Cecilia and Dudley Rauch Chair
David Riccobono Assistant Principal
PERCUSSION Matthew Howard Principal James Babor Perry Dreiman David Riccobono
KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair
HARP Emmanuel Ceysson Principal
Ann Ronus Chair
LIBRARIANS Stephen Biagini Benjamin Picard KT Somero
CONDUCTING FELLOWS Carlos Ágreda Ross Jamie Collins Michelle Di Russo Anna Handler
Judith and Thomas L. Beckmen Chair
Paul Radke
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
14 PERFORMANCES MAGAZINE
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16
Tickets from $ CHRISTOPHER KOELSCH SEBASTIAN PAUL AND MARYBELLE MUSCO PRESIDENT AND CHIEF EXECUTIVE OFFICER
JAMES CONLON
RICHARD SEAVER MUSIC DIRECTOR
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LOS ANGELES PHILHARMONIC STAFF Daniel Song
INTERIM CHIEF EXECUTIVE OFFICER; CHIEF OPERATING OFFICER David C. Bohnett Chief Executive Officer Chair
Paula Michea
EXECUTIVE ASSISTANT TO THE CEO
EXECUTIVE TEAM Summer Bjork CHIEF OF STAFF
Nora Brady
CHIEF MARKETING & COMMUNICATIONS OFFICER
Glenn Briffa
CHIEF FINANCIAL OFFICER
Margie Kim
CHIEF PHILANTHROPY OFFICER
Emanuel Maxwell CHIEF TALENT & EQUITY OFFICER
Mona Patel
GENERAL COUNSEL
Meghan Umber
CHIEF CONTENT OFFICER
SENIOR MANAGEMENT TEAM Laura Connelly
GENERAL MANAGER, HOLLYWOOD BOWL; VICE PRESIDENT, PRODUCTION
Cynthia Fuentes DIRECTOR, THE FORD
Elsje Kibler-Vermaas VICE PRESIDENT, LEARNING
Sara Kim
VICE PRESIDENT, PHILANTHROPY
Johanna Rees VICE PRESIDENT, PRESENTATIONS
Carlos Singer
DIRECTOR, GOVERNMENT & COMMUNITY ENGAGEMENT
Julia Ward
DIRECTOR, HUMANITIES
ADMINISTRATION
Sean Pinto
Miguel A. Ponce, Jr.
WALT DISNEY CONCERT HALL BOX OFFICE
Christopher Prince
Donella Coffey
DATABASE APPLICATIONS MANAGER SYSTEM SUPPORT I
TESSITURA SUPPORT
Mark Quinto
Christy Galasso
Meredith Reese
Veronika Garcia
DIRECTOR, IT SERVICES
SENIOR MANAGER, INFORMATION TECHNOLOGY
Aly Zacharias DIRECTOR, LEGAL
ARTISTIC PLANNING & PRESENTATIONS Emily Davis ARTIST LIAISON
Kristen Flock-Ritchie PROGRAMMING MANAGER
Brian Grohl
PROGRAM MANAGER, POPS/ MANAGER, HOLLYWOOD BOWL ORCHESTRA
Ljiljana Grubisic ARCHIVES AND MUSEUM DIRECTOR
Daniel Mallampalli SENIOR PROGRAMMING MANAGER
Sarita Eldridge DIRECTOR OF SAFETY AND SECURITY
Kevin Higa
CLOUD INFRASTRUCTURE ENGINEER
Dean Hughes SYSTEM SUPPORT III
Charles Koo
INFRASTRUCTURE MANAGER
Kevin Ma
SENIOR MANAGER, STRATEGIC INITIATIVES
HR BUSINESS PARTNER
Monica Ly
HR REPRESENTATIVE
Melissa Magdaleno HR COORDINATOR
TICKET SELLER
Bryan Namba
2ND ASSISTANT TREASURER
Frank Patano
Amy Lackow Elia Luna
TICKET SELLER
Page Messerly TREASURER
Ariana Morales
1ST ASSISTANT TREASURER
Carolina Orellana
2ND ASSISTANT TREASURER
Cathy Ramos
HR BUSINESS PARTNER
Manuel Aybar
PROGRAM MANAGER, YOLA EAST LA
Camille Delaney-McNeil
Carlie Tomasulo
2ND ASSISTANT TREASURER
Lorenzo Johnson PROGRAM MANAGER, YOLA AT INGLEWOOD
Michael Salas
CONTROLLER
Mariam Kaddoura MANAGER, LEARNING
Sarah Little
PAYROLL ADMINISTRATOR
ASSOCIATE DIRECTOR, LEARNING
ACCOUNTING MANAGER
ASSISTANT MANAGER, YOLA
VENUE ACCOUNTING SUPERVISOR
MANAGER, YOLA NATIONAL
Lisa Hernandez
ACCOUNTS PAYABLE MANAGER
LaTonya Lindsey ACCOUNTS PAYABLE COORDINATOR
Gaudy Sanchez YOLA ARTISTIC ADMINISTRATOR
MARKETING & COMMUNICATIONS
REPRESENTATIVE
Debbie Marcelo
SUPERVISOR
Wade Mueller
Micaela Accardi-Krown
SUPERVISOR
Kristine Nichols
Mary Allen
Brendan Broms
FINANCIAL PLANNING MANAGER PAYROLL MANAGER
PAYROLL COORDINATOR
SUPERVISOR
Yuri Park
REPRESENTATIVE
Nina Phay
PATRON SERVICES MANAGER
Lisa Renteria
PATRON SERVICES
Sierra Shultz
REPRESENTATIVE
Robert Siegel
Linda Holloway
Jennifer Hugus Bernie Keating William Minor REPRESENTATIVE
FINANCIAL PLANNING ANALYST PAYROLL ADMINISTRATOR ACCOUNTS PAYABLE SPECIALIST STAFF ACCOUNTANT SENIOR ACCOUNTANT
Rosa Ochoa
HOLLYWOOD BOWL & THE FORD
Karen O’Sullivan
Steve Arredondo
Eden Palomino
Dreima Flores
AUDIENCE SERVICES MANAGER REPRESENTATIVE REPRESENTATIVE
TRANSIT MANAGER
OPERATIONS ADMINISTRATOR
Janice Bartczak
DIRECTOR, RETAIL SERVICES
Lisa Burlingham
SENIOR DIRECTOR, MARKETING & PARTNERSHIPS
Charles Carroll MANAGER, MARKETING COMMUNICATIONS
Joe Carter
SENIOR DIRECTOR, SALES AND CUSTOMER EXPERIENCE
Elias Feghali
ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES & ANALYTICS
Christopher Selland
Mark Ladd
DIGITAL PRODUCER
ASSISTANT, OFFICE SERVICES
Angela Morrell TESSITURA SUPPORT
Michelle Sov REPRESENTATIVE
Marius Olteanu IT SUPPORT ENG I
Andrew Radden
EVENT MANAGER
COORDINATOR, THE FORD PARKING & TRAFFIC MANAGER DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL
Gina Leoni
OPERATIONS MANAGER, THE FORD
Megan Ly-Lim
OPERATIONS COORDINATOR, HOLLYWOOD BOWL
DIRECTOR, CORPORATE PARTNERSHIPS SENIOR DIRECTOR, COMMUNICATIONS
CREATIVE COPYWRITER
Mary Smudde
ASSOCIATE CREATIVE DIRECTOR
Piper Starnes
CREATIVE COPYWRITER
Natalie Suarez
SENIOR CREATIVE DIRECTOR
Kahler Suzuki VIDEO PRODUCER
Jonathan Thomas MARKETING DATABASE SPECIALIST
Lauren Winn
SENIOR PROJECT MANAGER, CREATIVE SERVICES
ORCHESTRA MANAGEMENT & MEDIA INITIATIVES
Clara Fuhrman SENIOR COORDINATOR, MAJOR GIFTS
Freyja Glover
ASSISTANT MANAGER, ANNUAL FUND
Genevieve Goetz GIFT PLANNING OFFICER
Angelina Grego
SENIOR COORDINATOR OF AFFILIATES/ANNUAL FUND
Gerry Heise
SENIOR MAJOR GIFTS OFFICER
Ashley Helm
ASSISTANT MANAGER, SPECIAL EVENTS
Crystal K. Jones ASSOCIATE DIRECTOR, MAJOR GIFTS
Julian Kehs
MANAGER, INSTITUTIONAL GIVING
Emily Lair
MAJOR GIFTS OFFICER
Christina Magaña DONOR RELATIONS ASSOCIATE
Allison Mitchell DIRECTOR, BOARD RELATIONS
Gisela Morales
DIRECTOR/PRODUCER, SPECIAL EVENTS
SENIOR DIRECTOR, BRAND
INFRASTRUCTURE ENGINEER
Andrew Moreno
GIFT & DATA SPECIALIST
MARKETING COORDINATOR, PROMOTIONS & PARTNERSHIPS
Elan Fields
Maren Slaughter
Scott Arenstein
SYSTEM SUPPORT I
PATRON SERVICES REPRESENTATIVE
Erin Puckett
DONOR RELATIONS ASSISTANT
MARKETING & COMMUNICATIONS OPERATIONS MANAGER
ASSOCIATE DIRECTOR, SALES & CUSTOMER ENGAGEMENT
PATRON SERVICES
SENIOR RESEARCH ANALYST
DIRECTOR, CONTENT
Joel Fernandez
Raymond Horwitz
Lushia Anson
Norm Kinard
Edward Mesina
Ricky O’Bannon
ASSISTANT MANAGER, SPECIAL EVENTS
Diana Salazar
REPRESENTATIVE
DIRECTOR, INSTITUTIONAL GIVING
Julia Cole
Jessica Farber
Gaby Hernandez
Sergio Menendez
Ino Mercado
SENIOR MANAGER, SOCIAL MEDIA
Richard Ponce
DIRECTOR, INFORMATION TECHNOLOGY
DATABASE MANAGER, PHILANTHROPY OPERATIONS
Michelle Carrasquillo
Shana Bey
Charee Heard
SUPERVISOR
Jediah McCourt
MANAGER, SOCIAL MEDIA
Teresa Phillips
Jeff Matchan
SENIOR COORDINATOR, GIFT PLANNING
Taylor Burrows
MANAGER, AUDIENCE GROWTH & ENGAGEMENT
Sadie Sartini Garner
Julie Hernandez
Katherine Franklin
Vilma Alvarez
Jordan Kauffman
SENIOR GRAPHIC DESIGNER
FACILITIES MANAGER, BECKMEN YOLA CENTER
TICKET SELLER
Rebeca Zepeda
Denise Alfred
DIRECTOR OF GIFT PLANNING
Nancy Baxter
Anna Ress
Stephanie Yoon
AUDIENCE SERVICES
Alexis Kaneshiro
SENIOR MANAGER, YOLA
John Tadena
Joshua Alvarenga
SENIOR MAJOR GIFTS OFFICER
2ND ASSISTANT TREASURER
Fabian Fuertes
DIRECTOR, MAJOR GIFTS
DIRECTOR, PUBLIC RELATIONS
TICKET SELLER
Elias Santos
PHILANTHROPY Robert Albini
Sophie Jefferies
DIRECTOR, YOLA & BECKMEN YOLA CENTER
Diana Melgar
ASSISTANT TO THE MUSIC & ARTISTIC DIRECTOR
ASSOCIATE DIRECTOR, ADVERTISING
LEARNING
Steven Cao
ARTIST SERVICES MANAGER
Jennifer Hoffner
RETAIL MANAGER, MERCHANDISING
Adriana Aguilar
SENIOR PROGRAM MANAGER
SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS
HR MANAGER
Ayrten Rodriguez
CREATIVE PRODUCER
Annisha Hinkle
MANAGER, CORPORATE PARTNERSHIPS
Jyoti Aaron
Jacquie Ferger
OFFICE MANAGER/ RECEPTIONIST
Alex Hennich
Amber Blanco
Mark McNeill
Michael Chang Linda Diaz
1ST ASSISTANT TREASURER
HUMAN RESOURCES
FINANCE
PROGRAM MANAGER
Diego De La Torre
DATABASE ADMINISTRATOR
1ST ASSISTANT TREASURER
OPERATIONS MANAGER, HOLLYWOOD BOWL
Rafael Mariño
Stephanie Bates COVID MONITOR
2ND ASSISTANT TREASURER
Tom Waldron
Justin Foo Caila Gale
Tara Gardner MANAGER, DIGITAL MARKETING
Karin Haule
GRAPHIC DESIGNER
DIRECTOR, ORCHESTRA MANAGEMENT ASSOCIATE DIRECTOR, MEDIA INITIATIVES PROJECT MANAGER, MEDIA INITIATIVES
MANAGER, ORCHESTRA PERSONNEL
PRODUCTION Alex Grossman
PRODUCTION MANAGER
Tina Kane
SCHEDULING MANAGER
Taylor Lockwood PRODUCTION MANAGER
Kimberly Mitchell PRODUCTION MANAGER
Christopher Slaughter
MAJOR GIFTS OFFICER
Ryan Murphy
Sophie Nelson Ragan Reviere
Carina Sanchez
SENIOR MANAGER, RESEARCH & PROSPECT DEVELOPMENT
Dustin Seo
ASSISTANT MANAGER, ANNUAL FUND
Erica Sitko
DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY
Peter Szumlas
ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS
Tyler Teich
SENIOR GIFT AND DATA SPECIALIST
PRODUCTION MANAGER
Derek Traub
ASSOCIATE PRODUCTION MANAGER
Kevin Tsao
Jonathan Thompson
MANAGER, PHILANTHROPY COMMUNICATIONS
Michael Vitale
ANNUAL GIVING OFFICER
Kelvin Vu
ASSOCIATE DIRECTOR, SPECIAL EVENTS AND AFFILIATES
DIRECTOR, PRODUCTION TECHNICAL DIRECTOR
Bill Williams
PRODUCTION ADMINISTRATOR
Morgan Walton
Richard T. Watkins ASSOCIATE DIRECTOR, PHILANTHROPY
The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.
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Poignant and Powerful: Gustavo Dudamel and the LA Phil Gustavo Dudamel leads the Los Angeles Philharmonic in orchestral favorites, groundbreaking world premieres, landmark opera productions, and a celebration of California’s creative spirit. Tickets for the 2023/24 season at Walt Disney Concert Hall are on sale now.
OCT 6–8
Stravinsky and Shostakovich NOV 2–3
E.T. the Extra-Terrestrial in Concert NOV 4–5
Dudamel Leads Khachaturian
NOV 9 California Festival
Canto en resistencia Featuring Lila Downs, Catalina García, Ely Guerra, Ana Tijoux, and more NOV 10–12 California Festival
Canto en resistencia Featuring Silvana Estrada NOV 16–19 California Festival
JAN 11–12
Mahler 6 JAN 18 & 20-21
Das Rheingold JAN 26-28
Dudamel Conducts Bruckner
Ortiz and Piazzolla
Get Your Tickets Today! laphil.com English/Español 323 850 2000 |
Programs, artists, prices, and dates subject to change.
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Rachmaninoff Cycle with Yuja Wang on Sound/Stage
Watch and listen to all six episodes now at laphil.com/soundstage.
Photos by Mathew Imaging for the LA Phil
NEWS
Last February, Yuja Wang joined Gustavo Dudamel and the Los Angeles Philharmonic to perform all four of Rachmaninoff’s Piano Concertos as well as the unofficial Fifth—Rhapsody on a Theme of Paganini—at Walt Disney Concert Hall. Wang describes Rachmaninoff’s writing as “the most sensuous and passionate thing” and says that playing his music is a gift. Recordings of the entire Rachmaninoff cycle from those concerts as well as a conversation between Dudamel and Wang about Rachmaninoff are now available on Sound/ Stage, the LA Phil’s free digital concert platform.
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NEWS
New Faces at the LA Phil The Los Angeles Philharmonic recently appointed RODOLFO BARRÁEZ as Assistant Conductor, Ann Ronus Chair, for the 2023/24 season. As part of the position, Barráez will serve as the cover conductor for Gustavo Dudamel and guest conductors throughout the orchestra’s subscription season and on tour, helping in rehearsal and stepping in to lead the orchestra should any conductor fall ill. He will also make his Hollywood Bowl debut in 2024.
