Performances Magazine | Hollywood Bowl, August 2024

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AUGUS T 2024

CONTENTS 6

WELCOME

13

LOS ANGELES PHILHARMONIC

23

FEATURE: An Iconic Design for an Iconic Venue

26

FEATURE: Head Hunters at 50

33

PROGRAM NOTES

76

FEATURE: LA Phil on Tour

78

SAVE THE DATE: LA Phil Gala Dudamel & Lang Lang

80

LEAVE THE DRIVING TO US!

84

SUPPORT THE LA PHIL: Nurturing the Next Generation of Music Lovers

86

CORPORATE PARTNERS

88

ENDOWMENT DONORS

90

ANNUAL DONORS

92

FIND IT AT THE FORD

110

POOL CIRCLE

111

LA PHIL STAFF LIST

112

GENERAL INFORMATION

GUSTAVO DUDAMEL

XIAN ZHANG

HERBIE HANCOCK

RYAN BANCROFT SYMPHONIC TANGO

LOOKING FOR INFORMATION ABOUT TONIGHT’S PERFORMANCE?

Download our free app to find the program details, notes, and artist biographies. hollywoodbowl.com/app

4 PERFORMANCES MAGAZINE AUGUST 2024

THOMAS WILKINS

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Investment products are not insured by the FDIC or any other governmental agency, are not deposits of or other obligations of or guaranteed by Wilmington Trust, M&T Bank, or any other bank or entity, and are subject to investment risks, including the possible loss of the principal amount invested. ©2024 M&T Bank and its affiliates and subsidiaries. Member FDIC. All rights reserved. AMP-7229 240605 VF

LOS ANGELES PHILH AR MONIC ASSOC IATION

Photo: Dallas Symphony Orchestra/Sylvia Elzafon

WELCOME

BOARD OF DIRECTORS CHAIR

Winnie Kho

Thomas L. Beckmen*

Matt McIntyre

VICE CHAIRS Reveta Bowers* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

WELCOME! It’s an absolute thrill and honor to join you all for the 2024 Hollywood Bowl season. This summer marks the beginning of a long-held dream for me as I step into the role of President & CEO of the Los Angeles Philharmonic Association.

For many years, I’ve admired the LA Phil for showing how music can build community by bringing together this great city and visitors from beyond to share in the power of live performance. Music can inspire and transform us, and we strive to make that experience available to all. Nowhere is this felt more deeply than at the Hollywood Bowl. Founded by visionary Southern Californians who hoped to unite their community in song, the Bowl embodies a spirit of accessibility, from its $1 tickets to its role as a Los Angeles County public park, to its commitment to music education.

In my own musical journey, I have found inspiration in everything from punk rock to symphony orchestras.

Artistry takes so many forms that we should celebrate, and this season truly showcases the diverse power of artistic expression, from the Roots to Rachmaninoff to Rodgers & Hammerstein.

I am so excited to be welcomed into the LA Phil family and your Hollywood Bowl community. It is a distinct privilege to be entrusted with the legacy of this lauded institution, and it is a joy to work with the talented musicians, dedicated staff, generous donors, and all of our valued partners as we create new and transformational ways to touch hearts and souls through music.

Warmly,

Francois Mobasser Margaret Morgan Leith O’Leary Andy Park Sandy Pressman Richard Raffetto Geoff Rich

DIRECTORS

Laura Rosenwald

Nancy L. Abell

Richard Schirtzer

Gregory A. Adams

G. Gabrielle Starr

Julie Andrews

Jay Stein*

Camilo Esteban Becdach

Christian Stracke*

Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma* R. Martin Chavez Christian D. Chivaroli Jonathan L. Congdon Donald P. de Brier* Louise D. Edgerton Lisa Field David A. Ford Alfred Fraijo Jr. Hilary Garland Jennifer Miller Goff* Tamara Golihew Carol Colburn Grigor

Jason Subotky Ronald D. Sugar* Vikki Sung Jack Suzar Keith Terasaki Sue Tsao Jon Vein Megan Watanabe Regina Weingarten Jenny Williams Alyce de Roulet Williamson Irwin Winkler Debra Wong Yang

Marian L. Hall

HONORARY LIFE DIRECTORS

Antonia Hernández*

David C. Bohnett

Teena Hostovich

Frank Gehry

Jonathan Kagan*

Lenore S. Greenberg

Darioush Khaledi

Bowen H. “Buzz” McCoy

Kim Noltemy President & CEO

David C. Bohnett Presidential Chair

Los Angeles Philharmonic Association

6 PERFORMANCES MAGAZINE AUGUST 2024

*Executive Committee Member as of March 14, 2024

LOS ANGELES PHILHARMONIC PUBLICATIONS 2024 EDITOR

Amanda Angel ART DIRECTOR

Natalie Suarez DESIGN

Studio Fuse EDITORIAL COORDINATOR

Michail Sklansky

EXPLORE MORE AT:

laphil.com

MAGAZINE

PUBLISHER

Jeff Levy

ART DIRECTOR

Carol Wakano

PRODUCTION MANAGER

Glenda Mendez

PRODUCTION ARTIST

Diana Gonzalez

ADVERTISING DIRECTOR

One membership, two iconic museums

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Kerry Baggett, Jan Bussman, Jean Greene CIRCULATION MANAGER

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Join a welcoming community of people who are passionate about art and culture, from the ancient world to today. A unique insider’s view awaits you at the Getty Center and Getty Villa Museum.

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WELCOME C O N T I N U E D

WELCOME FROM SUPERVISOR BARGER

Kathryn Barger

COUNTY OF LOS ANGELES DEPARTMENT OF PARKS AND RECREATION

Norma Edith García-Gonzalez

I’m excited to welcome you to the Hollywood Bowl, one of the most historic and beloved venues in Los Angeles County. Whether this iconic facility is hosting a performance by the exceptional Los Angeles Philharmonic or a concert by a visiting world-class musician, the Hollywood Bowl is known for its commitment to excellence both on the stage and behind the scenes.

It’s particularly special to me that the Hollywood Bowl finds its home in Los Angeles County’s Fifth District among the communities I have the privilege to represent.