RODOLFO BARR ÁEZ
ROSS JAMIE COLLINS ANNA HANDLER
The LA Phil also announced its newest group of Dudamel Fellows for the 2023/24 season: ANNA HANDLER (Colombia/Germany), ROSS JAMIE COLLINS (Finland/ United Kingdom), CARLOS ÁGREDA (Colombia), and MICHELLE DI RUSSO (Argentina). The four Dudamel Fellows selected for this year’s class are rising international conductors chosen by Dudamel and the LA Phil who will work with the LA Phil artistic family and visiting artists to hone their skills, mentor young musicians in YOLA, and make their debuts as featured conductors in upcoming learning concerts.
MICHELLE DI RUSSO
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NEWS
Hollywood Bowl Broadcasts on Classical KUSC Ten Los Angeles Philharmonic concerts from the current Hollywood Bowl season are now being broadcast on Classical California KUSC’s SoCal Sunday Night series, the station’s weekly spotlight on local concerts, beginning Sunday, August 20, 2023, at 7PM. This marks the 16th year of the orchestra’s summer partnership with Southern California’s listener-sponsored classical music radio station. The broadcast series allows hundreds of thousands of KUSC listeners across Southern California to experience Hollywood Bowl performances each week. The concerts are recorded live on select nights at the Hollywood Bowl and feature the Los Angeles Philharmonic with a stellar roster of artists and conductors. Hosted and produced by KUSC’s Brian Lauritzen, the programs air weekly at 7pm on Sundays from August 20 through October 22 and are also streamed online, on demand at the KUSC website, for one week immediately following the broadcast.
County of Los Angeles BOARD OF SUPERVISORS
Hilda L. Solis Holly Mitchell Lindsey P. Horvath Janice K. Hahn Chair Kathryn Barger
DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director
COUNTY ARTS COMMISSION Liane Weintraub President Leticia Buckley Vice President Patrisse Cullors Secretary Madeline Di Nonno Executive Committee Eric R. Eisenberg Immediate Past President
GEMMA NEW
NICHOLAS McGEGAN
ANNE AKIKO MEYERS
For complete details, please visit hollywoodbowl.com/radio.
Upcoming Broadcasts
SoCal Sunday Nights at 7PM on Classical California KUSC OCTOBER 8
The Four Seasons Gemma New, conductor Nathan Cole, violin OCTOBER 15
Mozart Under the Stars Nicholas McGegan, conductor Bomsori Kim, violin
OCTOBER 22
The Planets Karen Kamensek, conductor Anne Akiko Meyers, violin Pacific Chorale Robert Istad, Artistic Director Kibsaim Escárcega, Chorus Master
Pamela Bright-Moon Diana Diaz Sandra Hahn Helen Hernandez Constance Jolcuvar Alis Clausen Odenthal Anita Ortiz Jennifer Price-Letscher Randi Tahara The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.
Programs and artists subject to change.
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006-011_ITW
e l a S n O Tickets NOW! IN THE WINGS
TURANDOT
LA TRAVIATA DON GIOVANNI THE BARBER OF SEVILLE EL ÚLTIMO SUEÑO DE
FRIDA & DIEGO RECOVERED VOICES:
HIGHWAY 1, USA/ THE DWARF
ART
CHRISTOPHER KOELSCH SEBASTIAN PAUL AND MARYBELLE MUSCO PRESIDENT AND CHIEF EXECUTIVE OFFICER
JAMES CONLON
RICHARD SEAVER MUSIC DIRECTOR
CONCERTS AND RECITALS: lation. The exhibition also includes c presentations by artists working for more than four decades, among them Victor Estrada, Nancy Evans, Akinsanya Kambon, Jessie Homer French and Teresa Tolliver. 10899 Wilshire Blvd., L.A., 310.443.7000, AND MORE... hammer.ucla.edu
AUDRA M DONALD
PATTI LUPONE
RENÉE FLEMING
Melissa Cody, Untitled, 2022, left, and Maria Maea, Untitled (Nephew), 2020, at the Hammer Museum’s Made in L.A.
Learn e Mor
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CORY WEAVER
Made in L.A. features mostly new works by artists including Marcel Alcalá, Sula Bermúdez-Silverman, Jibz Cameron, Ishi Glinsky, Young Joon Kwak, Tidawhitney Lek, Maria Maea, Roksana Pirouzmand, Ryan Preciado, Guadalupe Rosales and Chiffon Thomas. They work across mediums encompassing sculpture, assemblage, paintings, drawing, ceramics, performance and instal-
PAUL SALVESON, LEFT, AND JOSH SCHAEDEL
022, left, and phew), 2020, s Made in L.A.
THE HAMMER MUSEUM presents 39 artists, collectives and organizations at its Made in L.A. 2023: Acts of Living, the sixth iteration of the biennial exhibition, opening Oct. 1. According to curator Pablo José Ramírez, the show takes its cues from the ethos of Los Angeles, “a place where a multiplicity of cultures coexist and where, as an artist said to us, ‘one is always a visitor.’ ” CORY WEAVER
so includes working ades, among ancy Evans, ssie Homer ver. 10899 443.7000,
PAUL SALVESON, LEFT, AND JOSH SCHAEDEL
L.A. Biennial at the Hammer
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FEATURE
Frank Gehry on Walt Disney Concert Hall Walt Disney Concert Hall opened its doors 20 years ago, but the process of conceiving the shapes and form of the iconic venue began in 1987. From initial sketches for the international architectural competition, which led to the selection of Frank Gehry, to construction and the final opening, the hall evolved as Gehry refined his ideas. In honor of the 20th anniversary of his accomplishment, the Getty Research Institute, which holds the Frank Gehry archive, has curated an exhibition called Modeling Sound that showcases Gehry’s work with six architectural models documenting the design process. Modeling Sound is on view in BP Hall throughout the month of October. The Getty Research Institute also interviewed Gehry about the history of his work on Walt Disney Concert Hall for the digital exhibition Sculpting Harmony, which features more than 150 models, sketches, and archival photographs tracing the concert hall’s development. Sculpting Harmony is available at gehry.getty.edu. Selections from the interview can be read below.
“THE MUSICIANS TELL ME ALL THE TIME THAT THEY FEEL THE AUDIENCE, AND THE AUDIENCE TELLS ME THEY FEEL SO CONNECTED TO THE MUSICIANS.” On connecting the audience with the musicians… I’ve talked to actors about this, and they always say that [feeling the audience in the room] is important. Musicians also feel that. They can feel it when the audience is disconnected, when there’s no rapport. And so that’s what I was trying to do. The concert hall before this had Continental seating, which meant the audience was spread out on the aisle so people could [more easily] walk by. Walt Disney Concert Hall’s [layout] is harder to get in and out of but feels more intimate. The payoff is incredible. The musicians tell me all the time that they feel the audience, and the audience tells me they feel
so connected to the musicians. It makes a big difference. The space connecting the audience and the performer is the most important part of it. When we were roughly 90% complete with the building, the actress Annette Bening happened to visit with Warren Beatty, her husband. I’ll never forget this. She walked out on stage and stood there for about five minutes, and she turned to me and said, “This is it. This works. I get it. Thank you.” On other halls that inspired him… The architect of the Berlin Philharmonie concert hall was Hans Scharoun. When I was
appointed the architect for Walt Disney Concert Hall, the first thing I did was go to Berlin and stay there for a week. I attended all of the concerts in the Scharoun hall and experienced the intimacy that he achieved. He was a master of people-feeling architecture. If you go to his library, which is across the road from the Philharmonie, you sit down and you feel like you’re at home. People try to copy this. It’s more subtle than just surrounding the artist with seating. So we ended up [adjusting that idea] to still place seats around the stage but balance for acoustics. It starts to break down the shoe box model that was the paradigm of concert halls for many years. I decided to play with that idea, to not do the fan-shaped concert hall like Scharoun but go more to a hybrid shoe box like Concertgebouw [in Amsterdam]. On using wood inside the concert hall… There are concert halls in Germany that are plaster and are beautiful. I’m not against that. We looked at that here and decided that the wood had a warmth to it that brought people feeling closer together.
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FEATURE
On building the organ… It was quite a saga. Ernest Fleischmann, who was the executive director of the LA Phil, didn’t want any distractions from the music. And it became clear to me that since there was going to be an organ in the hall, that it was the one opportunity to make a musical instrument that had some movement to it, some excitement architecturally that would be a centerpiece kind of sculpture.
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The simplest thing we could do without getting ourselves in trouble was to break the pipes out and make a kind of a cluster, almost like a floral arrangement where the pipes are flowers. We worked with the organ builder [Manuel Rosales] to [develop] a sense of movement, something as a focal point. That led to this design. On knowing the acoustics worked… When the hall was nearly completed, I called [then Music Director] Esa-Pekka Salonen one night and said, “Esa-Pekka, I have calculated in my head the amount of absorptive material and reflective material, and my gut tells me it’s close.” I know it’s all under construction and that we’re going to be
standing on poles in the floor. But I said, “Could you bring a musical instrument with you?” He brought a musical instrument, all right. He brought Martin Chalifour, the concertmaster of the LA Phil. I brought my son Sam, and the four of us [stood in the hall]. The stage wasn’t quite finished, so it was wobbly. Martin stood where the conductor would be and played his violin. He did unaccompanied Bach. And it was so beautiful. I realized that Esa-Pekka, Sam, and I were holding hands, and we started to cry. It was so beautiful because we knew the sound was there. Modeling Sound is part of the LA Phil Insight initiative generously supported by Linda and David Shaheen.
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LOS ANGELES PHILHARMONIC
Stravinsky and Shostakovich with Dudamel Los Angeles Philharmonic Gustavo Dudamel, conductor Sheku Kanneh-Mason, cello
FRIDAY OCTOBER 6, 2023 8PM SATURDAY OCTOBER 7 8PM SUNDAY OCTOBER 8 2PM
SHOSTAKOVICH
Cello Concerto No. 1 in E-flat major, Op. 107 (c. 30 minutes)
Allegretto Moderato Cadenza Allegro con moto
Sheku Kanneh-Mason INTERMISSION
VILLA-LOBOS
Uirapuru (c. 18 minutes)
STRAVINSKY
The Firebird Suite (1919 version) (c. 23 minutes)
Introduction Dance of the Firebird Dance of the Princesses Infernal Dance of King Kastchei Berceuse Finale
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall Saturday’s performance is generously supported by the Elaine and Bram Goldsmith Great Artists Fund. Corporate partner: U.S. Bank (10/6)
Programs and artists subject to change.
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ABOUT THE PROGRAM
AT A GLANCE Fantasy Birds of a Feather
It is not clear how much Stravinsky’s Firebird was a direct influence on Villa-Lobos’ Uirapuru, which took almost 20 years to reach its final form. The two works certainly share much, from titular enchanted birds to equally magical music, but each also has a distinctive profile
CELLO CONCERTO NO. 1 Dmitri Shostakovich (1906–1975) Composed: 1959 Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets, 2 bassoons (2nd=contrabassoon), horn, timpani, celesta, strings, and solo cello First LA Phil performance: November 26, 1959, Arturo Basile conducting, with Mstislav Rostropovich, soloist Concertos have traditionally been written with specific performers in mind, and none are more intimately associated with their initial protagonists than those of Shostakovich. His two piano concertos were designed for himself and his son, Maxim, respectively; the two violin concertos for David Oistrakh; while both of his cello concertos were inspired by the sound, style, and personality of the great Russian cellist Mstislav Rostropovich. The First Cello Concerto was completed in the summer of 1959 and given its first
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characteristic of its creator. Shostakovich’s First Cello Concerto has its own powerful magic, but much darker and edgier in expression, particularly in its intimate core of haunted elegy and intensely probing cadenza. —John Henken
performance the following October by Rostropovich and the Leningrad Philharmonic under the composer’s favorite conductor, Evgeny Mravinsky, who only a few weeks earlier had introduced to the world Shostakovich’s Eleventh Symphony. Shortly after the Leningrad premiere, during one of the periodic Cold War thaws, Rostropovich and the composer traveled to the United States for the American premiere, with Eugene Ormandy and the Philadelphia Orchestra. The First Cello Concerto is marked by mocking wit alternating with abject gloom—the qualities that kept Shostakovich in hot water with the cultural commissars for much of his creative life. But at least one important Soviet critic detected, without being specific, “a welcome strain of Soviet realism.” The work was allowed to achieve its high level of popularity at home without official hindrance. The opening movement was described by its composer as “an allegretto in the style of a jocular march.” It has a simple, four-note rhythmic
motto theme, essential to the entire structure of the movement, that is brought back at the work’s end. The solo French horn plays a vital part here and throughout much of the concerto. The poignant slow movement—the score’s longest—features a broad cantilena theme for the cello answered by clarinets, followed by a particularly striking melody for muted violins. The movement winds down with a dramatic diminuendo riff for the solo instrument, involving eerie harmonics, the solo horn joining in against the ghostly tinkling of the celesta. This leads without break into the third movement, a ferociously demanding solo cadenza based on themes from the preceding movements. This, again without pause, dumps us into the slashing, sardonic finale, which concludes with restatements of earlier material by solo horn, then high winds, the cello itself, timpani, and ultimately by all the winds, whose howling is cut short by some decisive timpani thwacks. —Herbert Glass
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ABOUT THE PROGR AM
UIRAPURU Heitor Villa-Lobos (1887–1959) Composed: 1917 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 3 clarinets (3rd=bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, soprano saxophone, violinophone, timpani, percussion (xylophone, glockenspiel, chimes, coco, tambourine, tambor surdo, cymbals, bass drum, tam-tam, reco-reco), 2 harps, celesta, piano, and strings The ballet/tone poem Uirapuru was composed in 1917, in some form. The work shares themes with at least two earlier works and was not orchestrated until 1934. It premiered as a ballet at a gala at the Teatro Colón in Buenos Aires in May 1935 and as a tone poem in Rio de Janeiro a few months later; both performances were conducted by the composer. It is also unclear how much inspiration is owed to Stravinsky’s Firebird. The stories are somewhat similar (the Uirapuru is a Brazilian songbird that is supposed to bring good luck in love) and the Ballets Russes toured South America in 1917 with a program that included The Firebird. But some VillaLobos biographers say that the Brazilian composer did not know the Russian’s music until his first trip to Paris, in 1923. In the composer’s scenario, a group of local girls go into the jungle in search of the bird. An ugly man tries to join them, but they reject him. Eventually the uirapuru appears to them in the form of a handsome man whom
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all admire, but the spurned man takes revenge on them by killing him. The uirapuru returns to its bird form and disappears into the jungle. Villa-Lobos gives individuals clear thematic identity (including actual birdsong for the uirapuru), in a colorful score for large orchestra that does suggest early Stravinsky but is also filled with authentic Brazilianisms, all transformed in Villa-Lobos’ characteristic personal style. —John Henken
THE FIREBIRD SUITE Igor Stravinsky (1882–1971) Composed: 1909–1910, rev. 1919 Orchestration: 2 flutes (2nd=piccolo), 2 oboes (2nd=English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings First LA Phil performance: August 10, 1926, Eugene Goossens conducting It’s intriguing to speculate how the history of music in the last century would have been altered if the extraordinary ballet impresario Sergei Diaghilev had not decided to gamble on the young, relatively unknown Stravinsky. Diaghilev’s Ballets Russes— which the émigré Russian had established in Paris—was just starting to take the West by storm, and Diaghilev wanted a splendid new production for the climax of its season in 1910. His initial plans for
better-known composers fell through, so Diaghilev, on a hunch, gave the commission to Stravinsky, then in his late 20s. It was a risk for everyone concerned, since The Firebird would be the first production by the emerging ballet company to feature an entirely new score. Stravinsky was handed a scenario (devised in part by Michel Fokine, the show’s choreographer) that drew on old Russian folklore. The Firebird tells of the downfall of a powerful, ogre-like figure of evil, Kastchei the Deathless, through the intervention of a beautiful, rare bird—the enchanting character of the title. The miraculous Firebird is so called on account of her beautiful feathers, which glitter and flicker like flames. Kastchei is in the habit of seizing pretty young princesses as captives while turning the knights who arrive to rescue them into stone. Crown Prince Ivan, the protagonist, enlists the Firebird’s help to destroy Kastchei and free his victims. You can readily hear how Stravinsky’s own imagination must have caught fire (he even set aside his work on a bird of a different feather—the fairytale opera The Nightingale—to take up Diaghilev’s invitation). The Firebird’s score blends the orchestral wizardry Stravinsky had learned as a student of Rimsky-Korsakov with the vitality of Russian folk music to yield a dazzling, evocative atmosphere. Throughout his later career, Stravinsky remained especially fond of The Firebird, returning to create three different
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ABOUT THE PROGRAM
concert versions that he himself conducted tirelessly (a savvy financial move on the composer’s part). The most popular is the second of these suites, introduced in 1919, which uses less than half of the original ballet score and simplifies some of its orchestration. The Firebird’s musical language shifts between exotic, chromatic gestures to illustrate the supernatural dimension (including a powerful non-Western scale that would later feature in the Rite of Spring’s harmonic vocabulary) and the singsong simplicity of folk song for the mortals. The suite opens with a spooky conjuring, low in the strings, of Kastchei’s magical realm. In his illusory garden, Prince Ivan encounters the
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Firebird, which is depicted with opulent colors and radiant trills. (Diaghilev spared no expense in the similarly gorgeous costumes Léon Bakst designed for this creature.) A calmly pastoral section follows, featuring Stravinsky’s already characteristically imaginative scoring for woodwinds. Prince Ivan observes the princesses who have been captured by Kastchei performing their ritual Khorovod, or round dance, and falls in love with the one destined to be his bride. To protect Ivan, the Firebird casts a spell over Kastchei and his monstrous aides. Whipped into motion by Stravinsky’s frenetic rhythms, they are compelled to dance themselves to exhaustion in a
savage “Infernal Dance.” Their paroxysms subside, while a serene lullaby (“Berceuse”) lulls the hypnotized Kastchei to sleep, its lazy tune first given by the bassoon. Ivan is instructed to destroy the giant egg containing the ogre’s soul, and Kastchei’s power vanishes. A solo horn, intoning the score’s most famous folk tune, announces the joyful arrival of sunlight. Together with Ivan and his betrothed, the rescued captives celebrate with music that swells and rings out in glorious triumph. The Firebird clearly shows Stravinsky on the cusp of a new world, mixing the orchestral mastery of his Russian mentors with the rhythmic vitality of the revolutionary about to burst out of his shell. —Thomas May
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ABOUT THE ARTISTS
GUSTAVO DUDAMEL
For a biography of Music & Artistic Director Gustavo Dudamel, please turn to page 10.
SHEKU KANNEH-MASON
Cellist Sheku Kanneh-Mason’s career and performances span the globe. Whether he is performing for children in a school hall, at an underground club, or in the world’s leading
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concert venues, Sheku’s mission is to make music accessible to all. After he won the BBC Young Musician competition in 2016, KannehMason’s performance at the wedding of the Duke and Duchess of Sussex at Windsor Castle in 2018 was watched by 2 billion people worldwide. Highlights of the 2023/24 season include the Last Night of the Proms with the BBC Symphony and Marin Alsop, performances with the Los Angeles Philharmonic, Orchestre de Paris, Orquesta Nacional de España, National Symphony Orchestra of Ireland, Oslo Philharmonic, Chicago Symphony, Gävle Symphony, Royal Liverpool Philharmonic, Royal Philharmonic on tour in Germany, Cincinnati Symphony, New York Philharmonic, Detroit Symphony, and San Francisco Symphony. With his sister Isata, he appears in recital in Japan, Singapore, and South Korea in addition to an extensive European recital tour. Sheku will also perform a series of duo recitals with guitarist Plínio Fernandes as well as continue his solo cello recital tour in the US and Canada. He returns to Antigua, where he has family connections, as an ambassador for the Antigua and Barbuda Youth Symphony Orchestra. Since his debut in 2017, Sheku has performed
every summer at the BBC Proms, including in 2020, when he gave a breathtaking recital performance with his sister Isata to an empty auditorium due to the COVID-19 pandemic. The Decca Classics recording artist’s 2022 album, Song, showcases his innately lyrical playing in a wide and varied range of arrangements and collaborations. Sheku’s 2020 album, Elgar, reached No. 8 in the overall Official UK Album Chart, making him the first-ever cellist to reach the UK Top 10. Sheet-music collections of his performance repertoire along with his own arrangements and compositions are published by Faber. Sheku is a graduate of London’s Royal Academy of Music, where he studied with Hannah Roberts and in May 2022 was appointed the Academy’s first Menuhin Visiting Professor of Performance Mentoring. He is an ambassador for the Juvenile Diabetes Research Foundation, Future Talent, and Music Masters. Sheku was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List. He plays a Matteo Goffriller cello from 1700, which is on indefinite loan to him. shekukannehmason.com
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CHAMBER MUSIC
Sounds of Italy and Spain Members of the Los Angeles Philharmonic BOCCHERINI
TUESDAY OCTOBER 10, 2023 8PM
String Quintet in E major, Op. 11, No. 5 (c. 25 minutes)
Amoroso Allegro con spirito Minuetto e Trio Rondeau: Andante
Ashley Park, violin Minyoung Chang, violin Dana Lawson, viola Robert deMaine, cello Jason Lippmann, cello
TURINA
Piano Quartet in A minor, Op. 67 (c. 18 minutes)
Lento—Andante mosso Vivo Andante—Allegretto
Camille Avellano, violin Leticia Oaks Strong, viola Barry Gold, cello Vicki Ray, piano INTERMISSION
ROSSINI Arr. Blaise DÉJARDIN
Overture to William Tell (c. 12 minutes) Robert deMaine, Ben Hong, Dahae Kim, Barry Gold, Jason Lippmann, Gloria Lum, Ismael Guerrero, cellos
VERDI
String Quartet in E minor (c. 21 minutes)
Allegro Andantino Prestissimo Scherzo fuga: Allegro assai mosso
Ashley Park, violin Tianyun Jia, violin Michael Larco, viola Dahae Kim, cello
Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.
Programs and artists subject to change.
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ABOUT THE PROGR AM
AT A GLANCE Sounds of Italy and Spain
Tonight’s program brings together music by the Italians Rossini and Verdi, Spain’s Joaquín Turina, and Luigi Boccherini—a cellist and composer born in Italy but who spent most of his career in Spain. Turina moves the classic piano quartet into the world of Spanish folklore,
STRING QUINTET IN E MAJOR, OP. 11, NO. 5 Luigi Boccherini (1743–1805) Luigi Boccherini was born into a musical household in Lucca, Italy, the son of a noted cellist and doublebass player and the brother of poet Giovanni Boccherini, who wrote opera librettos for the likes of Haydn and Salieri. Luigi excelled as a cellist, and around the age of 20, he moved to Madrid, where he was employed by the younger brother of King Charles III. Influenced by the works of Haydn as a young man, Boccherini excelled in the composition of chamber music for strings, particularly quartets and quintets. As his prowess as a cellist grew, so did the complexity and prominence of the cello parts in his chamber music, so that by the time he reached musical maturity, Haydn’s models were far exceeded in this regard. The story is told that he was so skilled at playing in the highest register of the cello that he was often called upon to substitute for an ailing or absent violinist, playing the missing part— at pitch—on his cello. Boccherini also pioneered a couple of new genres:
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while Verdi interprets the genre through the lens of Italian opera. The overture to the opera William Tell provides a sensational showstopper for seven cellists, and the famous minuet from Boccherini’s two-cello quintet offers a moment of delightful familiarity. —Thomas Neenan
the string quintet with two cellos and the so-called guitar quintet—scored for string quartet plus guitar. Chamber music makes up the bulk of his output, which was enormous: over 100 quintets, more than 40 violin sonatas, nearly 75 trios, and about 100 string quartets. The Quartets Opus 11 were probably composed in 1771 for his patron, the king’s brother, Don Luis. The fifth quartet is in the standard four movements, but rather than the usual sonata-form opening, it begins with a gentle amoroso before moving on to a lively allegro con spirito. The minuet is one of Boccherini’s most familiar works, with its exceedingly tuneful melody accompanied by supporting pizzicato (plucked string) figures in the lower instruments. The closing rondo is also atypical. Marked andante at the outset, it is gentle and not overly virtuosic on the surface. Careful attention to the first cellist, however, will reveal Boccherini’s characteristic writing in the upper range of the instrument, often in close harmony with the violins or viola.
PIANO QUARTET IN A MINOR Joaquín Turina (1882–1949) Like many so-called nationalist composers, Joaquín Turina strove to infuse his music with the spirit of his homeland—in his case, Spain—while not abandoning traditional forms. A product of the Royal Conservatory in Madrid, he initially followed a path dominated by French and German models. He even traveled to Paris to study with Vincent d’Indy and d’Indy’s teacher, César Franck. One night in a Parisian café, Turina and another young Spaniard, Manuel de Falla, were upbraided by Spain’s foremost composer, Isaac Albéniz, for not adequately tapping into the folk music of their own country. Turina would continue to work in traditional forms, but his concert works, such as the Piano Quartet in A minor, successfully marry Spanish idioms with compositional techniques steeped in mainstream Europe. The first movement, rather than a quick sonata form, is a soulful, lilting evocation of a night in Turina’s native Seville. The second movement is dance-like, with plucked strings suggesting the clackety-clack-clack of castanets. The third movement is a broad rhapsody on Spanish melodic types and again reinterprets and reuses material from the opening—a unifying device that was frequently employed by d’Indy and his teacher Franck.
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ABOUT THE PROGRAM
OVERTURE TO WILLIAM TELL Gioachino Rossini (1792–1868) Arr. Blaise Déjardin In 1972, the 12 cellists of the Berlin Philharmonic performed a radio broadcast of Hymnus, a work from the 1920s by cellist and composer Julius Klengel. That broadcast was the impetus behind the establishment of an ensemble that remains popular today, having produced several recordings and having often been featured on Berlin Philharmonic broadcasts. Many feel the cello is the most humansounding of all the instruments, but its range far exceeds that of the human voice. With more than four octaves at the player’s disposal, cellos are ideally suited to forming a unified “choir,” with soprano, alto, tenor, and bass represented. French cellist Blaise Déjardin joined the Boston Symphony Orchestra in 2008 and was elevated to principal position by BSO Music Director and Conductor Andris Nelsons in 2018. Déjardin’s arrangement of the William Tell Overture by Rossini, with its famous cello opening, proves that almost anything is possible in the cello world. Déjardin writes: “Most cellists know this piece for the very start which includes solo parts from the cello section. But how about going that way till the end of the piece?” He mentions, almost as an afterthought, that the topmost parts of the arrangement are “not for the faint of heart.” No kidding.
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STRING QUARTET Giuseppe Verdi (1813–1901) By the beginning of the 1870s, Giuseppe Verdi was at the height of his powers as an operatic composer and theatrical producer. Given his wealth and prestige, he was afforded the luxury of overseeing not only the premieres of new works, but subsequent productions as well. Aida premiered in Cairo in 1871, and during the next couple of years, Verdi accompanied the production to many of Italy’s most prestigious opera houses. In 1873, he was in Naples at the Teatro di San Carlo, where Aida was to be performed, featuring soprano Teresa Stolz, who had starred in all previous stagings. Stolz became ill during rehearsals, and the Neapolitan premiere had to be postponed for several days. Rather than return home, Verdi passed the time by writing his one and
only string quartet and only important non-operatic work. It was premiered in Verdi’s hotel room on April 1, and although it was never intended for public performance, it was later published and represents the only string quartet by a major Italian composer from the 19th century. Unlike some of his contemporaries, Verdi was a skilled orchestrator, and the quartet reveals a complete mastery of the instrumental techniques established by Haydn, Mozart, and Beethoven. The quartet is full of operatic drama and lyricism. It follows the traditional pattern of a sonata-form first movement and cantabile second movement, followed by a scherzo and rip-roaring finale. Verdi loved turning to old forms from time to time during his career and, as in the brilliant finale of Falstaff, the quartet concludes with a rollicking fugue. —Thomas Neenan
BOOK I • OCTOBER 6–15
9/18/23 9:25 AM
ABOUT THE ARTISTS
CAMILLE AVELLANO
Violinist Camille Avellano joined the Los Angeles Philharmonic in 1981 and plays in the first violin section. She comes from a musical family; her father was principal bass of the Chicago Symphony for 49 years, and her mother played cello for many touring Broadway and ballet companies, as well as establishing a violin shop in Chicago. Avellano made her debut as soloist with the Chicago Symphony at age 13. She received her bachelor’s degree cum laude from the University of Cincinnati College-Conservatory of Music as a scholarship student of Dorothy DeLay. She was concertmaster of the Civic Orchestra of Chicago and has played with the Aspen Music Festival Orchestra, the Grant Park Symphony in Chicago, and the Rochester Philharmonic. An avid chamber musician, Avellano has been a frequent performer on the Los Angeles Philharmonic’s chamber music series, in which she has collaborated with such musical luminaries as André Previn, Isaac Stern, Bernard Greenhouse, and Lars Vogt. She has also been actively involved with the LA Phil New Music Group since its inception, performing many critically acclaimed premieres by celebrated composers such as Pierre Boulez, Peter Lieberson, Esa-Pekka Salonen, and John Adams. Following the 1992 Salzburg Festival, she was a member of the Los Angeles Philharmonic contingent that performed and served as faculty at the Festival Bahnhof Rolandseck in Bonn, Germany. From 1994 to 1997, she was a professor of violin and chamber music at UCLA. More
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recently, Avellano appeared as a soloist with the Los Angeles Philharmonic, playing Bach’s Brandenburg Concerto No. 5 at Walt Disney Concert Hall in 2006 and two concertos for four violins at the Hollywood Bowl in 2007. In her spare time, she enjoys traveling and hiking. She is whittling away at her list of mountainous destinations, having trekked to Machu Picchu and in the Mt. Everest region of the Himalayas, and, most recently, completing the Alta Via 1 in the Dolomites.
MINYOUNG CHANG
Prior to joining the Los Angeles Philharmonic in April 2010, violinist Minyoung Chang was a member of the violin section of the New York Philharmonic from 2006, having served as a substitute with that orchestra since 2003. A native of Seoul, South Korea, Chang came to the U.S. at the age of six, beginning her violin studies at San Francisco Conservatory of Music Preparatory Division with Zaven Melikian. She continued her training at the Juilliard Pre-College Division, where she later received bachelor’s and master’s degrees. Her principal teachers there include Dorothy DeLay, Lisa Kim, and Glenn Dicterow. Chang has appeared as soloist with the New Jersey Symphony, the Salzburg Chamber Orchestra, the Music Academy of the West, the Aspen Festival Young Artist Orchestra, and other ensembles. Her numerous awards include first prize in the New Jersey Symphony Orchestra competition, a win at the Music Academy of the West Concerto Competition, and grand prize and first prize
from the American String Teachers Association. In addition, she has appeared at various music festivals, including the Taos Chamber Music Festival, Music Academy of the West, and the Sarasota and Aspen music festivals. Chang is married to LA Phil Principal Timpanist Joseph Pereira.
ROBERT deMAINE
Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and composerarranger. In 2010, deMaine was a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012, he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu. A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco’s Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many distinguished conductors, including Neeme Järvi, Peter Oundjian, Joseph Silverstein, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra,
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ABOUT THE ARTISTS
where he served as principal cello for over a decade. His recording of the John Williams Cello Concerto is available on Naxos. His forthcoming recordings include the complete works of Beethoven for piano and cello with pianist Peter Takács, the Haydn Cello Concertos with the Moravian Philharmonic of the Czech Republic, and a recital CD of Grieg and Rachmaninoff sonatas with pianist Andrew Armstrong. DeMaine studied at the Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany. Please visit robertdemaine.com to learn more.
BARRY GOLD
Los Angeles–born cellist Barry Gold, a member of the Los Angeles Philharmonic since 1982, began cello studies with Gretchen Geber. A Young Musicians Foundation scholarship recipient, Gold began his performing career as a member of the YMF Debut Orchestra of Los Angeles; while still a teenager, he was a member of a piano trio that won a prestigious first prize at the Coleman Chamber Music Competition in Pasadena, CA. He earned his bachelor’s and master’s degrees from the Juilliard School, which awarded him the coveted Edward Steuermann Memorial Prize upon his graduation in 1979. In addition to cello studies with renowned performer and pedagogue Harvey Shapiro, he studied chamber music with Felix Galimir and members of the Juilliard String Quartet.