With such a rich and storied history, and host to some of the biggest names in music today, the Bowl is one of the landmarks that make our district unique.

Whether you’re visiting from down the street, across the county, or around the world, I hope you enjoy your time at this remarkable venue. I still hold near and dear the many fond and fun memories I’ve made at the

Hollywood Bowl throughout my life.

I know your experience here will be just as memorable, whether it’s your first show or you’re a regular visitor.

Throughout the season, I encourage you to take advantage of all the incredible opportunities available to you. To hop on the convenient and affordable Park & Ride shuttles accessible from all over the county, look at the delicious food options, get a sneak peek at your seats, and find everything else you need to know, head to hollywoodbowl.com/visit so you can make the most of your evening.

You can stay in touch with me at kathrynbarger.lacounty.gov or on social media for the latest community updates and resources.

I look forward to connecting with you and hope to see you at a Hollywood Bowl concert soon!

H

S

Best wishes, Supervisor Kathryn Barger Fifth District, Los Angeles County

A MESSAGE FROM DIRECTOR NORMA EDITH GARCÍA-GONZALEZ I am proud that the Hollywood Bowl, a world-class venue, is owned and operated by the County of Los Angeles Department of Parks and Recreation (LA County Parks). When the Los Angeles Philharmonic and other musicians are not onstage, the Hollywood Bowl is open to the public for recreation and exercise.

LA County Parks and the LA Phil partner to enhance the dual role of the Hollywood Bowl as a public park and a one-ofa-kind performance venue.

The Hollywood Bowl offers a magnifi cent park where visitors can stroll, take pictures in front of the iconic shell, and learn about the venue’s history at the on-site museum. The Hollywood Bowl is also the perfect setting for a great workout, with exercise enthusiasts taking advantage of the steps throughout the park.

The Hollywood Bowl never falls short of offering a dynamic summer

concert series creating memories and experiences for families, friends, and visitors alike. Summer at the Hollywood Bowl is certainly a time of excitement, not only for music lovers but also for those who work behind the scenes to make it a memorable experience for all. This season the Hollywood Bowl features diverse music and exceptional performances for all ages and music enthusiasts.

LA County Parks and the LA Phil have also partnered to support the Hollywood Bowl Access Program.

Each season hundreds of teens and seniors from LA County Parks programs experience the magic of Hollywood Bowl summer concerts. This partnership further strengthens the commitment of the County of Los Angeles Board of Supervisors and LA County Parks to access for all!

For more LA County Parks summer programming, follow us via social media @lacountyparks.

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ABOUT THE ARTIS TS

GUSTAVO DUDAMEL 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, Dudamel has introduced classical music to new audiences around the globe and has helped to provide access to the arts for countless people in under-resourced communities. He currently serves as the Music & Artistic Director, Walt and Lilly Disney Chair, of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra.

Dudamel’s bold programming and expansive vision led The New York Times to herald the LA Phil as “the most important orchestra in America—period.” In the 2022/23 season, Dudamel and the LA Phil continued their visionary, multiyear Pan-American Music Initiative and celebrated the 90th birthday of legendary film composer John Williams with a Gala event. Further highlights with the LA Phil included a fall tour with performances at Carnegie Hall, Boston, and Mexico City and Guanajuato as part of the Cervantino Festival; a multi-week exploration of the piano/orchestral works of Rachmaninoff with Yuja Wang; and the return of Wagner’s Tristan und Isolde, directed by Peter Sellars, with video by Bill Viola.

Following his inaugural season as Music Director of the Paris Opera, the 2022/23 season featured Dudamel leading productions of Puccini’s Tosca, Wagner’s Tristan und Isolde, a new production of John Adams’ Nixon in China, and Thomas Adès’ Dante Project, choreographed by Wayne McGregor.

Dudamel has led over 30 staged and semi-staged operas as well as concert productions across the world’s major stages, including fi ve

productions with Teatro alla Scala, productions at the Berlin and Vienna State Operas, and the Metropolitan Opera in New York, and 13 operas in Los Angeles, with repertoire ranging from Così fan tutte to Carmen, from Otello to Tannhäuser, from West Side Story to contemporary operas by composers like John Adams and Oliver Knussen. In May 2024, Dudamel conducted the LA Phil and a star-studded cast in a revival of the 2022 production of Beethoven’s opera Fidelio, produced in collaboration with Los Angeles’ Tony Award-winning Deaf West Theatre, Deaf performers of El Sistema Venezuela’s Coro de Manos Blancas (White Hands Choir), and the Dudamel Foundation.

Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. Shaped by his own training as a young musician, Dudamel with the LA Phil and its community partners founded YOLA (Youth Orchestra Los Angeles) in 2007, now providing over 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In October 2021, YOLA opened its first permanent, purpose-built facility: The Judith and

Thomas L. Beckmen YOLA Center at Inglewood, designed by architect Frank Gehry. Dudamel also created the Dudamel Foundation in 2012 with the goal “to expand access to music and the arts for young people by providing tools and opportunities to shape their creative futures.”

One of the few classical musicians to become a bona fi de pop-culture phenomenon, Dudamel was honored with a star on the Hollywood Walk of Fame in 2019, joining Hollywood greats as well as musical luminaries such as Leonard Bernstein, Duke Ellington, and Arturo Toscanini.

He conducted the score to Steven Spielberg’s new film adaptation of Bernstein’s West Side Story and starred as the subject of the documentary ¡Viva Maestro!

Dudamel’s extensive, multipleGrammy Award-winning discography numbers 67 releases, including LA Phil’s recent Nonesuch recording of Thomas Ades’ Dante, which won the 2024 Grammy Award for Best Orchestral Performance.

For more information about Gustavo Dudamel, visit his offi cial website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.

“THE R ARE CL ASSICAL ARTIST TO HAVE CROSSED INTO POP- CULTURE CELEBRIT Y.” — The New York Times’ Zachary Woolfe and Laura Cappelle PERFORMANCES MAGAZINE AUGUST 2024 13

ABOUT THE ARTIS TS

LOS ANGELES PHILHARMONIC 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 Hollywood Bowl, and The Ford. 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, Andrew Norman, and Thomas Adès—including a 2024 Best Orchestral Performance Grammy for the latter’s Dante.