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Gold has participated in several music festivals, including the Tanglewood and Victoria, BC, festivals, the Mainly Mozart Festival since 2007, and the Steamboat Springs Festival in Colorado. Prior to joining the LA Phil, he was a member of the Long Beach and Pasadena symphonies. He has appeared as soloist with the LA Phil under the baton of André Previn in Michael Tippett’s Triple Concerto and under Harry Bicket in Vivaldi’s Concerto for Two Violins and Two Cellos. He is a frequent performer at LA Phil Chamber Music concerts and has participated in a number of world premieres on the Philharmonic’s Green Umbrella series. Gold has served as a teaching assistant to Lynn Harrell at the University of Southern California’s School of Music and as an Adjunct Professor of Cello at UCLA. Since 1997, Gold has served as Principal Cello of the Los Angeles Jewish Symphony under the direction of Noreen Green.
ISMAEL GUERRERO
Born in Havana, Cuba, Ismael Ariel Guerrero Bombut is an accomplished cellist who has won many competitions and performed all over the world. Guerrero is a member of the renowned Sphinx Virtuosi, featuring the nation’s top Black and Latinx soloists, and made his Carnegie Hall debut with the group on its 2021/22 tour. He is also an active member of the Colour of Music Festival, which also promotes Black excellence in the arts. Guerrero has recorded multiple albums for
CTM Classics as a member of the Peabody Cello Gang and as a principal cellist of the Mount Vernon Virtuosi. Guerrero has made radio appearances on several occasions, one of which promoted his concert as a soloist with the Tel Aviv Soloists Ensemble conducted by Barak Tal in the Opera House of the Tel Aviv Performing Arts Center. Under the tutelage of Amit Peled, Guerrero completed his Bachelor of Music degree at the Peabody Conservatory. He recently graduated with a Master of Music degree from USC Thornton School of Music, where he worked with Ralph Kirshbaum and Marcy Rosen. He is grateful to have received full scholarships throughout his studies at these top institutions. He is extremely thankful to Cecylia Barczyk and the Borowsky Family for providing him the opportunity to immigrate to the United States to pursue his studies and begin his career. Guerrero loves teaching, a passion he discovered when he gave a master class for the PEG Program at the Heifetz International Music Institute in 2018. He recently taught master classes at the University of North Carolina School of the Arts and George Mason University. He has also been involved in outreach programs that focus on working with music students of all ages and on bringing classical music to people who have little or no access to it. While at USC Thornton School of Music, he was part of the Thornton Community Engagement Program and had the chance to work with children from Los Angeles schools.
BOOK I • OCTOBER 6–15
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ABOUT THE ARTISTS
BEN HONG
Cellist Ben Hong joined the Los Angeles Philharmonic in 1993, at age 24, as Assistant Principal Cello. He currently serves as Associate Principal Cello, appointed in 2015 by Music Director Gustavo Dudamel. Hong also performs frequently as soloist and as a member of chamber music ensembles. He has collaborated with such artists as Emanuel Ax, Yefim Bronfman, Janine Jansen, Lang Lang, Simon Rattle, and Esa-Pekka Salonen. Concerto appearances with the LA Phil have included the U.S. premiere of Mark-Anthony Turnage’s cello concerto Kai, with Rattle conducting at the Ojai Music Festival, and the LA Phil premiere of Tan Dun’s Crouching Tiger Concerto, conducted by Long Yu at the Hollywood Bowl. In 2009, Hong was hired by DreamWorks Pictures to train several members of the cast of the movie The Soloist, including Jamie Foxx. In addition, he was the featured soloist on the soundtrack, which was released on the Deutsche Grammophon label. Born in Taipei, Taiwan, Hong won his native country’s National Cello Competition three years in a row before leaving home, at age 13, for the Juilliard School. Later he studied with Lynn Harrell at the University of Southern California’s School of Music before joining the LA Phil. In 2012, Hong joined the faculty of USC Thornton School of Music as an Adjunct Professor. In addition, he frequently presents clinics and master classes in the U.S. and abroad.
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TIANYUN JIA
Tianyun Jia is a multipleaward-winning violinist and avid chamber musician hailing from China. She has made frequent guest solo appearances with symphony orchestras all over the world. Jia has also won prizes in many renowned international competitions. She received her early formal training in Shanghai, where she rapidly rose through the schools affiliated with the Shanghai Conservatory of Music. Jia subsequently moved to London to pursue her studies at the Royal Academy of Music in 2008, earning her Bachelor and Master of Music degrees. She is currently continuing her studies as a Starling Fellow at the USC Thornton School of Music under the tutelage of Midori Goto. Tianyun Jia has given solo recitals at prestigious venues such as London’s Royal Festival Hall, the Purcell Room in the Southbank Centre, and Singapore’s Victoria Concert Hall. In her native China, she has performed as soloist in Shanghai Concert Hall and Beijing Concert Hall. In recent seasons, she has made solo appearances with the Qingdao Symphony Orchestra and the Xiamen Philharmonic Orchestra. Jia studied in London with György Pauk and won scholarships from the London Philharmonia Orchestra/Martin Musical Scholarship Fund, from the City of London’s Worshipful Company of Musicians, the Hattori Foundation, and the Ruggiero Ricci Foundation. She was awarded second prize in the 2011 Third China
Violin Competition, held in Qingdao. She has participated in master classes led by Midori Goto, Maxim Vengerov, Thomas Brandis, Ruggiero Ricci, Aaron Rosand, and the Emerson and Tokyo string quartets. Tianyun Jia is currently a faculty member of the Zhejiang Conservatory of Music in Hangzhou, China. She has been a member of the Los Angeles Philharmonic since September 2017.
DAHAE KIM
Cellist Dahae Kim joined the Los Angeles Philharmonic as Assistant Principal in 2016. Previously, she served as Assistant Principal Cello of the Detroit Symphony Orchestra. She has been featured as soloist with the DSO in the Benjamin Lees Concerto for String Quartet and Orchestra led by Leonard Slatkin and with the Detroit Medical Orchestra performing the Saint-Saëns Cello Concerto No. 1 in 2014. Kim completed her studies at the New England Conservatory of Music in 2013 as the recipient of the Gregor Piatigorsky Scholarship, earning bachelor’s and master’s degrees as a student of Laurence Lesser and Paul Katz. She also studied privately with famed cellist Bernard Greenhouse, formerly of the Beaux Arts Trio. She won first place in the 2010 Hudson Valley Philharmonic Strings Competition, returning the following year to perform Shostakovich’s Cello Concerto No. 1. She was a participant at the Tanglewood Music Center for three years and served as Principal Cello of the National Repertory Orchestra in the
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ABOUT THE ARTISTS
summer of 2012, where she also performed as soloist in the Lalo Cello Concerto. As a chamber musician, she has performed on numerous occasions in Jordan Hall and Ozawa Hall, and coached with members of the Cleveland, Takács, Borromeo, and Juilliard string quartets. Dahae was born in Seoul, South Korea, and first studied music with her mother, who taught her piano and violin. She moved to Rockland County, NY, with her family at age eight; there she took up cello studies with Irene Sharp and New York Philharmonic cellist Qiang Tu.
MICHAEL LARCO
Michael Larco was Assistant Principal Violist of the Rochester Philharmonic Orchestra from 2005 to 2012 and joined the Los Angeles Philharmonic in July 2012. He has collaborated in concert with Lynn Harrell, Itzhak Perlman, Alisa Weilerstein, and Rachel Barton Pine. Recent appearances have included a Chicago “Dame Myra Hess” recital debut, broadcast live on WFMT, with pianist Soojin Ahn; performances at the Philadelphia Chamber Music Society with tenor Anthony Dean Griffey; Kravis Center for the Performing Arts (West Palm Beach); Zankel Hall at Carnegie Hall with Griffey and Warren Jones; Chamber Music Rochester (NY); Skaneateles Festival (NY); and Monadnock Music (NH). Larco was a founding member (2000–2005) of New York City–based Fountain Ensemble. He has served as principal violist of the Juilliard Orchestra and the Tanglewood Music Center Orchestra under Seiji Ozawa, Kurt Masur, and James Conlon. In recent seasons,
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he has performed in the New York Philharmonic, the Boston Symphony Orchestra, and the Philadelphia Orchestra. An active chamber musician and coach, Larco has been a faculty member at the Hartt School at the University of Hartford and School for Strings (NYC). Most recently, he has coached alongside the Biava String Quartet at the David Einfeldt Chamber Music Seminar at the Hartt School. Larco received his bachelor’s and master’s degrees from the Juilliard School, where he studied with Heidi Castleman, Misha Amory, and Samuel Rhodes. In 1999, Larco was awarded the Frank Huntington Beebe Scholarship for studies in Europe. While living in Italy (1999–2000), he studied at the Mozarteum in Salzburg with Thomas Riebl and in Cremona with Bruno Giuranna.
DANA LAWSON
Violist Dana Lawson is a Massachusetts native. She began violin studies at the age of five and took up the viola at 15. After graduating from Harvard College with a cum laude degree in Modern European History, she attended the Juilliard School, where she received her master’s degree in 2003. In Boston, she studied viola and chamber music with James Dunham and Robert Levin. At Juilliard, she studied with Misha Amory and Heidi Castleman. During her summers, she attended the Aspen, Taos, and Tanglewood music festivals. She was a member of the St. Louis Symphony Orchestra before joining the Los Angeles Philharmonic in 2004. She is the mother of three wonderful daughters.
JASON LIPPMANN
Jason Lippmann joined the Los Angeles Philharmonic during the 2004/05 season, after five years of performing as a member of the New Jersey Symphony Orchestra. Lippmann has also performed with the Baltimore Symphony, with the Cincinnati Symphony and Cincinnati Opera, the New World Symphony, the American Ballet Theatre Orchestra, and the Orpheus Chamber Orchestra. Along with his orchestral playing, Lippmann has actively performed as a chamber and solo musician, most recently on the Philharmonic’s Chamber Music and Green Umbrella series. A native of Cincinnati, OH, Lippmann began his music studies on the violin at the age of three. He switched to the cello a year later and studied with Norman Johns, Assistant Principal cellist of the Cincinnati Symphony. Lippmann received his Bachelor of Music degree from the Manhattan School of Music, where he studied with Peter Wiley, Alan Stepansky, Julia Lichten, and David Geber, whose father, Ed Geber, was a member of the Los Angeles Philharmonic cello section. Lippmann has performed at the Tanglewood Festival, the Aspen Music Festival, the Bard Festival, and the Bellingham Music Festival.
GLORIA LUM
Cellist Gloria Lum, a native of Berkeley, CA, attended both the University of California at Los Angeles and the University of Southern California, graduating from the latter institution magna cum laude. A student of Gabor Rejto and Ronald
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ABOUT THE ARTISTS
Leonard, she was a member of the Oakland Symphony and the Denver Symphony before joining the Los Angeles Philharmonic in 1985. She currently holds the Linda and Maynard Brittan Chair. A frequent participant in the LA Phil’s Green Umbrella series, Gloria has been involved in tributes to Elliott Carter, György Ligeti, and Witold Lutosławski, and most recently appeared in a solo work by David Lang. On the Chamber Music series, she has appeared with André Previn, Emanuel Ax, Lars Vogt, and Joshua Bell. In the summer of 2015, she was a featured artist in the Cactus Pear Music Festival in San Antonio, TX. Gloria teaches cello and chamber music at Occidental College.
ASHLEY PARK
Ashley Jeehyun Park is a violinist from New York and joined the Los Angeles Philharmonic in February 2022. Park is a graduate of the Juilliard School and has principally studied with Joel Smirnoff, Ronald Copes, Hyo Kang, I Hao Lee, and K.G. Zhang. She served as concertmaster of the Juilliard Orchestra and has also performed with the Princeton Symphony Orchestra as visiting Principal Second Violin, the Verbier Festival Orchestra, and the New York Philharmonic. Park has received accolades including first prize at the Hudson Valley String Competition, second prize at the Andrea Postacchini International Violin Competition, and a distinction from the National YoungArts Foundation. She has also competed at the Queen Elisabeth Competition,
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Joseph Joachim Competition, and Michael Hill International Violin Competition.
VICKI RAY
Described as “phenomenal and fearless,” Vicki Ray is a pianist, improviser, and composer. She has commissioned and premiered countless new works by today’s leading composers. Ray is a founding member of Piano Spheres and head of keyboard studies at the California Institute of the Arts, where she was named the first recipient of the Hal Blaine Chair in Musical Performance. She has appeared in numerous international festivals and was a regular member of the faculty at the Bang on a Can Summer Festival at MASS MoCA. Ray has been featured on the Los Angeles Philharmonic Green Umbrella series as soloist and collaborative artist. Her widely varied performing and recording career covers the gamut of new and old music: from Boulez to Reich, Wadada Leo Smith to Beethoven. Notable recordings include the first Canadian disc of Schoenberg’s Pierrot Lunaire with the Blue Rider Ensemble, the premiere recordings of Steve Reich’s You Are (Variations) and the Daniel Variations with the Los Angeles Master Chorale, and the first recording of John Cage’s Europeras 3 and 4. Her recording of Cage’s The Ten Thousand Things on Microfest Records received a 2013 Grammy nomination. Recent recordings include the premiere recording of Andrew Norman’s Sonnets with Eighth Blackbird’s Nick Photinos on the New Amsterdam label and YAR, a duo recording on the Orenda label with slide guitarist Scot
Ray. Her recording of Daniel Lentz’s River of 1,000 Streams was named one of the top 20 recordings of 2017 by Alex Ross in The New Yorker. Vicki can also be seen on the mighty chromolodeon as a member of the LA-based Partch ensemble.
LETICIA OAKS STRONG
Leticia Oaks Strong joined the Los Angeles Philharmonic in 1994. A native of Provo, UT, she began studying violin with Hiroko Primrose at the age of four and switched to viola at age 12. She studied viola with David Dalton of Brigham Young University and then with Donald McInnes while an undergraduate student at the University of Southern California. Strong graduated from USC in 1994 as the Outstanding Graduate of the School of Music and joined the LA Phil later that year. Strong has performed as a soloist with several orchestras, including the Utah Symphony, the Salt Lake Symphony, and the Music Academy of the West Festival Orchestra. She has given numerous recitals, including a guest artist recital at Brigham Young University and several appearances on the Temple Square Concert Series in Salt Lake City. Strong has also performed at the International Viola Congress, where she premiered the viola sonata Wild Bells, which was written for her by composer Lansing McLoskey and which she recorded for an Albany Records CD celebrating McLoskey’s works. Strong also enjoys performing on the LA Phil’s Chamber Music and Green Umbrella series. She plays on a 1992 Larry Furse viola. Strong lives in La Crescenta with her husband and their five children.
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COLBURN CELEBRITY RECITAL
Jean-Yves Thibaudet • Lisa Batiashvili • Gautier Capuçon Jean-Yves Thibaudet, piano Lisa Batiashvili, violin Gautier Capuçon, cello
HAYDN
WEDNESDAY OCTOBER 11, 2023 8PM
Piano Trio No. 44 in E major, Hob.XV:28 (c. 18 minutes)
Allegro moderato Allegretto Finale. Allegro
RAVEL
Piano Trio in A minor (c. 28 minutes)
Modéré Pantoum: Assez vif Passacaille: Très large Finale: Animé
INTERMISSION MENDELSSOHN
Piano Trio No. 2 in C minor, Op. 66 (c. 28 minutes)
Allegro energico e con fuoco Andante espressivo Scherzo: Molto Allegro quasi Presto Finale: Allegro appassionato Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.
Programs and artists subject to change.