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).

“SO FAR AHEAD OF OTHER AMERICAN ORCHESTR AS THAT IT IS IN COMPETITION MAINLY WITH ITS OWN PAST ACHIEVEMENTS.” — The New Yorker’s Alex Ross

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PERFORMANCES MAGAZINE AUGUST 2024

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ABOUT THE ARTIS TS

THOMAS WILKINS Thomas Wilkins is Principal Conductor of the Hollywood Bowl Orchestra. He has held a titled position at the Hollywood Bowl since 2008, when he was named Principal Guest Conductor; in the spring of 2014, he became Principal Conductor.

In addition, he is the Boston Symphony’s Artistic Advisor, Education and Community Engagement; Indiana University’s Henry A. Upper Chair of Orchestral Conducting, a position established by the late Barbara and David Jacobs; and Principal Guest Conductor of the Virginia Symphony. At the close of the 2020/21 season, he ended his long and successful tenure as Music Director of the Omaha Symphony. Other past positions include resident conductor of the Detroit Symphony and The Florida Orchestra (Tampa Bay) and associate conductor of the Richmond (VA) Symphony. He also has served on

16

PERFORMANCES MAGAZINE AUGUST 2024

the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond.

Devoted to promoting a lifelong enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences.

Following his highly successful first season with the Boston Symphony, The Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious Outstanding Artist award at the Nebraska Governor’s Arts Awards for his significant contribution to music in the state, and in March 2018, the Longy School of Music at Bard College honored him with the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society.

In 2019, the Virginia Symphony

bestowed Wilkins with its annual Dreamer’s Award. In 2022, the Omaha Entertainment and Arts Awards presented him with its Lifetime Achievement Award for Music, the Boston Conservatory awarded him an honorary Doctorate of Arts, and he was the recipient of the League of American Orchestras’ Gold Baton Award.

During his conducting career, Wilkins has led orchestras throughout the United States, including the New York and Los Angeles philharmonic orchestras; the Philadelphia and Cleveland orchestras; the symphony orchestras of Chicago, Boston, Cincinnati, and Detroit; and the National Symphony.

A native of Norfolk, VA, Wilkins is a graduate of the Shenandoah Conservatory and the New England Conservatory. He and his wife, Sheri-Lee, are the proud parents of twin daughters, Erica and Nicole.

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ABOUT THE ARTIS TS

HOLLYWOOD BOWL ORCHESTRA The Hollywood Bowl Orchestra is composed of approximately 65 regular players, an international mix of classically trained musicians who are among the best studio musicians in Los Angeles. Many spend their days on Hollywood’s scoring stages. It might be surprising to learn that there is no overlap between the musicians of the Los Angeles Philharmonic and those of the Hollywood Bowl Orchestra—another indicator that LA has a tremendous pool of musical talent.

Musicians have been performing at the Hollywood Bowl since its opening in 1922.

“Bowl Orchestra” was used as early as 1925, and “Hollywood Bowl Orchestra” appeared on live recordings made in 1928.

Leopold Stokowski was Music Director of the Hollywood Bowl

Symphony Orchestra from 1945 to 1946. During that time, the orchestra recorded a number of classical works. In the 1950s and 1960s, Capitol Records issued an extensive series of recordings of the Hollywood Bowl Symphony Orchestra with a number of different conductors, including Carmen Dragon, Felix Slatkin, Alfred Newman, and Miklós Rózsa, with album titles such as Rhapsody Under the Stars, Chopin by Starlight, Fiesta!, Marche!, and many others.

From the 1950s on, there was no official Hollywood Bowl Orchestra, until it reappeared in 1991, under the auspices of the Los Angeles Philharmonic Association, as a completely new ensemble under the direction of Principal Conductor John Mauceri. After retiring from the orchestra in 2006, Mauceri

was awarded the lifelong title of Founding Director of the Hollywood Bowl Orchestra.

In 2008, Thomas Wilkins began an appointment as Principal Guest Conductor of the Hollywood Bowl Orchestra.

In June 2014, he became the orchestra’s Principal Conductor, in which position he continues to lead the ensemble each summer in a wide range of concerts at the fabled outdoor venue.

From Mozart to Motown, the repertoire of the Hollywood Bowl Orchestra is as diverse as Hollywood itself. In a single season, the orchestra may perform everything from Broadway favorites to film music, pop music to jazz, and classical music to world premieres by living composers.

In essence, the Hollywood Bowl Orchestra does it all.

PERFORMANCES MAGAZINE AUGUST 2024 19

ABOUT THE ARTIS TS

YOLA MUSICIANS AND SILVANA ESTRADA AT THE BECKMEN YOLA CENTER IN INGLEWOOD.

YOLA Through YOLA (Youth Orchestra Los Angeles), 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—aged 6 to 18— empowering them to become vital citizens, leaders, and agents of change. Seventeen years ago, the LA Phil and its community partners launched YOLA with 80 students at the EXPO Center in South LA. Today, there are five sites: in South LA, the Rampart District, Westlake/MacArthur Park, East LA, and Inglewood.

YOLA engages players from more than 200 schools in culturally vibrant and ethnically diverse communities across LA County.

Music study is complemented by leadership development opportunities, workshops, and performances. YOLA’s young musicians have performed on great stages, from the LA Phil’s iconic venues—the Hollywood Bowl and Walt Disney Concert

20 PERFORMANCES MAGAZINE AUGUST 2024

Hall—to national and international television broadcasts, and alongside the greatest artists.

On October 15, 2021, the Los Angeles Philharmonic opened the

Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Gehry Partners, LLC, the first permanent, purposebuilt facility for YOLA.

To learn more about YOLA, please visit laphil.com/yola.

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AN ICONIC DESIGN FOR AN

ICONIC VENUE JUSTINA BLAKENEY

Justina Blakeney, an LA-based artist and founder of the design studio and lifestyle brand Jungalow, calls the Hollywood Bowl one of her favorite places in Los Angeles. She says, “Music, nature, creativity swirling in the open air under the stars—who wouldn’t love it?!”