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BOOK I • OCTOBER 6–15
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ABOUT THE PROGR AM
AT A GLANCE 3x3x3
Haydn wrote his last three piano trios (of over 40) for the London-based virtuosa Therese Jansen Bartolozzi, and they are not only marvels of chamber music development but also include some of his most expressive and difficult piano writing. Composed 120 years later, Ravel’s only piano trio shares some features with Haydn’s E-major Trio; both
PIANO TRIO NO. 44 IN E MAJOR, HOB. XV:28 Franz Joseph Haydn (1732–1809) When Nikolaus I, Prince Esterházy, died in 1790, Haydn had spent nearly 30 years serving the Esterházy family. Nikolaus’ successor fired most of the court musicians and released Haydn from his role as Kapellmeister, allowing him to travel. Shortly after, Haydn was approached to conduct a series of lucrative subscription concerts in London. He received a tremendous welcome, writing home, “My arrival caused a great sensation throughout the whole city, and I went the round of all the newspapers for three successive days. Everyone wants to know me.” One such figure was the music historian Charles Burney, who penned a 14-page pamphlet titled “Verses on the Arrival of Haydn in England.” Within Burney’s mawkish panegyric are the prophetic lines “Long may thy fountain of invention run / In streams as rapid as first begun.” During the two London visits of 1791–92 and 1794–95, Haydn produced more than a dozen piano trios, works for solo keyboard, and, most notably,
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include a powerful passacaglia, for example. Mendelssohn’s Second Piano Trio is an utterly characteristic compendium of all that is most loved about the composer’s work, from fiery opening through a lilting lullaby to the fleet, jittery scherzo and athletically leaping finale, which also includes a couple of chorale tunes. —John Henken
his 12 “London” symphonies. Haydn was surrounded by scores of gifted professional musicians, cultivated amateurs, and throngs of appreciative audiences. Therese Jansen, a pianist and teacher, was one of the musicians Haydn befriended. She was the recipient of dedications from several composers including Haydn, who dedicated his last three piano trios and some of his final piano sonatas to her. The first movement of the present work opens with a delicate staccato bass in the piano beneath a tender melody, while the addition of pizzicato strings creates a harp-like effect. The harmonically adventurous and virtuosic development section revisits elements from the opening, including a chorale-like transformation of the main theme. The Allegretto, a Baroque passacaglia (a form noted for its somber character and repeating bass line), contrasts sharply with the first movement. It opens with all three instruments playing the bass line in octaves before a solo piano passage. The strings provide harmonic support for the piano, which ends the movement with a short quasi-cadenza.
The finale is both warm and playful. Haydn inserts meandering measures that upset the sense of balance so prized in the Classical style (where one would expect the opening phrase to contain two four-bar sections, Haydn extends it for another four). After a stormy middle section, the movement concludes with a return to the sunny opening material, capped with two emphatic final chords. —Andrew McIntyre © 2023
PIANO TRIO IN A MINOR Maurice Ravel (1875–1937) Ravel has composed music that any audiophile can love, if only for its range of dynamics, from the extreme delicacy of the Pavane for a Dead Princess to the shattering climactic moments of Daphnis et Chloé. There are plenty of other reasons to admire his works, of course. Large and small, they exult in colorful exoticism and conjure austere images of ancient scenes. In the realm of chamber music, his String Quartet is among the few French works to be found in the regular repertory alongside the hallowed masterpieces of Haydn, Mozart, Beethoven, Schubert, and Brahms. In his later career he would compose a violin-and-
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ABOUT THE PROGRAM
piano Sonata and a Duo Sonata for violin and cello, but perhaps his most ambitious chamber work, the Piano Trio, dates from 1914, on the eve of the First World War. Following closely on the heels (or the toes?) of Daphnis, the Trio signals a new maturity for the composer. The somber opening movement incorporates elements of Ravel’s Basque heritage, perhaps even including remnants of a recently abandoned piano concerto on Basque themes. As far as sonorities go, Ravel (certainly one of the acknowledged masters of orchestration) has a tendency, both here and in his later Violin Sonata, to dwell on what he described as the incompatibility of the piano’s percussive sound and the sustained tones of the string instruments. This juxtaposition is, in fact, an essential factor in what makes the music so alluring; the sense of competition is palpable, although there is a distant quality to the emotional tone. Fugal elements in the central section remind us of Ravel’s awareness of “antique” music and forms, as will the Passacaille that comes later. The second movement takes its title, Pantoum, from an Eastern poetic form found in the writings of Verlaine and Baudelaire; its tempo is brisk and exuberant, almost sprightly, and the complexities reveal Ravel’s technical brilliance. The slow third movement stretches out over a repeated eight-measure theme first heard in the lowest register of the piano. The processional quality is reinforced by the relentlessly increasing dynamic level, which eventually subsides, leading directly into the finale. Here Ravel unleashes his forces with vigor, demanding heroic sonorities that verge on the orchestral. —Dennis Bade
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PIANO TRIO NO. 2 IN C MINOR, OP. 66 Felix Mendelssohn (1809–1847) By 1845, the year he composed his Trio in C minor, Mendelssohn was one of the leading figures in European music. As director of the Gewandhaus concerts in Leipzig, he was responsible for premiering his own music and works by other leading composers such as Schumann and Schubert. He had just completed a period as music director to the King of Prussia, overseeing a musical reform of the church service and composing music for revivals of plays by Sophocles and Shakespeare (A Midsummer Night’s Dream). He had also befriended Queen Victoria and Prince Albert, playing music with them and dedicating his “Scottish” Symphony to the British monarch during a visit in 1842. Mendelssohn spent the early part of 1845 taking time off from his performing activities, holed up with his family in Frankfurt, working on a series of compositions that included the Trio. He was serious enough about his work as a composer that he even turned down a lucrative invitation to conduct in New York. But in July he began performing again and accepted several important commissions, including one from England that resulted in his oratorio Elijah. The furious pace took its toll, as did the death of his beloved sister Fanny, and Mendelssohn died after a series of strokes on November 4, 1847.
The C-minor Piano Trio finds Mendelssohn at his impassioned, rhapsodic best. The pianist immediately sets the tone with the unsettled, restless first theme of the opening movement. After a transition, Mendelssohn introduces an ardent, lyrical second theme in the major mode, played first by the violin and cello with the piano accompanying. This material forms the basis for a fastidiously crafted sonata-form movement. The piano opens the E-flat-major slow movement with a melody whose surface simplicity is clouded by a wistfulness in keeping with the troubled atmosphere of the preceding movement. The breathtakingly fleet Scherzo recalls other movements by Mendelssohn in this vein, such as that from the Octet or the Midsummer Night’s Dream music. The finale, again in sonata form, contrasts material in the minor and major modes, shifting from tempest to calm. Mendelssohn reserves his dramatic master stroke for the development, where he modulates into the dominant, A-flat, and combines fragments of the opening theme with the Lutheran chorale “Vor deinen Thron,” introduced first by the piano, then taken up by the violin. This hymn, a plea from the sinner to God not to abandon him when he dies, returns as the work’s coda, a triumphant affirmation after the preceding turmoil. —Program notes from the Philharmonic’s archives
BOOK I • OCTOBER 6–15
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ABOUT THE ARTISTS
across the U.S., culminating in a performance at Carnegie Hall. Batiashvili also performs a number of recitals this season with Giorgi Gigashvili. The season will also see her performing with Münchner Philharmoniker, San Francisco Symphony and Netherlands Philharmonic Orchestra. In 2022/23 Batiashvili returned to the New York Philharmonic, the Cleveland Orchestra, Philharmonia Orchestra, Chamber Orchestra of Europe, London Symphony LISA BATIASHVILI Orchestra, and Royal Georgian-born German violinist Concertgebouw Orchestra as Lisa Batiashvili is praised by well as Wiener Philharmoniker audiences and fellow musicians as a featured artist at the for her virtuosity. An awardwinning artist, she has developed Wiener Konzerthaus. Recording exclusively for long-standing relationships with Deutsche Grammophon, the world’s leading orchestras, Batiashvili released her conductors, and musicians. latest album, Secret Love In 2021 Batiashvili formed the Letters, in August 2022, with Lisa Batiashvili Foundation, Yannick Nézet-Séguin and which serves her lifelong the Philadelphia Orchestra as dream of and commitment well as the Franck Sonata with to supporting young, highly Giorgi Gigashvili. talented Georgian musicians to She has won a number of thrive in their musical careers. awards: the MIDEM Classical In the 2023/24 season, Batiashvili takes up her residency Award, Choc de l’année, with the Berliner Philharmoniker, Accademia Musicale Chigiana International Prize, Schleswigperforming across the season Holstein Music Festival’s at home and on tour with Kirill Petrenko and Daniel Barenboim. Leonard Bernstein Award, and Beethoven-Ring. Batiashvili She also performs chamber was named Musical America’s concerts with Emmanuel Instrumentalist of the Year Pahud and musicians from in 2015, was nominated as Wiener Philharmoniker as Gramophone’s Artist of the well as with Jörg Widmann, Year in 2017, and in 2018 was Denis Kozhukhin, and Tsotne awarded an honorary doctorate Zedginidze, a talented young from the Sibelius Academy Georgian pianist and composer (University of Arts, Helsinki). supported by her foundation. Batiashvili was also The final part of the residency Artistic Director of Audi features Batiashvili as soloist Sommerkonzerte Ingolstadt with Berliner Philharmoniker for four years between 2019 Academy. Following their most recent tour of Europe, Batiashvili and 2022. Batiashvili lives in Munich and returns to the stage with pianist plays a Joseph Guarneri “del Jean-Yves Thibaudet and Gesu” from 1739, generously cellist Gautier Capuçon, giving loaned by a private collector. recitals and master classes
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GAUTIER CAPUÇON
Gautier Capuçon is a true 21st-century ambassador for the cello. Performing internationally with many of the world’s foremost conductors and instrumentalists, he is also a passionate ambassador for the Orchestre à l’École Association, which brings classical music to schoolchildren across France. In January 2022, Gautier Capuçon launched his own foundation to support young and talented musicians at the beginning of their careers, increasing his commitment to young artists. A multiple award winner, he is acclaimed for his expressive musicianship, exuberant virtuosity, and for the deep sonority of his 1701 Matteo Goffriller cello “L’Ambassadeur.” Committed to exploring and expanding the cello repertoire, Capuçon performs an extensive array of works each season and regularly premieres new commissions. Current projects include collaborations with Lera Auerbach, Danny Elfman, and Thierry Escaich. In recital, Capuçon pairs regularly with Frank Braley and Jérôme Ducros. Other chamber music partners
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ABOUT THE ARTISTS
include Nikolai Lugansky and Gabriela Montero as well as Martha Argerich, Daniel Barenboim, Lisa Batiashvili, Renaud Capuçon, Leonidas Kavakos, Andreas Ottensamer, Jean-Yves Thibaudet, Daniil Trifonov, Yuja Wang, the Labèque sisters, and the Artemis, Ébène, and Hagen quartets. Recording exclusively for Erato (Warner Classics), Capuçon holds an extensive discography. His latest album, Sensations, released in the fall of 2022, explores short pieces from a range of different genres. Capuçon has been featured on DVD in live performances with the Wiener Philharmoniker, Berliner Philharmoniker, and with Lisa Batiashvili, Sächsische Staatskapelle Dresden, and Christian Thielemann. A household name in his native France, he also appears on screen and online in shows such as Prodiges, Now Hear This, and The Artist Academy, and is a guest presenter on Radio Classique in the show Les Carnets de Gautier Capuçon. Born in Chambéry, France, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. gautiercapucon.com
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JEAN-YVES THIBAUDET
Through elegant musicality and an insightful approach to contemporary and established repertoire, Jean-Yves Thibaudet has earned a reputation as one of the world’s finest pianists. He is especially known for his diverse interests beyond the classical world, including numerous collaborations in film, fashion, and visual art. A recording powerhouse, Thibaudet appears on more than 70 albums and six film scores. He is a devoted educator and is the first-ever Artistin-Residence at the Colburn School, which awards several scholarships in his name. Thibaudet appears as soloist in seven compositions this season, performed with 19 orchestras: Gershwin’s Concerto in F, SaintSaëns’ Piano Concerto No. 5, Khachaturian’s Piano Concerto, Ravel’s Concerto in G, Debussy’s Fantaisie, Messiaen’s TurangalîlaSymphonie, and Scriabin’s Prometheus. In addition to his
orchestral dates, Thibaudet joins longtime collaborators Gautier Capuçon and Lisa Batiashvili for a trio tour of the United States. He also continues his multi-season focus on Debussy’s Préludes, performing both books in recitals throughout Europe. With Michael Feinstein, he continues the acclaimed program Two Pianos: Who Could Ask for Anything More? this season, presenting works by Gershwin, Rodgers, and more in new arrangements for piano, voice, and orchestra. Thibaudet records exclusively for Decca. His most recent solo album, 2021’s Carte Blanche, features a collection of deeply personal solo piano pieces never before recorded by the pianist. Other highlights from Thibaudet’s catalog include a 2017 recording of Bernstein’s “The Age of Anxiety,” recordings of the complete solo piano music of Debussy and Satie, and Grammynominated recordings of Ravel’s complete solo piano works and Saint-Saëns’ Piano Concertos Nos. 2 and 5. He is the soloist on Wes Anderson’s The French Dispatch; his playing can also be heard in Pride and Prejudice, Extremely Loud & Incredibly Close, Wakefield, and the Oscar-winning and critically acclaimed film Atonement. His concert wardrobe is designed by Dame Vivienne Westwood.
BOOK I • OCTOBER 6–15
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LOS ANGELES PHILHARMONIC
Gershwin and Rachmaninoff Los Angeles Philharmonic Elim Chan, conductor Igor Levit, piano
FRIDAY OCTOBER 13, 2023 8PM SATURDAY OCTOBER 14 8PM SUNDAY OCTOBER 15 2PM
Jessie MONTGOMERY
Coincident Dances (c. 10 minutes) — except friday
GERSHWIN
Concerto in F (c. 31 minutes)
Allegro Adagio—Andante con moto Allegro agitato
Igor Levit
INTERMISSION — except friday RACHMANINOFF
Symphonic Dances, Op. 45 (c. 35 minutes)
Non allegro—Lento—Tempo I Andante con moto (Tempo di valse) Lento assai—Allegro vivace
Official and exclusive timepiece of the Los Angeles Philharmonic at Walt Disney Concert Hall Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.
Programs and artists subject to change.
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AT A GLANCE Song and Dance
The strong kinetic current running through this program is probably obvious. “Dance” is right there in the titles of two of the pieces, and it is never far away in Gershwin—the first movement of his Concerto in F is based on the Charleston. (Rachmaninoff came to love the orchestral jazz of Gershwin and the Paul Whiteman band when he was in New York City in the 1920s; listen to
COINCIDENT DANCES Jessie Montgomery (b. 1981) Composed: 2017 Orchestration: 2 flutes (2nd=piccolo), 2 oboes, 2 clarinets (2nd=bass clarinet), 2 bassoons, 2 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, caxixi, cowbell, hi-hat, shaker, snare drum, suspended cymbal, tambourine, timbales, toms, triangle, woodblock, xylophone), and strings First LA Phil performance: October 14, 2023, Elim Chan conducting Coincident Dances is inspired by the sounds found in New York’s various cultures, capturing the frenetic energy and multicultural aural palette one hears even in a short walk through a New York City neighborhood. The work is a fusion of several different sound worlds: English consort, samba, mbira dance music from Ghana, swing, and techno. My reason for choosing these styles sometimes stemmed from an actual
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the alto sax in the first of his Symphonic Dances for a late echo of that.) But there is also a rich lyrical side to this music. Dance and song are not sharply differentiated in the vernacular music that moves in Jessie Montgomery’s Coincident Dances and Gershwin’s concerto, and Rachmaninoff quotes liturgical chant and some of his own choral music. —John Henken
experience of accidentally hearing a pair simultaneously, which happens most days of the week walking down the streets of New York, or one time when I heard a parked car playing Latin jazz while I had rhythm and blues in my headphones. Some of the pairings are merely experiments. Working in this mode, the orchestra takes on the role of a DJ of a multicultural dance track. —Jessie Montgomery
CONCERTO IN F George Gershwin (1898–1937) Composed: 1925 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, bells, xylophone, triangle, and strings. First LA Phil performance: September 8, 1937, José Iturbi conducting, with Oscar Levant, soloist
In the year 1925, in addition to continuing to satisfy a large public clamoring for more of his sweet and tender, buoyant and rambunctious songs that could be sung, whistled, and hummed, George Gershwin took another foray into the classics. This one, the Concerto in F for Piano and Orchestra, was an even more ambitious venture than the previous year’s Rhapsody in Blue: a full-fledged concerto in time-honored threemovement form and a work that was all Gershwin, down to his own orchestration, which had not been the case with Rhapsody in Blue. Those who thought Tin Pan Alley’s super-composer had gotten the “serious” bug out of his system with Rhapsody were wrong—in a way. Although the phenomenally talented and successful songwriter turned in earnest to the serious musical forms of concerto, symphonic poem (American in Paris), and opera (Porgy and Bess), he didn’t change his musical persona for the concert hall—no split personality for Gershwin. Whereas most American composers of
BOOK I • OCTOBER 6–15
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ABOUT THE PROGR AM
his era, many with a far more highly developed traditional background than he had, were writing in the fashionable European styles, Gershwin cultivated his mother tongue—the one truly original American vernacular: jazz. It may be true that Gershwin’s jazz has a highly polished commercial veneer, and that what is considered the real—that is, improvisational—jazz burned brightly for only a relatively small audience. Still, there is no denying the strength and originality of the Gershwin product, in whatever form it appears. As for the Concerto in F, it is jazz all the way, and a remarkable achievement for a 27-year-old tunesmith. The Paris connection was for Gershwin extremely important. His admiration for French music is certainly made tangible in the Concerto’s Adagio second movement. There, an extended (46-bar) introduction confined almost exclusively to winds and brass (no piano at all) conjures an ambiance that goes directly to the heart of Debussy and, somewhat, of Ravel. Thematically, the main tune that finally emerges in the piano is hinted at early in the introduction by a muted trumpet. The fascinating manipulations of this theme by piano and orchestra and the figurations and filigree that evolve from it show Gershwin at his most inventive and bracing. The construction of the movement is highly
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original, what with the reappearance of the introduction prefacing a piano cadenza that in turn leads into the “big” tune of the movement—a Gershwin song that is, well, irresistibly Gershwin. The melody is given the grand concerto treatment and holds up very well until it is cut off abruptly for a nostalgic, abbreviated return of the motif from the introduction, this time intriguingly scored for piano and flute. The outer movements are, expectedly, fast ones that the composer, in a brief analytical note, described as follows: “The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young, enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettle drums, supported by the other percussion instruments and with a Charleston motif introduced by bassoon, horns, clarinets, and violas. The principal theme is announced by the bassoon. Later a second theme is introduced by the piano. “The second movement has a poetic, nocturnal atmosphere which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated. “The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping the same pace throughout.” —Orrin Howard
SYMPHONIC DANCES Sergei Rachmaninoff (1873–1943) Composed: 1940 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, and xylophone), piano, harp, and strings First LA Phil performance: February 18, 1943, William Steinberg conducting We now recognize and admire Rachmaninoff as a creator of moodily memorable melodies, without feeling the need, as we once did, to apologize for the beauty of those melodies—or blame him for being widely emulated by composers of film scores (who, likewise, are now regarded with a degree of respect formerly denied them) or the creators of the popular love songs his melodies inspired. Rachmaninoff summed up his life as a composer shortly before his death, in Beverly Hills, his final home: “In my own compositions, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible. I am a Russian composer, and the land of my birth has influenced my temperament and outlook. My music is the product of my temperament, and so it
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is Russian music.... I have been strongly influenced by Tchaikovsky and RimskyKorsakov: but I have never, to the best of my knowledge, imitated anyone. What I try to do when writing down my music is to make it say simply and directly that which is in my heart when I am composing. If there is love there, or bitterness, or sadness, or religion, these moods become part of my music, and it becomes either beautiful or bitter or sad or religious.” For most of his career Rachmaninoff, also one of the great pianists of his time, was the object of critics’ scorn for remaining stylistically rooted in the 19th century while living in the 20th. At the end of his life, however, with the present Symphonic Dances, Rachmaninoff combined a modernist rhythmic element—inspired by Stravinsky and Prokofiev— with his own unquenchable penchant for the big, big tune. The Symphonic Dances had its beginnings as far back as 1915, in sketches for a ballet score called The Scythians (not to be confused with a similarly titled work by Prokofiev) that he submitted to dancer-choreographer Mikhail Fokine, who rejected them as “unballetic.” A quartercentury later, while living on New York’s Long Island, Rachmaninoff resurrected ideas from The Scythians to
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form the first movement of the Symphonic Dances, premiered in 1941 by its dedicatees, Eugene Ormandy and his Philadelphia Orchestra. The initial reception for what is now widely regarded as Rachmaninoff’s most important symphonic work was lukewarm. The audience wanted more lushness, the critics less. It has since become the darling of critics among the composer’s scores and, increasingly, an audience favorite. Interestingly, Rachmaninoff, his performers’ capabilities ever in mind, was in the habit of having an accomplished violinist check the practicability of the bowings for all his works involving strings. For the Symphonic Dances, this function was fulfilled by no less than Fritz Kreisler, Rachmaninoff’s frequent recital partner. Since Kreisler considered no violin part too difficult, the score emerged as music for a virtuoso orchestra. The terse, march-like opening thematic figure dominates the entire first movement. It features prominently even in the gorgeously mournful, quintessentially Russian episode for the alto saxophone, whose part was submitted to another expert, the composer and Broadway arranger Robert Russell Bennett, for his
approval. The final theme of the movement, announced staccato in the strings, is an exotic, richly chromatic affair that Rachmaninoff seems to have lifted from his de facto orchestration textbook, Rimsky-Korsakov’s opera The Golden Cockerel. In the coda, Rachmaninoff quotes the opening theme of his First Symphony. The second dance opens with menacing chords (stopped horns and muted trumpets), followed by an eerie waltz that moves from near-lethargy to extreme agitation. The movement concludes with soft, scampering woodwind-andstring figures that suggest the participants not so much ending their dance as being blown away, still whirling, out of their dark, ghostly ballroom into an even darker night. The third and final section mixes Russian Orthodox chant and the medieval chant for the dead, “Dies irae.” The church is further represented by the “Alleluia” theme from the composer’s own choral Vespers (1915), which eventually muscles out the “Dies irae”: a symbolic triumph of life over death? Withal, this was the last music Rachmaninoff ever wrote. Two years later, and a month after becoming an American citizen, he died (of cancer), a few days short of his 70th birthday. —Herbert Glass
BOOK I • OCTOBER 6–15
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ABOUT THE ARTISTS
ELIM CHAN
One of the most sought-after artists of her generation, Elim Chan performs an unusually wide-ranging repertory of symphonic works extending from the Classical period to the present day. Elim Chan was guest conductor of the Royal Scottish National Orchestra from 2018 to 2023 and has been principal conductor of the Antwerp Symphony Orchestra since 2019. In her last season as chief conductor, she will present the orchestra in the Benelux in the 2023/24 season with,
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among others, Gustav Mahler’s Fourth Symphony and soloists including Sol Gabetta and Midori. Highlights of the 2023/24 season include debuts with the Salzburg Festival, the Orchestre de Paris, the Staatskapelle Berlin, and the Staatskapelle Dresden, as well as the New York Philharmonic. Further debuts in North America are scheduled with the Orchestre Métropolitain in Montreal as well as the Minnesota Orchestra and Seattle Symphony. In Europe, first collaborations will take place with the Danish National Orchestra and the radio orchestras of the German broadcasters SWR, RSB and WDR. Re-invitations this season will take Elim Chan to the Los Angeles Philharmonic and St. Louis Symphony Orchestra as well as the Oslo Philharmonic, Swedish Radio Symphony Orchestra, and the Philharmonia Orchestra in London. In spring 2023, the Orquesta
Sinfónica de Castilla y León announced a three-year collaboration with Elim Chan as Associate Conductor, focusing on Stravinsky’s ballets. A native of Hong Kong, Elim Chan studied at Smith College, Northampton, MA, and at the University of Michigan. In 2014 she was the first female winner of the Donatella Flick Conducting Competition, which enabled her to spend the 2015/16 season as assistant conductor at the London Symphony Orchestra, where she worked closely with Valery Gergiev. For the following season Elim Chan joined the Dudamel Fellowship program of the Los Angeles Philharmonic. She also owes much to the support and encouragement of Bernard Haitink, whose master classes she attended in Lucerne in 2015. In recent seasons, Elim Chan celebrated debuts with the Chicago Symphony Orchestra, Cleveland Orchestra, the Mahler Chamber Orchestra, and London’s Philharmonia Orchestra, among others. Exclusive Worldwide Management: Kristin Schuster, Classic Concerts Management GmbH.
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IGOR LEVIT
With an alert and critical mind, Igor Levit places his art in the context of social events and understands it as inseparably linked to them. The New York Times describes Igor Levit as one of the “most important artists of his generation,” The New Yorker as a pianist “like no other.” In the 2023/24 season, Igor Levit performs in recital at the Musikverein Vienna, Philharmonie Berlin, La Scala Milan, Carnegie Hall in New York, and London’s Wigmore
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Hall as well as in Seoul, Tokyo, Paris, Montreal, and Toronto. Highlights of Levit’s orchestral season calendar are two cyclic projects—a Bartók cycle with the NDR Elbphilharmonieorchester and Alan Gilbert and a Brahms cycle with the Vienna Philharmonic and Christian Thielemann. Also with the Vienna Philharmonic, Igor Levit joins forces for a European tour (Jakub Hrůša) and during the Mozartwoche in Salzburg (Joana Mallwitz). Guest engagements include performances with the Los Angeles Philharmonic and Staatskapelle Berlin with Elim Chan, the Sächsische Staatskapelle Dresden and the Cleveland Orchestra with Franz Welser-Möst, the Royal Concertgebouw Orchestra with Joana Mallwitz, and the New York Philharmonic with Jaap van Zweden. After a successful launch of the Piano Fest in 2023, Igor Levit curates the festival’s second edition in May 2024 in collaboration with the Lucerne Festival.
Born in Nizhni Novgorod, Igor Levit completed his piano studies in Hanover with the highest score in the history of the institute. In spring 2019, he was appointed professor for piano at his alma mater, the Hanover University of Music, Drama and Media. For his political commitment Igor Levit was awarded the fifth International Beethoven Prize in 2019, followed by the award of the “Statue B” of the International Auschwitz Committee in January 2020. His 53 Twitter-streamed live house concerts during the lockdown in spring 2020 garnered a worldwide audience, offering a sense of community and hope in a time of isolation and desperation. In October 2020, Levit was recognized with the Order of Merit of the Federal Republic of Germany. In Berlin, where he makes his home, Igor Levit is playing on a Steinway D grand piano kindly given to him by the Trustees of Independent Opera at Sadler’s Wells. Exclusive Worldwide Management: Kristin Schuster, Classic Concerts Management GmbH.
BOOK I • OCTOBER 6–15
9/14/23 3:25 PM
Nov 1 – Nov 26
pasadenaplayhouse.org | 626-356-PLAY | Tickets start at $35
by JEROME LAWRENCE and ROBERT E. LEE Directed by MICHAEL MICHETTI
PA PA Z I A N H I RS C H E N T E RTA I N M E N T PRESENTS
Ruıns the
S TA R R I N G
JOBETH WILLIAMS PETER STRAUSS OCTOBER 6 – 29 EL PORTAL THEATRE elportaltheatre.com
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9/12/23 11:04 AM
THE CLARK SOCIETY
Your Legacy is Instrumental to Our Success The Los Angeles Philharmonic Association thanks the members of the Clark Society. Named for our founder, William Andrews Clark, Jr., the Clark Society recognizes the generous individuals who have remembered the LA Phil in their estate plans through their wills or other legacy gifts at any level. Members receive recognition and the opportunity to become involved in the ongoing life of the LA Phil through special donor events. For more information, or to let us know that the LA Phil is in your will, please email legacy@laphil.org. Anonymous (17) Anonymous* (10) Mr.* and Mrs.* Karl J. Abert Mr. Bruce R. Acker Ben Adrian and Claudis Choi Lucie Hubbard Agbabian* Ms. Florence C. Agcawili Ann* and Martin* Albert Olga Samuel Alderson* Gizella Allen* Mr. William A. Allison* Lynn K. Altman* Edna R.S. Alvarez Mr. Robert C. Anderson Linda* and Bob Attiyeh W. Lee Bailey, M.D. Baker Family Trust Mrs. Victoria Solaini Baker* Paul and Anissa Balson Sharon Baranoff Mr. and Mrs. Bruce L. Barbee Ms. Angela Bardowell Richard Bardowell, M.D. Donna Barnett Margaret* and David* Barry Mr. Joseph A. Bartush Ms. Adrienne Bass Ruth B. Baus* Ms. Marjorie Beale Sandra Kay Beckley* Judith and Thomas Beckmen Mrs. Olive Behrendt* Peggy Bergmann* Mr. Herbert M. Berk Barbara and Scott H. Bice Alvin Bisher* Dr. Mark Bisson
Ken Blakeley and Quentin O’Brien David F. Bode, M.D. David Bohnett Mr.* and Mrs. Seymour Bond Marion Boniface Mr. Jeb Bonner* Jonathan and Leni Boorstin Deborah Borda Gertrude H. Bowlby* Derald and Charlotte Brackmann Truman P. Brewster* Martin J. Brickman Errol W. Briggs Jacqueline* and Bert* Briskin Linda and Maynard Brittan Abbott Brown Mrs. Linda L. Brown Thomas* and Arlyss Burkett Dona Burrell* Mr.* and Mrs. Henry K. Cahn Lois* and Rene* Cailliet Richard and Norma Camp* Margaret C. Campbell* Tony Campodonico and Cheryl Goettemoeller Jane Carruthers* George L. Cassat* Greg Casserly Sue Caughey Herbert C. and Deena H. Chamberlin* Ms. Jessica Chen Ms. Marjorie H. Cherry Mr. Pei-yuan Chia and Ms. Katherine Shen Mr. Donald G. Christian