Blakeney captured all of those elements in her first collaboration with the Hollywood Bowl, a vibrant capsule collection for the 2023 Jazz Festival. For the 2024 season, she’s followed up with an eye-catching “Iconic” design that celebrates the venue’s acclaimed history, the beauty of its landscape, and the magic of experiencing live performance together. She shares her inspiration with us.

“When I’m at the Bowl, the shell shape always grabs my attention fi rst. So, in my artwork, I made sure that everything, from the guitars to the trumpets and the decorative scalloped details, subtly echoed that iconic form.”

“The Bowl’s rich history, tracing back to the 1920s, with its nods to Art Deco, also influenced my approach.

You’ll notice geometric patterns, stepped forms, and stylized representations of nature in my art, paying homage to that era.”

“As for colors, I drew inspiration from the lush greens of the surrounding botanical life and the earthy browns of the terrain. These hues set the scene, reflecting the natural beauty surrounding the Bowl.”

“The dynamic interaction between the community and the performers at the Hollywood Bowl was something I was excited to capture. I represented these good vibrations through the symbols emerging from the trumpets—hearts, stars, diamonds, and four-leaf clovers, symbolizing love, light, abundance, and good luck.”

The Hollywood Bowl Iconic collection is available at the Bowl Store and laphilstore.com.

PERFORMANCES MAGAZINE AUGUST 2024 23

Kaiser Permanente cares for all that is you

Because you’re more than one note — you’re a symphony.

Thank you for sharing the music with us tonight. Enjoy the show.

P B

Official partner in health & harmony

HWB

The Bowl’s food and wine team--James Beard Award Winners chef Suzanne Goin and restaurateur Caroline Styne of celebrated restaurants Lucques, a.o.c., Caldo Verde and Cara Cara - are now in their seventh year of providing exceptional cuisine designed to make your concert experiences even more spectacular. From supper in your box seats to freshly-prepared picnic baskets and market-driven fare, there’s truly something for everyone.

FO O D + WI N E AT-A- G L AN C E

PHOTOGRAPHY BY ROB STARK

SUPPER IN YOUR SEATS

THE BACKYARD

Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine.

Order by 4pm the day before your concert.

Inspired by the gorgeous natural surroundings of the Bowl, this al fresco space has the feel of a chic backyard in the Hollywood Hills. Two large wood-burning grills are the focus of this farmers’ market-driven restaurant serving grilled fish, chops, steaks, vegetables, salads, and raw bar items.

MARKETPLACES

ANN’S WINE BAR by a.o.c.

Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.

Inspired by the original a.o.c. on 3rd St., Ann’s Wine Bar features a wide selection of Caroline’s favorite new and old world wines to be explored by both experienced and novice wine lovers, all paired with Suzanne Goin’s signature small plates menu. Reservations recommended.

LUCQUES AT THE CIRCLE

CATERING AT THE BOWL

Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.

Give your guests the experience of a lifetime when you host your next event at the Bowl!

Our selection of seven beautiful venues is perfect for events of all sizes, from intimate gatherings to elaborate affairs.

STREET FOOD & SNACKS

KITCHEN 22

A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.

Kitchen 22 is the best place to indulge in fan favorites like burgers, French fries, fried chicken, specialty sandwiches, and salads.

MOBILE ORDERING: Download the Hollywood Bowl app or scan one of the many QR codes to place an order from the comfort of your seat and skip the line at pick up. Mobile ordering is available throughout the venue.

PICNIC B O X ES

It’s easier than ever to enjoy a picnic supper before your concert with five options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.

SEE MENUS, BOOK A TABLE, AND ORDER AHEAD: HOLLYWOODBOWL.COM/FOOD+WINE • 323 850 1885 HWBMagazineAd2022.indd 1

5/20/22 8:29 AM

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HEAD HUNTERS AT 50 On Wednesday, August 14, Herbie Hancock reunites with the original lineup from the landmark album for the first time in five decades at the Hollywood Bowl. Sadie Sartini Garner explores how the Headhunters broke down barriers between jazz and pop to create one of the greatest albums of all time.

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Picture Herbie Hancock in 1973.

He’s been a jazz star for a dozen or so years. In fact, he’s played in one of the greatest groups in the genre’s history, Miles Davis’ Second Great Quintet, where he helped jazz incorporate wild new ideas without losing its plot.

And when Miles wanted to push it even further, Herbie joined him, plugging in an electric piano and crumbling whatever superficial structures separated jazz from acid rock and funk and even ambient music on a series of revolutionary records. The form they cracked open in Bitches Brew released a new spirit, and Herbie chased it into the atmosphere. And now, in 1973, he is the leader of one of the farthest-out groups of all time— the mighty Mwandishi, explorers of deep outer space. He’s helped to reshape jazz three or four times already. And he’s only 33 years old. If he were to retire today, he would already go down as one of the most important musicians of the 20th century.

And he’s completely undone by The Pointer Sisters.

The Oakland R&B group was, at the time, climbing the charts on the back of “Yes We Can Can,” a thick, patient, interlocking piece of pop-funk written by the great Allen Toussaint. The Pointers opened for Mwandishi at the Troubadour in West Hollywood and had the entire room up, stomping, clapping, sweating. How could the cosmos ever compare to the specter of several hundred people dancing together in a steaming club?

There had never been a band like Mwandishi before. But when you follow your muse that far out, it can be hard for people to come along. The up-close views of Mars

are unforgettable, but it’s hard to connect when you’re wearing a space suit. And Herbie wanted desperately to connect. “My philosophy of music changed,” he told the Baltimore Afro-American in 1976. “What I discovered is that my music wasn’t functional.

It wasn’t dinner music, it wasn’t party music, it wasn’t music with which you could have a conversation with someone.” The

Head Hunters, the only album this band ever made together, is one of the greatest jazz albums of all time. It’s also one of the greatest funk albums of all time. It shaped the course of both genres—and R&B, and eventually hip-hop— breaking down perceived barriers between art music and pop music.

Fifty years later, its influence can still be felt in everything from Trombone Shorty’s big-tent brass-

“I WAS BEGINNING TO FEEL THAT WE WERE PL AYING THIS HEAV Y KIND OF MUSIC, AND I WAS TIRED OF EVERY THING BEING SO HEAV Y” — Herbie Hancock lack of gravitational pull might make things seem light, but in that deoxygenated darkness, distant from the earthy Black funk of the Pointers and Funkadelic and Isaac Hayes—to say nothing of the liberating cri de coeur of Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)”—the Mwandishi music felt leaden. “I was beginning to feel that we were playing this heavy kind of music, and I was tired of everything being so heavy,” he said.

So Herbie lightened up. He let most of his band go, keeping only saxophonist Bennie Maupin. He poached drummer Harvey Mason from his old boss Donald Byrd. He plucked bassist Paul Jackson from an obscure Santana side project.

Percussionist Bill Summers had played on a single track by Jerry Garcia associate Merl Saunders.

The band they’d eventually call Headhunters couldn’t have been much farther from jazz orthodoxy if they’d tried. For old heads attuned to the evolution of the genre, it wasn’t exactly the Third Great Quintet.

rock to J Dilla’s collagist hip-hop to the UK drum ’n’ bass workouts of Roni Size & Reprazent. Flying Lotus, Thundercat, Kendrick Lamar on To Pimp A Butterfly, Kamasi Washington, Terrace Martin, Robert Glasper—these are just current LA musicians working in Head Hunters’ shadow. Mason’s slap-back drumming and Herbie’s oozing synth lines have been sampled by pop stars (Madonna), rappers (Digable Planets, Tupac, LL Cool J, Ice Cube), trip-hop legends (Massive Attack), rock weirdos (Frank Zappa), titans of dub (The Upsetters), and titans of basketball (Shaquille O’Neal). It is exceedingly rare that an album is actually as good as music critics, history, and its fans insist it is. If anything, Head Hunters is even better.

It’s also informed by some of the ideas he’d pursued years before.

Miles Davis’ 1969 album In A Silent Way, which Herbie contributed to, was composed of long jams that were then shaped and layered in postproduction—a common technique in rock and pop music of the time, but controversial

PERFORMANCES MAGAZINE AUGUST 2024 27

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in jazz, where live improvisation and spontaneous group energy reigned supreme. Herbie brought this cut-and-shape ethos to Head Hunters, and it allowed him to create interplay at a meta level.

Though the concept hadn’t quite made its way into popular jazz at the time, the band treats their lines almost like tape loops, playing the same phrases repeatedly without much elaboration. Through sheer repetition and clever juxtaposition, sounds that have been repeated any number of times appear to evolve and deepen.

Herbie had written “Watermelon Man” 10 years earlier for his 1962 solo debut Takin’ Off, but the version on Head Hunters appears

in dramatically different form. It opens with Summers blowing a ducking and diving pattern across the top of a beer bottle, simulating the sound of a Cameroonian flute. The rest of the Headhunters join in with blowing, whistling, yipping, their individual rhythms percolating into a single unit as complex and round as a mound of soap bubbles. Jackson plays a clipped bass line that neatly predicts the method hip-hop producers would use to sample records like this one 20 years later—his riff sounds like the best and most idiosyncratic moment in a longer solo that he’s isolated and turned into the song’s spine.

By the time Herbie comes in

“…MONOTONY…CAN BE LOOKED ON AS BORING REPETITION — OR IT CAN BE BORING A HOLE STR AIGHT THROUGH INTO YOUR MIND.” — Herbie Hancock

HERBIE HANCOCK IN 1965 BY FRANCIS WOLFF FOR MOSAIC RECORDS

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PERFORMANCES MAGAZINE AUGUST 2024

with a clavinet keyboard line as sharp as rose thorns, Mason is anchoring a cubist beat that feels like five rhythms and one at the same time, all of it anchored by Summers’ beer bottle. Suddenly, all this sound gathers into a single strike, the whistling disappears, and “Watermelon Man” begins to sound like something closer to a traditional jazz song. When the beer-bottle melody returns much later in the song and the yipping and whistling are layered back in, the patterns they’re playing haven’t changed from the song’s beginning, but the air around them—and thus the way we hear them—carries a different charge.

It’s a masterful arrangement.

All this repetition confounded some critics and more traditionally minded musicians. The Associated Press accused Herbie of “playing schlock,” while DownBeat’s Gary Larson, reviewing a live Headhunters show shortly after the album’s release, wrote, “The band tends to get caught in an up-tempo groove and remain there for the entire set.” For Larson, all that power came at a perceived cost: “The subtlety of previous Hancock groups is notably absent,” he wrote. Even leaving aside the racially charged notion that rhythmic subtlety is less sophisticated than melodic subtlety, an old head might have said that Headhunters’ focus on groove meant the music wasn’t developing and it wasn’t doing anything, and therefore it wasn’t exploratory. But Herbie—and John and Alice Coltrane, and Pharoah Sanders, and any other Black artist who by 1973 had sought their own reflection in West African music and culture— had discovered a secret. There

FE ATURE

A HEAD HUNTERS FAMILY TREE: can be great profundity in repetition. There can be great profundity in moving your body.

“There are two ways to listen to monotony,” Herbie told the great jazz critic Leonard Feather around this time. “It can be looked on as boring repetition—or it can be boring a hole straight through into your mind.” It’s the famous decree Funkadelic had issued three years prior put in reverse: Free your ass, and your mind will follow. “It’s simpler, true,” Herbie conceded, “but I wouldn’t say that the intellectualization of music necessarily improves it; nor does the voicing of horns in a manner more complex than what I’m now using. It’s a matter of personal taste, which has nothing to do with the value of the music.”

But in 1973, many, many people’s personal taste suggested that there was something valuable about this music. A truncated version of “Chameleon” was a certified hit, charting on Top R&B Singles and the Hot 100. The album went gold, selling 500,000 copies six months after it was released—a feat that took Miles Davis’ epochal Kind of Blue 35 years to achieve. It became the first jazz album to sell 1 million copies. It’s not hard to understand why: Mason’s drumming is so good that his isolated tracks could’ve sold 100,000 copies on their own.

More important, Head Hunters connected Herbie to his audience in a way he’d never experienced.

“It’s a pleasure…to walk out on stage and see a packed house actually dancing to your music,” he told Feather. “All the audiences I played to [before] were 80 to 90 percent white. Finally, I’ve been able to come out with some music the general black public can relate to.”