Evelyn and Leonard* Chudacoff Esther S.M. Chui-Chao Elisabeth O. Clark, Ph.D. Mr. and Mrs. John S. Clauss, Jr. Brian* and Nancy Cochran Robert* and Dee* Cody Nancybell Coe and William Burke Ms. Jan Turner Colburn Ms. Annette Colfax Ms. Bernice Colman* Geraldine Coombs* Jan and Gene* Corey Don* and Zoe* Cosgrove Meg Quinn Coulter Ms. Gerry W. Cox Mr. and Mrs. Terry Cox Mr. John Cragin* Mrs. Judith Tishkoff and Mr. Keith Crasnick Ginny and John Cushman Marilyn J. Dale Mari L. Danihel Barbara A. Davis* Mr. Daniel Davis* Ms. Juanita Davis Mr. and Mrs. Ray Day Dr. and Mrs. Roger DeBard Richard Del Belso* Mr. Ronald Del Carlo Virginia DeNubila* Raymond and Anne Destabelle Betty Jean* and Robert* Di Vall Jennifer Diener Mr. James Dillon* and Mr. Allen Cornelsen* Harriet H. Doerr*
Craig Dougherty and Tony Leonhardt Ms. Nancy Dunetz Mr. Paul Dupree and Mr. David Peterson Kathleen and Jerrold L. Eberhardt Mr.* and Mrs. Allan R. Eisenman John Endicott* Ms. Elaine M. Endres Mr. and Mrs. C. Daniel Ewell Mr. Gerald Faris Ms. Katherine S. Farlow Ms. Elizabeth Farrar Mr. and Mrs. Curtis L. Feese Irving Feintech* Jann Feldman Lawrence* and Eris* Field Mr. Murray Fields* Dr. Daniel J. Fink Sandra Krause and William Fitzgerald Marlene Ann Fletcher Cindy Fong Mr. and Mrs. Robert C. Forst Mr. Max P. Foster* Mr. and Mrs. Robert C. Foster Debra Frank Valerie Franklin* David F. Freedman Mrs. Joan L. Freeman* Eva* and William* Fremon Arthur* and Gertrude* Friedman Roy J. Friedman* and Mae C. Friedman Mrs. Shirley Frierman* Mr. and Mrs. Tom Frisina
Mrs. Diane Futterman Dr. and Mrs. Dennis Galanter Millicent Gappell* Mr. Joseph Garcia Mr. and Mrs. John* O. Garvey Ms. Margaret E. Gascoigne Mr. James Gelb Dr. Suzanne Gemmell* Mrs. Janice Gerard Mr. Paul J. Gerstley* Mr. Richard Giesbret Arnold Gilberg, M.D. Malinda and Andrew Gilchrist Lynn and Sheri J. Gill Jeanne M. Giovannoni* Mr. and Mrs. Paul F. Glaser Mr. Jerome J. Glaser Alexandra S. Glickman and Gayle Whittemore Paige and David Glickman Maxwell* and Muriel* Gluck Elizabeth A. Goetz Ruth and Charles* Gold Nicholas T. Goldsborough Elaine and Bram* Goldsmith Dr. Raymond* and Betty* Goodman Julius Gort* Doris* and Reese* Gothie Ms. Karen Gottlieb Mr. David Grant Peggy and Walter* Grauman Fay Bettye Green* Lenore S. and Bernard A. Greenberg Tom Greene
William Greenlee, Jr.* Mrs. Sally B. Gref* Tricia and Richard Grey Ms. Sharon Griffin-Galamba Mr. Alan Grunfeld Ms. Sarah B. Gyer* Ms. Pilar Hale Richard and Ruth Halverstadt Burks Hamner, III Jerome Handelsman* Marjorie and Don* Harbison Renata and John Harbison Mr. James L. Hardy* Ms. K. Harland* Joan Green Harris* Ms. Janet Harris Ms. Laura Hecht Karen E. Hedman* Ms. Nita Heimbaugh Anne* and Warner* Heineman William J. Heiter Bud* and Barbara Hellman Dr. Jackson N. Henry Char and Michael Hersh Yvonne and Gordon* Hessler Mr. Philip Hettema Anita Hirsh* The Hirsh Family Mr. Harvey Hoeppner Evelyn Hoffman* Ms. Joan E. Hogue Marcia* and Gary Hollander Joan and John* F. Hotchkis Ms. Nancy Howard Judith and Herbert* Hyman Mr. Christopher W. Ince Jr. Freya and Mark Ivener
*Deceased
26 PERFORMANCES MAGAZINE
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THE CLARK SOCIETY
Mr.* and Mrs. Roger L. Jackson Ruth Jacobson* Albert* and Nancy* Jenkins Robert Jesberg* and Michael J. Carmody Mr. Andrew F. Johnson C.W.* and Irene* Johnson Mr. and Mrs. Steaven K. Jones, Jr. Dr. William B. Jones Mr.* and Mrs. William H. Jordan David and Elizabeth* Kalifon Earl Kallberg Stephen A. Kanter, M.D.* Mr. and Mrs. Joshua R. Kaplan Mr. and Mrs. Maurice H. Katz Norma Kayser* Owen and Suzanne Keavney Yates Keir* Hugh Wilson Kennedy* Dale E. Kern* Ms. Suzanne R. Kern* Paul and Susanne* Kester Carrie and Stuart* Ketchum Vicki King Mr. Alan S. Klee* Mr. and Mrs. Kenneth N. Klee Ms. Ann L. Kligman Mr. Chris H. Kortner* Warren and Patricia Kourt Kent and Joyce* Kresa Howard and Bette Krom Ms. Ursula C. Krummel* Slyvia Kunin* and Al Eben* Ms. Sally Kurtzman Donna and C. Joseph* LaBonté Diane Landrum Thomas and Gloria Lang John and Barbara Larson Michael and Emily Laskin
Mr. and Mrs. B. Allen Lay Lillian Lazar* Ms. Leerae Leaver* Gayle and Harold* Leventhal Mr. Alan J. Levi and Mrs. Sondra Currie-Levi Audrey Davis and Peter Dan Levin Ms. Marla E. Levine Mr. and Mrs. Gary Lewis Raymond Lieberman* B.T.* and Lonis* Liverman Mr. Steven L. Llanusa and Dr. Glenn Miya H. Kirkland Jones* and Yuri Long-Jones Inez Lopez Karl H. Loring* Ms. Gloria Lothrop* Mr. Joseph Lund and Mr. James Kelley Judith Lynne* Ms. Shari Madison Jeanne Mallet* Nancy Malone* Mr. Fred Manaster Richard Mandell Sarah and Ira* Manson Raulee Marcus Jason Markesich Mr. Elliott Markoff Darrel Marsh Ms. Monique Marti* Christopher P. Martin Mr. Sam Matsumoto and Mr. Gordon* Geever Ernest Mauk* and Doyce Nunis* Patricia Maurice Mr. David Maxwell Linda May and Jack Suzar Mr. and Mrs. Anthony Mazzaferro Liliane Quon McCain Mr. Edward V. McCann Carole McCormac* Barbara and Buzz McCoy Mr. Donald E. McDonald
Olive* and Hugh* McDuffee Velma* and George* McKelvey Helen McKenna* Cathy and John McMullen Mr. Sheldon and Dr. Linda Mehr Sylvia Meyer Mr.* and Mrs.* Harold J. Meyerman Maurice and Diane* Meysenburg Ruth M. Mickey* Ronald Milberger Ms. Barbara J. Miller Frank Miller Mr.* and Mrs.* Robert W. Miller Drs. Theodore and Judith Mitrani Mr. Michel Montet Jane* and Paul* Moore Michelle Sanders and Paul Moore Ronald Moormeister and Mary Mossman Lynn and Stanley Morris Maury and Barbara Mortensen Diane and Leon* Morton Elise Mudd Marvin* Merle and Peter Mullin Mr. Emory Ron Myrick Michael J. Napoli Bonnie Nash and Don Wing Mr. Carl Neu Myra and Bruce H. Newman Mrs. Joan Newman Mr. and Mrs. Alfred E. Noreen Becky Novy Rosanne O’Brien* Mr. and Mrs. Daniel F. Olivares Robert W. Olsen* Dr. and Mrs. Howard R. Panosian Margaret Parmaley* Davis R. and Linda M. Parsons Mr. Russell Patrick Mr. Jerome E. Paul and Fern Yu
M. David and Diane Paul Mr. Carlos Paz Lenore and Carl Pearlston Byron* and Louise Peebles Debra Pelton and Jon Johannessen Edith Peluse* Nancy* and Sidney Petersen Ms. Carol Phillips Ms. Camilla C. Pillsbury* Caro Pinto Paula and Jack* Pitzer Ms. Susan Polifronio Mr. and Mrs. Edward R. Portnoy Sandy and Barry D. Pressman Victoria and Earl* Pushee Mr. and Mrs. Raymond F. Quiett Sally and Frank* Raab Dudley* and Michele* Rauch Mary and Gordon* Reiter Kim S. Rhodes Dr. Michael Ritz Colleen Roberston Robert Robinson Penelope C. Roeder Ms. Gail Rolf Dr. David L. Rose Patricia Rose Mimi Rotter Mr. and Mrs. Bill H. Rowland Allyson Rubin* Donald Tracy Rumford* Elizabeth Loucks Samson Nancy S. and Barry Sanders Mr. David Sanders* Francine E. Sanders Kenneth* and Althea* Sanson Mr. Kevin J. Savage and Ms. Britta Lindgren Malcolm Schneer and Cathy Liu Charles Schneider* Mr. Alan M. Schwartz Richard and Bradley Seeley
Dr. and Mrs. Hervey Segall Dan and Elaine Seigel Ms. Elizabeth Shafer and Mr. Abraham Tetenbaum Judith Shaffer Jill and Neil Sheffield Dr. and Mrs. Edward Shore Manny and Jackie Silverman W. June Simmons Annette Simons* Mr. Lynn F. Sipe Virginia Skinner* Grady and Shelley Smith Howard Russell Smith* Steven Smith and Michelle Guy Bernard* and Shani Smolens Harold Snedcof Mr. and Mrs.* William Sollfrey Mr. Mathew R. Sousa* Mr. and Mrs. Richard Spelke Dr. Williametta Spencer Mr. Lev Spiro and Ms. Melissa Rosenberg Robert and Ann Stevens Tom* and Kay Stoever Mr. Max Stolz, Jr. Dr. and Mrs. I. M. Straughan Mrs. Faith F. Strong* Ms. Vikki Sung I.H. Sutnick Donna Swayze* Mrs. Marilyn* Boren-Sweeney and Mr. Jack* A. Sweeney Ms. Lucia Takemae Elisabeth* and Jack* Tamari Ms. Lois M. Tandy* Donald Taylor* L. Franc Scheuer* Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson Vangie Thomson
William G. Tierney and Barry H. Weiss Mr. Jeffrey Toelsin and Mr. Sean M. Reilly Ms. Sherry Hall Tomeo* Dr. and Mrs. David Tomlinson Arlette and Porter* Towner Fran H. Tuchman* Geoffrey* and Margot* Tyrrash Christine Upton Ms. Elizabeth Van De Water Sylvianna Van De Water* Mr. John Van Horn and Mr. Charles R. Owens Craig and Junior Vickers Mr. Dietrich Eugene Wagner Magda and Frederick* R. Waingrow Mr. John Watson and Mrs. Kathryn Gundersen Dorothy Waugh Small* Robert and Nancy Weingartner Rhio H. Weir* Edna and Maurice* Weiss Bernice* and Wendell* Jeffrey Ms. Gabriele West-Adams Mrs. Joseph F. Westheimer* Robert Allan White Mr. Jim F. Whitledge* Bradley Wigor and Andrae Gonzalo Jean and Robert* Wilkinson Jean Elaine Willingham* Mr. Kenneth L. Willner and Mr. Jim Stine Joan Wilner Dr. Libby F. Wilson Mrs. Halina Wolf* Robert Wood* Ms. Esther Wu* Mr. and Mrs. Jerry C. Zinser
For the evergreen Clark Society list please visit our website laphil.com. If your name has been misspelled or omitted from the list in error, please email legacy@laphil.org. Thank you.
PERFORMANCES MAGAZINE 27
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BY THE GLASS
Grape Escapes
Glass of wine at Tensley Wines
JOSH CORBIN
Santa Barbara–based Tensley Wines, best known for its award-winning Syrah, opens a new tasting room on the west side, in the heart of Brentwood. Located on the first floor of Brentwood Garden Plaza, Tensley Tasting Room is the first Santa Barbara winery–owned tasting room in L.A. “Our goal is to share what makes Santa Barbara wine so special and unique with the Los Angeles community and solidify the natural connection and relationship between Santa Barbara wine country and Los Angeles,” says owner and winemaker Joey Tensley. Each tasting experience is $25 per person and includes a flight of four varieties of wine, or you may order by the glass. Walk-ins are welcome. 11677 San Vicente Blvd., # 116, Los Angeles, 424.248.3243
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9/12/23 9/8/23 11:04 12:48 AM PM
Los Angeles Philharmonic Gustavo Dudamel, conductor
NOV 10–12 Canto en resistencia Featuring Silvana Estrada
OVER 90 STORES & EATERIES
NOV 9 Canto en resistencia Featuring Lila Downs, Catalina García, Ely Guerra, Ana Tijoux, and more
GUSTAVO DUDAMEL
LILA DOWNS
SILVANA ESTR ADA
JAMES McVINNIE
Los Angeles Philharmonic Gustavo Dudamel, conductor
NOV 12
Organ Recital
James McVinnie
SHOP & DINE
NOV 14 Green Umbrella
LA Phil New Music Group Vimbayi Kaziboni, conductor James McVinnie, organ
NOV 15
IN THE HEART OF L.A.
Colburn Celebrity Recital
FRAGMENTS 2
Alisa Weilerstein, cello and project creator Elkhanah Pulitzer, director
VIMBAYI K AZIBONI
ALISA WEILERSTEIN
ELKHANAH PULITZER
LETICIA MORENO
NOV 16–19 Ortiz and Piazzolla with Dudamel Los Angeles Philharmonic Gustavo Dudamel, conductor Leticia Moreno, violin
Programs, artists, prices, and dates subject to change.
JOSH CORBIN
Get Your Tickets Today! laphil.com/cafestival
8/23 12:48 PM
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SUPPORT THE LA PHIL
Corporate Partners
ANNUAL GIVING
The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email jmccourt@laphil.org.
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From the concerts that take place onstage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music— sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.
FRIENDS OF THE LA PHIL
Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA, which provides free afterschool music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.
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PHILHARMONIC COUNCIL
Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs
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The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
9/12/23 11:04 AM
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NEW SEASON NEW THEATER CAP UCLA’s 2023–24 SEASON brings you a variety of voices and creative expressions in music, dance, theater, literary arts and collaborative disciplines. Join us at Royce Hall, The Theatre at Ace Hotel and our brand new venue, The Nimoy, open now.
Nano Stern by Reed Hutchinson
SEASON HIGHLIGHTS > Urban Bush Women
> Bill Frisell & Ambrose Akinmusire
> Béla Fleck, Zakir Hussain, Edgar Meyer > Nella > Luciana Souza
> Pat Metheny
> John Cameron Mitchell > Ruthie Foster
> Magos Herrera
> Kronos Quartet
> Meow Meow
> Alarm Will Sound
> Meshell Ndegeocello
> Alfredo Rodridguez
> Dan Tepfer
AND MANY MORE!
TICKETS ON SALE NOW
cap.ucla.edu/2023–24 Ursula Rucker by Sven W Frenzel
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ENDOWMENT
Endowment Donors We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of July 31, 2023. $25,000,000 AND ABOVE
$1,000,000 TO $2,499,999
$500,000 TO $999,999
Walt and Lilly Disney Foundation Cecilia and Dudley Rauch
Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Rafael & Luisa de Marchena-Huyke Foundation The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Reese and Doris Gothie Joan and John Hotchkis Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Los Angeles Philharmonic Committee Estate of Judith Lynne MaddocksBrown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin William and Carolyn Powers H. Russell Smith Foundation Jay and Deanie Stein Foundation Trust Ronald and Valerie Sugar I.H. Sutnick
Ann and Martin Albert Abbott Brown Mr. George L. Cassat Kathleen and Jerrold L. Eberhardt Valerie Franklin Yvonne and Gordon Hessler Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Nancy and Barry Sanders Richard and Bradley Seeley Christian Stracke Donna Swayze Lee and Hope Landis Warner YOLA Student Fund Edna Weiss
$20,000,000 TO $24,999,999 David Bohnett Foundation
$10,000,000 TO $19,999,999 The Annenberg Foundation Colburn Foundation
$5,000,000 TO $9,999,999 Anonymous Dunard Fund USA Lenore S. and Bernard A. Greenberg Fund Carol Colburn Grigor Terri and Jerry M. Kohl Los Angeles Philharmonic Affiliates Diane and Ron Miller Charitable Fund M. David and Diane Paul Ann and Robert Ronus Ronus Foundation John and Samantha Williams
$2,500,000 TO $4,999,999 Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Lynn Booth/Otis Booth Foundation Elaine and Bram Goldsmith Norman and Sadie Lee Foundation Karl H. Loring Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton
$100,000 TO $249,999
Mr. Robert J. Abernethy William A. Allison Rachel and Lee Ault W. Lee Bailey, M.D. Angela Bardowell Deborah Borda The Eli and Edythe Broad Foundation Jane Carruthers Pei-yuan Chia and Katherine Shen James and Paula Coburn Foundation The Geraldine P. Coombs Trust in memory of Gerie P. Coombs Mr. and Mrs. Terry Cox Silvia and Kevin Dretzka Allan and Diane Eisenman Christine and Daniel Ewell Arnold Gilberg, M.D., Ph.D. David and Paige Glickman $250,000 Nicholas T. Goldsborough TO $499,999 Gonda Family Nancy and Leslie Abell Foundation Mr. Gregory A. Adams Margaret Grauman Baker Family Trust Kathryn Kert Green and Veronica and Mark Green Robert Egelston Joan and Gordon Family John F. Hotchkis Foundation Freya and Mark Ivener Ms. Kay Harland Ruth Jacobson Joan Green Harris Trust Stephen A. Kanter, M.D. Bud and Jo Ann and Barbara Hellman Charles Kaplan Gerald L. Katell Yates Keir Norma Kayser Susanne and Paul Kester Joyce and Kent Kresa Vicki King Raymond Lieberman Sylvia Kunin Mr. Kevin MacCarthy Ann and Edward Leibon and Ms. Lauren Lexton Ellen and Mark Lipson Alfred E Mann B. and Lonis Liverman Family Foundation Glenn Miya and Jane and Steven Llanusa Marc B. Nathanson Ms. Gloria Lothrop Y & S Nazarian Vicki and Family Foundation Kerry McCluggage Nancy and David and Sidney Petersen Margaret Mgrublian Rice Family Foundation Diane and Leon Morton Robert Robinson Mary Pickford Katharine and Foundation Thomas Stoever Sally and Frank Raab Sue Tsao Mr. David Sanders Alyce and Malcolm Schneer Warren Williamson and Cathy Liu David and Linda Shaheen Foundation
William E.B. and National Endowment for the Arts Laura K. Siart Magda and Frederick Alfred and R. Waingrow Arlene Noreen Wasserman Foundation Occidental Petroleum Robert Wood Corporation Syham Yohanna and Dr. M. Lee Pearce James W. Manns Lois Rosen Anne and James Rothenberg $25,000 Donald Tracy Rumford Family Trust TO $99,999 The SahanDaywi Marie Baier Foundation Foundation Dr. Richard Bardowell, Mrs. Nancie Schneider M.D. William and Jacqueline Briskin Luiginia Sheridan Dona Burrell Virginia Skinner Ying Cai & Wann Living Trust S. Lee Foundation Nancy and Ann and Tony Cannon Richard Spelke Dee and Mary H. Statham Robert E. Cody Ms. Fran H. Tuchman The Colburn Fund Tom and Margaret Sheehy Janet Unterman Collins Rhio H. Weir Mr. Allen Don Mrs. Joseph F. Cornelsen Westheimer Ginny and Jean Willingham John Cushman Winnick Family Marilyn J. Dale Foundation Mrs. Barbara A. Davis Cheryl and Dr. and Mrs. Peter Ziegler Roger DeBard Lynn and Roger Zino Jennifer and Royce Diener LA PHIL Jane B. and Michael D. Eisner MUSICIANS The Englekirk Family Anonymous Claudia and Kenneth Bonebrake Mark Foster Nancy and Lillian and Martin Chalifour Stephen Frank Dr. Suzanne Gemmell Brian Drake Perry Dreiman Paul and Barry Gold Florence Glaser Christopher Hanulik Good Works John Hayhurst Foundation Jory and Anne Heineman Selina Herman Ann and Jean Horton Ingrid Hutman Drs. Judith and Andrew Lowy Herbert Hyman Gloria Lum Albert E. and Joanne Pearce Martin Nancy C. Jenkins Kazue Asawa McGregor Robert Jesberg and Michael J. Carmody Oscar and Diane Meza Mitchell Newman Ms. Ann L. Kligman Peter Rofé Sandra Krause and Meredith Snow and William Fitzgerald Mark Zimoski Michael and Barry Socher Emily Laskin Paul Stein Sarah and Leticia Oaks Strong Ira R. Manson Lyndon and Beth Carole McCormac Johnston Taylor Meitus Marital Trust Dennis Trembly Sharyl and Rafael Mendez, M.D. Allison and Jim Wilt Suli Xue John Millard
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
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Sat Oct 14 | 8pm
Lila Downs
DOS CORAZONES DÍA DE MUERTOS
Sun Oct 22 | 7pm
Anoushka Shankar Quintet Aparna Ramaswamy’s Ananta, The Eternal
Thu Nov 2 | 8pm
Joshua Henry’s GET UP, STAND UP!