A LINEAGE OF INFLUENCE INFLUENCES ON HEAD HUNTERS Sly and the Family Stone, “Thank You (Falettinme Be Mice Elf Agin)” (1970)

Herbie got his first big break when legendary trumpeter Donald Byrd hired him in 1961

Mason played on Byrd’s 1973 album Street Lady Jackson was plucked from Santana timbale player Coke Escovedo’s side project

Impressed by Herbie’s work with Donald Byrd, Miles Davis hired him away in 1963.

Herbie played on countless Davis albums, helping the trumpeter evolve his sound, including On the Corner (1972), which brought hard funk together with jazz.

Maupin played with Herbie on Davis’ Bitches Brew (1969)

SAXOPHONE

BASS

DRUMS

The Pointer Sisters “Yes We Can Can” (1973)

Bennie Maupin

Paul Jackson

Harvey Mason

Wattstax (1972) “The Black Woodstock” had a profound impact of Maupin’s sense of melody.

Herbie Hancock KEYBOARDS

Bill Summers PERCUSSION

PERFORMANCES MAGAZINE AUGUST 2024 29

FE ATURE

A HEAD HUNTERS FAMILY TREE:

A LINEAGE OF INFLUENCE SAMPLES FROM HEAD HUNTERS

“CHAMELEON” IS SAMPLED IN:

“WATERMELON MAN” IS SAMPLED IN: 808 State, “Headhunters” (1988)

Frank Zappa, “Greggery Peccary” (1978)

Shaquille O’Neal, “I Hate 2 Brag” (1993); Producer Def Jef flips the sample for Shaq’s debut album

2Pac, “Words of Wisdom” (1991)

The trip-hop group Lamb samples Herbie’s piano riff from “VEIN MELTER” in “Gold” (1996)

Aaliyah, “Death of a Playa” (1997)

Beck, “Cellphone’s Dead” (2006); While not a sample, the track is clearly a tribute to the trademark “Chameleon” bass line

Nas samples “SLY” in “You Can’t Kill Me” (2006)

J Dilla, “Zen Guitar” (2005)

30 PERFORMANCES MAGAZINE AUGUST 2024

Massive Attack, “Dead Editors” (2016)

There they are, Headhunters, on Soul Train, in September 1974, playing “Chameleon” for Don Cornelius and what musicologist Steven F. Pond called “a young, hip, black listenership that had largely come to yawn at jazz.”

The Black press understood the album instantly: “Head Hunters is BAD. The album for the most part is Funkaay,” wrote the Atlanta Panther. “This album is a monster.

If this is any indication of Herbie’s new sound, I welcome the change.”

Head Hunters wasn’t just a new direction for Herbie. At a time when jazz fans worried about the genre’s relevance and future, Herbie and his new band—along with fusion groups like Return to Forever, Weather Report, The Tony Williams Lifetime, and Ornette Coleman’s Prime Time—showed a way to incorporate ideas from the worlds of funk and pop and rock to bring jazz forward. By making “dance music for the cerebrum,” as one writer put it, Herbie showed that the genre could converse with other styles without losing its soul.

“The thing that keeps jazz alive, even if it’s under the radar, is that it is so free and so open to not only lend its influence to other genres, but to borrow and be influenced by other genres,” Herbie told The New York Times’ Nate Chinen in 2013. “That’s the way it breathes.”

Jazz inhales music from around the world, and it exhales a new jazz back into that world. Breathe enough and it may start to seem natural, normal, a vital exchange in the most literal sense of the term. Something so close to the source of life it can be hard not to take it for granted. You may be so busy dancing to the music, you forget you’re breathing at all.

Your good intentions are like a garden.

They need constant attention.

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PROGR A M

SCHUMANN & BRUCH THURSDAY AUGUST 1, 2024 8PM Los Angeles Philharmonic Xian Zhang, conductor Karen Gomyo, violin

WAGNER

Prelude to Die Meistersinger von Nürnberg (c. 10 minutes)

BRUCH

Violin Concerto No. 1 in G minor, Op. 26 (c. 24 minutes) Prelude: Allegro moderato Adagio Finale: Allegro energico

Karen Gomyo

INTERMISSION R. SCHUMANN

Symphony No. 1 in B-flat major, Op. 38, “Spring” (c. 31 minutes) Andante un poco maestoso; Allegro molto vivace Larghetto Scherzo: Molto vivace Allegro animato e grazioso

Classical Partner: KUSC Programs and artists subject to change.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1 33

ABOUT THE PROGR A M

PRELUDE TO DIE MEISTERSINGER VON NÜRNBERG Richard Wagner (1813–1883) Wagner first contemplated Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) as a possible subject as early as 1845. He had just finished his opera Tannhäuser and was taking a cure at Marienbad, reading Georg Gottfried Gervinus’ history of German literature to unwind. A lighthearted opera about the historical mastersingers and their singing contests seemed like a good way to follow up Tannhäuser, which itself offered a spiritual and moral tale centered on another contest of song from the annals of medieval German legend.

Several other projects were fermenting in the composer’s brain at the time, including Lohengrin, Parsifal, and The Ring; Lohengrin ultimately took precedence (Wagner had started it earlier, in 1841), so Die Meistersinger had to wait.

Wagner thought about revisiting Die Meistersinger during a visit to a museum in Venice in autumn 1861, when a painting from the 1500s reminded him of the world of the mastersingers.

The intervening decade and a half had seen Wagner’s exile from Saxony for supporting the 1848 revolution, controversially appearing in London and Paris, and working on The Ring and Tristan und Isolde. It had also seen his rise from a respected position as

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PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

music director in Dresden to the status of international celebrity, a man whose every move was eagerly awaited by both his most ardent supporters and his most passionate detractors. The optimistic and lighter tone of Die Meistersinger, coupled with Wagner’s ability to tap into the nationalist sentiment sweeping the German-speaking states of central Europe in the 1860s—a united Germany finally emerged in 1871 from the carnage of the Franco-Prussian War—helped the work win over audiences at its Munich premiere in 1868.