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CHOOSE ANY 3 OR MORE CONCERTS TO MIX & MATCH YOUR SEASON!
Thu Nov 9 | 8pm
Midori with Festival Strings Lucerne
9/12/23 11:04 AM
ANNUAL DONORS
Annual Donors The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between August 1, 2022, and July 31, 2023. $1,000,000 AND ABOVE Anonymous (3)
Ann and Robert Ronus
Live Nation-Hewitt Silva Concerts, LLC
$500,000 TO $999,999 The Ahmanson Foundation Ballmer Group
Jenny Miller Goff Estate of Yates Keir
County of Los Angeles Music Center Foundation
$200,000 TO $499,999 Anonymous (2) Lynn K. Altman Judith and Thomas L. Beckmen Colburn Foundation Michael J. Connell Foundation
Dunard Fund USA Jane B. and Michael D. Eisner Lisa Field Robyn Field and Anthony O’Carroll Gordon P. Getty
Max H. Gluck Foundation The Hearthland Foundation Tylie Jones Terri and Jerry M. Kohl
The Norman and Sadie Lee Foundation Anne Akiko Meyers and Jason Subotky The Music Man Foundation
Pasadena Showcase House for the Arts M. David and Diane Paul The Rauch Family Foundation Koni and Geoff Rich
Rolex Watch USA, Inc. The Rose Hills Foundation Linda and David Shaheen
Linda May and Jack Suzar John Mohme Foundation Maureen and Stanley Moore Peninsula Committee Richard and Ariane Raffetto
Barbara and Jay Rasulo James D. Rigler/Lloyd E. Rigler—Lawrence E. Deutsch Foundation Rosenthal Family Foundation
James and Laura Rosenwald/Orinoco Foundation Estate of Kenneth D. Sanson, Jr. Antonia Hernandez and Michael L. Stern Christian Stracke
Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher
Austin and Lauren Fite Foundation Mr. James Gleason Mr. Gregg Goldman and Mr. Anthony DeFrancesco Lenore S. and Bernard A. Greenberg Fund Yvonne Hessler Mr. Philip Hettema The Hillenburg Family The Hirsh Family Barbara and Amos Hostetter Elizabeth Bixby Janeway Foundation
Monique and Jonathan Kagan W.M. Keck Foundation Paul Kester Darioush and Shahpar Khaledi Winnie Kho and Chris Testa Dr. Ralph A. Korpman Live Nation Los Angeles County Department of Arts and Culture The Seth MacFarlane Foundation Alfred E. Mann Charities
Barbara and Buzz McCoy Mr. and Mrs. David Meline Michael and Lori Milken Family Foundation National Endowment for the Arts Ms. Linda L. Pierce Sandy and Barry D. Pressman Andrew M. Rosenfeld Family Allyson Rubin Wendy and Ken Ruby
Jay and Deanie Stein Foundation Trust Marilyn and Eugene Stein Ronald and Valerie Sugar Ms. Lois M. Tandy Sue Tsao Ellen Goldsmith-Vein and Jon Vein Stasia and Michael Washington Mr. Alex Weingarten John and Marilyn Wells Family Foundation Debra Wong Yang and John W. Spiegel
Malsi Doyle-Forman and Michael Forman East West Bank Geoff Emery Max Factor Family Foundation Marianna J. Fisher and David Fisher William Kelly and Tomas Fuller Drs. Jessie and Steven Galson The Rosalinde and Arthur Gilbert Foundation Kiki Ramos Gindler and David Gindler Alexandra S. Glickman and Gayle Whittemore
Goldman Sachs Gives Good Works Foundation and Laura Donnelley The Gorfaine/ Schwartz Agency Liz and Peter Goulds The Green Foundation Faye Greenberg and David Lawrence Jason Greenman and Jeanne Williams Renée and Paul Haas Harman Family Foundation Jackson N. Henry Ms. Luanne Hernandez Gerry Hinkley and Allen Briskin Fritz Hoelscher
Mr. Tyler Holcomb Thomas Dubois Hormel Foundation Annica and James Newton Howard Mr. and Mrs. James L. Hunter Rif and Bridget Hutton Robin and Gary Jacobs Kaiser Permanente Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Terri and Michael Kaplan Mr. and Mrs. Keith Landenberger David Lee Marvin J. Levy
City of Los Angeles, Department of Cultural Affairs Los Angeles Philharmonic Affiliates Renee and Meyer Luskin Roger Lustberg and Cheryl Petersen Mrs. Beverly C. Marksbury Ashley McCarthy and Bret Barker Ms. Kim McCarthy and Mr. Ben Cheng Ms. Irene Mecchi Marc and Ashley Merrill David and Margaret Mgrublian
$100,000 TO $199,999 Anonymous (2) Nancy and Leslie Abell Mr. Gregory A. Adams The Blue Ribbon R. Martin Chavez Donelle Dadigan Louise and Brad Edgerton/Edgerton Foundation
Breck and Georgia Eisner The Eisner Foundation Ms. Erika J. Glazer The Grand LA/Related Ms. Teena Hostovich and Mr. Doug Martinet Ms. Ursula C. Krummel
$50,000 TO $99,999 Anonymous (3) Mr. Robert J. Abernethy Amazon Amgen Foundation Ms. Kate Angelo and Mr. Francois Mobasser Regina Weingarten and Gregory Annenberg Weingarten Antonieta Arango, In memory of Javier Arango David Bohnett Foundation Linda and Maynard Brittan
Michele Brustin Steven and Lori Bush Esther S.M. Chui Chao and Andrea Chao-Kharma Dan Clivner Becca and Jonathan Congdon Nancy and Donald de Brier De Marchena-Huyke Foundation The Walt Disney Company Kathleen and Jerry L. Eberhardt
Th
$25,000 TO $49,999 Anonymous (7) The Herb Alpert Foundation Tracy Anderson Debra and Benjamin Ansell Mr. and Mrs. Phil Becker Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Kawanna and Jay Brown Gail Buchalter and Warren Breslow Thy Bui Business and Professional Committee
Oleg and Tatiana Butenko Ying Cai & Wann S. Lee Foundation California Arts Council Chevron Products Company Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. Richard W. Colburn Mr. and Mrs. Robert Cook Lynette and Michael C. Davis Orna and David Delrahim
ANNE
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PICTURED: SHARON CHOHI KIM, ALTO
LUX
The Music of Morten Lauridsen & Billy Childs SATU R DAY, N OVE M B E R 18 AT 2 PM SU N DAY, N OVE M B E R 19 AT 7PM MORTEN LAURIDSEN BILLY CHILDS
Lux Aeterna In the Arms of the Beloved* WORLD PREMIERE
In the spellbinding and rapturing Lux Aeterna, Lauridsen created a rich and intensely moving work that sparked a renaissance of choral music throughout the world. Paired with this masterpiece is the world premiere of In the Arms of the Beloved by Billy Childs – one of the world’s most celebrated jazz pianists and composers – performed by the brilliant violin virtuoso Anne Akiko Meyers along with the Chorale debuts of the Billy Childs Jazz/Chamber Ensemble and The Lyris Quartet.
ANNE AKIKO MEYERS, VIOLIN
*This program is made possible by generous support from The Susan Erburu Reardon and George Reardon Commissioning Fund.
T I C K E T S S TA R T AT $ 4 5 LAMASTERCHORALE.ORG
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23 24 SEASON AT AMBASSADOR AUDITORIUM
TCHAIKOVSKY 4 OCTOBER 21, 2023 BRETT MITCHELL conductor DIANA ADAMYAN violin
RHAPSODY ON A THEME OF PAGANINI
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CITY COUNCIL
BEETHOVEN EMPEROR
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WARD STARE conductor NATASHA PAREMSKI piano
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PERFORMANCES MAGAZINE 43
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Welcome to The Music Center!
2023/2024 BOARD OF DIRECTORS
Thank you for joining us.
Cindy Miscikowski Chair
Rollin A. Ransom
Robert J. Abernethy Vice Chair
DIRECTORS EMERITI
The Music Center is your place to experience all the arts have to offer, where you can express yourself, connect with others and enjoy incredible live performances and events in our four incredible theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park. We promise to provide you the best, safest experience possible on our campus. Be sure to visit musiccenter.org to learn about upcoming events and performances. Enjoy the show! #BeAPartOfIt @musiccenterla General Information (213) 972-7211 | musiccenter.org Support The Music Center (213) 972-3333 | musiccenter.org/support
TAKE A TOUR OF THE MUSIC CENTER Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces. Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.! Visit musiccenter.org for additional information.
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OFFICERS
Darrell R. Brown Vice Chair Rachel S. Moore President & CEO Diane G. Medina Secretary Susan M. Wegleitner Treasurer William Taylor Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
GENERAL COUNSEL
Wallis Annenberg Peter K. Barker Judith Beckmen Ronald W. Burkle John B. Emerson ** Richard M. Ferry Brindell Gottlieb Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Glen A. Holden Kent Kresa Edward J. McAniff Mattie McFaddenLawson Fredric M. Roberts Richard K. Roeder Claire L. Rothman Joni J. Smith Lisa Specht ** Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp ** Thomas R. Weinberger Alyce de Roulet Williamson
Charles F. Adams William H. Ahmanson Jill C. Baldauf Susan E. Baumgarten Phoebe Beasley Thomas L. Beckmen Kristin Burr Dannielle Campos Elizabeth Khuri Chandler Amy R. Forbes ** Chair Emeritus Greg T. Geyer Current as of Joan E. Herman August 18, 2023 Jeffrey M. Hill Mary Ann Hunt-Jacobsen Carl Jordan Richard B. Kendall Terri M. Kohl Lily Lee Cary J. Lefton Keith R. Leonard, Jr. David B. Lippman Susan M. Matt Elizabeth Michelson Darrell D. Miller Teresita Notkin Michael J. Pagano Cynthia M. Patton Karen Kay Platt Joseph J. Rice Melissa Romain Beverly P. Ryder Maria S. Salinas Corinne Jessie Sanchez Mimi Song Johnese Spisso Michael Stockton Philip A. Swan Timothy S. Wahl Jennifer M. Walske Jay S. Wintrob
Hubbard Street Dancers Alysia Johnson and Abdiel Figueroa Reyes. Photo by Michelle Reid. Styling by Imani Sade.
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BOARD OF SUPERVISORS COUNTY OF LOS ANGELES Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Kathryn Barger Supervisor, Fifth District Lindsey P. Horvath Chair Pro Tem, Third District
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Janice Hahn Chair, Fourth District
Holly J. Mitchell Supervisor, Second District Hilda L. Solis Supervisor, First District
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Live at The Music Center SUN 1 OCT / 2:00 p.m. Don Giovanni LA OPERA @ Dorothy Chandler Pavilion Thru 10/15/2023 SUN 1 OCT / 2:00 p.m. Hubbard Street Dance Chicago TMC ARTS @ Ahmanson Theatre TUE 3 OCT / 8:00 p.m. Hadestown CENTER THEATRE GROUP @ Ahmanson Theatre Thru 10/15/2023 THU 5 OCT / 7:00 p.m. LA Phil Gala: Celebrating Frank Gehry LA PHIL @ Walt Disney Concert Hall
OCT 2023
WED 11 OCT / 8:00 p.m. Jean-Yves Thibaudet • Lisa Batiashvili • Gautier Capuçon LA PHIL @ Walt Disney Concert Hall
SAT 21 OCT / 11:00 a.m. Symphonies for Youth: Wing on Wing LA PHIL @ Walt Disney Concert Hall Also 10/28/2023
FRI 13 OCT / 8:00 p.m. Gershwin and Rachmaninoff LA PHIL @ Walt Disney Concert Hall Thru 10/15/2023
SAT 21 OCT / 11:00 a.m. Grand Ave Arts: All Access TMC ARTS CENTER THEATRE GROUP LOS ANGELES MASTER CHORALE LA OPERA LA PHIL @Jerry Moss Plaza
SUN 15 OCT / 7:00 p.m. Heaven + Earth: The Music of Reena Esmail & Philip Glass LOS ANGELES MASTER CHORALE @ Walt Disney Concert Hall FRI 20 OCT / 11:00 a.m. Sibelius and Swan Lake LA PHIL @ Walt Disney Concert Hall Thru 10/22/2023
FRI 6 OCT / 8:00 p.m. Stravinsky and Shostakovich with Dudamel LA PHIL @ Walt Disney Concert Hall Thru 10/8/2023
FRI 20 OCT / 8:00 p.m. KCRW Series: Marisa Monte LA PHIL @ Walt Disney Concert Hall
TUE 10 OCT / 8:00 p.m. Chamber Music: Sounds of Italy and Spain LA PHIL @ Walt Disney Concert Hall
SAT 21 OCT / 7:30 p.m. The Barber of Seville LA PHIL @ Dorothy Chandler Pavilion Thru 11/12/2023
FRI 27 OCT / 8:00 p.m. An Alpine Symphony with Salonen LA PHIL @ Walt Disney Concert Hall Thru 10/29/2023 TUE 31 OCT / 8:00 p.m. Halloween Organ, Film & Music: The Phantom of the Opera LA PHIL @ Walt Disney Concert Hall
Grand Park’s Downtown de los Muertos. Michelle Moro for Grand Park.
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
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October 21, 2023 11:00 a.m. – 4:00 p.m. EXPLORE, BE CURIOUS AND CHOOSE YOUR OWN ARTS ADVENTURE Join us for a FREE day of the arts. Grand Ave Arts: All Access is a free, one day arts open house, featuring more than 10 cultural institutions along Grand Avenue. All events are open to the public. For more information and programming details, visit grandavearts.org.
Photos by John McCoy.
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