The opera’s story revolves around the struggle between the forces of musical conservatism and musical change. The hero, Walther, with the help of mastersinger Hans Sachs (both characters were based on historical figures), ultimately triumphs with his song, a creation unlike any the mastersingers have heard before, and he gets the girl, too—and they don’t have to hurl themselves into the ocean, ride into a funeral pyre, or die in each other’s arms to bring about the symbolic fulfillment of the German soul or something like that.

Wagner composed the Prelude to Act I during a train trip in March 1862, before beginning work on the rest of the opera.

It introduces thematic material associated with the mastersingers and their apprentices. The

opening music presents two broad, majestic themes that recur at the end of the opera, the first heard during the work’s celebratory final moments and the second accompanying the entrance of the mastersingers. A contrasting theme returns later during Walther’s prize song, music of great lyricism. The central section of the prelude introduces busy music for the mastersingers’ apprentices, which Wagner uses as the basis of a fugue, a polyphonic nod to the opera’s 16th-century setting.

The composer then brings back the two opening themes for a peroration of rousing splendor. —John Mangum

VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26 Max Bruch (1838–1920) Max Bruch is one of those marginal—nominally “unimportant”—musical figures who, if he were alive today, could live off the royalties of just one work, this concerto. In view of the few compositions

by Bruch that have survived in the repertory, one might think that he was a string player. The present concerto, the Scottish Fantasy (also for violin and orchestra), and the cello staple Kol Nidrei could support that conclusion. Bruch was, in fact,

ABOUT THE PROGR A M

a prodigy not as an instrumental virtuoso but as a composer who would gain his greatest renown for his vocal music. His love for the voice was instilled by his mother, a professional singer and his first teacher.

Young Max already had numerous compositions to his credit when, at the age of 14, he created a stir throughout Germany by winning a major prize for his First Symphony.

At age 20, he set up shop as a music teacher in his native Cologne, quietly establishing a reputation as a reliable composer whose accessible, conservative works—often for chorus—were assured of a public hearing in Germany and Austria.

The British love for choral music in general and, for a time, for Bruch’s in particular gained him the post of chief conductor of the Liverpool Philharmonic Society’s orchestra and chorus in 1879. After touring as a guest conductor in the late 1880s, including engagements in Boston and New York, he settled down to teaching at the Berlin Academy, where he led the master class in composition until his retirement from public life in 1910.

Sketches for the G-minor Violin Concerto date as far back as 1857, when Bruch was only 18, and a first version of the complete work was heard in public as early as 1865. But he was less happy with it than

the critics were, and the score underwent extensive revision the following year, whereupon it was sent to the great violinist Joseph Joachim for his approval.

Joachim, after suggesting certain changes, accepted the dedication of the concerto and premiered it in Bremen in 1867.

It was an instant success, and its sweetly melancholy strains have retained their hold on listeners and grateful virtuosos to this day. —Herbert Glass

SYMPHONY NO. 1 IN B-FLAT MAJOR, OP. 38, “SPRING” Robert Schumann (1810–1856) It is frequently the case that nicknames attached to musical compositions are the fanciful creations of enthusiastic publishers rather than the original intentions of composers, Beethoven’s “Moonlight” Sonata being the most famous example.

In the case of Schumann’s “Spring” Symphony, we see on the preserved manuscript’s first page, in the composer’s hand, the nickname in German: “Frühlings Symphonie.”

Schumann’s feet were planted firmly in the Romantic world, emerging from the imposing shadow that Beethoven was to cast over all 19th-century symphonists, and we shouldn’t underestimate his newness.

Schumann’s orchestral palette is rich, heavy with brass, and he willingly embarks on freer chromatic adventures than his predecessors, such as Mendelssohn.

The symphony, sketched in a four-day burst and completed within a month, originally bore movement titles: “The Beginning of Spring,” “Evening,” “Merry Playmates,” and “Spring in Full Bloom.” The titles were deleted before publication but are still perfect invitations to this music.

A brass fanfare announces “The Beginning of Spring,” but the brief musical crisis that follows reminds us that Schumann composed this symphony in January and February, the dead of winter.

We have to anticipate spring before it fully arrives. The tenderness of the second movement, “Evening,” leads directly into the seemingly angry Scherzo of “Merry Playmates,” but the mood changes quickly. In a letter to a friend, Schumann wrote that while the last movement was “Spring in Full Bloom,” it was also a farewell to spring, as much marking a departure as celebrating the present.

The “Spring” Symphony premiered in Leipzig on March 31, 1841. The Leipzig Gewandhaus Orchestra was conducted by Felix Mendelssohn.

—Grant Hiroshima

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1 35

ABOUT THE ARTIS TS

XIAN ZHANG The 2023/24 season marks Xian Zhang’s eighth as Music Director of the New Jersey Symphony Orchestra, which celebrated its centennial last season.

Zhang also holds the positions of Principal Guest Conductor of the Melbourne Symphony Orchestra and Conductor Emeritus of Orchestra Sinfonica di Milano, having previously held the position of Music Director between 2009 and 2016.

In high demand as a guest conductor, Zhang juggles an exceptionally busy diary of engagements alongside her titled commitments. Throughout 2023/24, she conducts Puccini’s Madama Butterfly at the Metropolitan Opera in New York.

Zhang also returned to The Philadelphia Orchestra, Seattle Symphony, Orquestra Sinfônica do Estado de São Paulo, Houston Symphony, Orchestra of St Luke’s, and National Symphony (Washington, D.C.).

In summer 2023, she led the Boston Symphony Orchestra at Tanglewood. Zhang remains a popular guest of the London Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Detroit Symphony, Baltimore Symphony, Montreal Symphony, Toronto

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XIAN ZHANG

Symphony, NAC Ottawa, Orchestre National du Capitole de Toulouse, Belgian National Orchestra, and Norwegian Opera, where she returned last season for Puccini’s Tosca.

Letters for the Future, Zhang’s 2022 release on Deutsche Grammophon with The Philadelphia Orchestra and Time for Three, won Grammy Awards for Best Contemporary Classical Composition (for Kevin Puts’ Contact) and Best Classical Instrumental Solo.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

Zhang previously served as Principal Guest Conductor of the BBC National Orchestra and Chorus of Wales, the first female conductor to hold a titled role with a BBC orchestra.

In 2002, she won first prize in the Maazel-Vilar Conductor’s Competition. She was appointed the New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming Associate Conductor and the first holder of the Arturo Toscanini Chair.

ABOUT THE ARTIS TS

KAREN GOMYO Karen Gomyo, “a first-rate artist of real musical command, vitality, brilliance, and intensity” (The Chicago Tribune), possesses a rare ability to captivate and connect intimately with audiences through her deeply emotional and heartfelt performances. With a flawless command of the instrument and an elegance of expression, she is one of today’s leading violinists.

Gomyo’s 2023/24 season engagements include her debuts with the Chicago Symphony Orchestra with John Storgårds, Gewandhausorchester Leipzig with Semyon Bychkov, and the National Symphony Orchestra of Ireland with Lio Kuokman. She also appears with the Mozarteumorchester Salzburg with Constantinos Carydis, BBC Philharmonic Orchestra with Storgårds, Gulbenkian Orchestra with Giancarlo Guerrero, Orquesta Sinfónica de Bilbao with composer-

KAREN GOMYO

conductor Samy Moussa, and the Vancouver Symphony with Gerard Schwarz. In February 2024, Gomyo returned to the Dallas Symphony Orchestra for the world premiere of Year 2020, a Concerto for Trumpet, Violin, and Orchestra

by Xi Wang, with trumpeter Tine Thing Helseth and conductor Fabio Luisi. Together with conductor Jakub Hrůša, a frequent collaborator, Gomyo traveled to Japan to perform with the Tokyo Metropolitan Symphony Orchestra.

Highlights of recent seasons include subscription debuts with the New York Philharmonic, Pittsburgh Symphony, Orquesta Nacional de España, Czech Philharmonic, and Rome’s Accademia Nazionale di Santa Cecilia. Gomyo also returned to the Los Angeles Philharmonic under Gustavo Dudamel at the Hollywood Bowl, the Orchestre Philharmonique de Radio France in Paris under Mikko Franck, and the WDR Sinfonieorchester Köln with Cristian Macelaru.

A passionate chamber musician, Gomyo has performed with Olli Mustonen, Leif Ove Andsnes, Enrico Pace, James Ehnes, Noah BendixBalgley, Daishin Kashimoto, Emmanuel Pahud, Julian Steckel, the late Heinrich Schiff, mezzo-soprano Susan Graham, and guitarist Ismo Eskelinen, with whom she recorded the duo album Carnival on BIS Records.

Gomyo is also a champion of the Nuevo Tango music of Astor Piazzolla. She regularly collaborates with Piazzolla’s longtime pianist, tango legend Pablo Ziegler, as well as with bandoneon players Hector del Curto, JP Jofre, and Marcelo Nisinman. In 2021, Gomyo released A Piazzolla Trilogy (BIS Records), recorded with the strings of Orchestre National des Pays de la Loire and guitarist Stephanie Jones.

Renowned for her commitment to commissioning new repertoire, Gomyo has given the U.S. premieres of Samy Moussa’s violin concerto Adrano with the Pittsburgh Symphony and Matthias Pintscher’s violin concerto Mar’eh with the National Symphony Orchestra in Washington, D.C., under the baton of the composer. In May 2018, she performed the world premiere of Samuel Adams’ new Chamber Concerto with members of the Chicago Symphony Orchestra and Esa-Pekka Salonen, a work written specifically for Gomyo and commissioned by the CSO’s Music Now series for its 20th anniversary.

Born in Tokyo, Gomyo began her musical career in Montreal and New York. She studied under the legendary pedagogue Dorothy DeLay at The Juilliard School before continuing her studies at Indiana University’s Jacobs School of Music and New England Conservatory.

Gomyo also participated as violinist, host, and narrator in a documentary film about Antonio Stradivarius called The Mysteries of the Supreme Violin, produced by NHK Japan and broadcast worldwide on NHK World.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1 37

PROGR A M

TCHAIKOVSKY SPECTACULAR

WITH FIREWORKS

FRIDAY AUGUST 2, 2024 8PM SATURDAY AUGUST 3, 2024 8PM Los Angeles Philharmonic Otto Tausk, conductor Behzod Abduraimov, piano USC Trojan Marching Band

TCHAIKOVSKY

Polonaise from Eugene Onegin, Op. 24 (c. 4 minutes)

TCHAIKOVSKY

Piano Concerto No. 1 in B-flat minor, Op. 23 (c. 34 minutes) Allegro non troppo e molto maestoso—Allegro con spirito Andantino semplice—Prestissimo Allegro con fuoco

Behzod Abduraimov INTERMISSION TCHAIKOVSKY

Suite from The Sleeping Beauty, Op. 66 (c. 23 minutes)

TCHAIKOVSKY

1812 Overture, Op. 49 (c. 16 minutes)

Introduction: The Lilac Fairy Adagio: Pas d’action Pas de caractère: Puss in Boots Panorama Waltz

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills.

Pyrotechnics: Pyro Spectaculars by Souza Paul Souza, Designer and Technical Director of Fireworks Programs and artists subject to change.

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ABOUT THE PROGR A M

POLONAISE FROM EUGENE ONEGIN Peter Ilyich Tchaikovsky (1840–1893) It is impossible to measure Tchaikovsky’s—or anyone’s— degree of happiness, but, from the evidence, it seems safe to say that no work of his gave him more pleasure in the writing than the opera Eugene Onegin.

The extent of the moody and frequently depressed composer’s Onegin elation is reflected in a letter to his brother Modest (June 1877): “I am in love with the image of Tatyana,” he wrote. “I am under the spell of Pushkin’s poetry, and am compelled to compose the music as if by irresistible attraction.”

The score of Eugene Onegin is pervaded by shades of lyricism, from quiet melancholy to breathless passion (but hardly any “glitter”), punctuated now and then by music of a purely—but appropriately—decorative nature.

One example of the latter occurs in the ball scene at the beginning of the third act, when a dashing Polonaise is danced. For the festivities, Tchaikovsky provided music with exactly the right aristocratic pomp and ceremony.

—Orrin Howard

PIANO CONCERTO NO. 1 IN B-FLAT MINOR, OP. 23 Peter Ilyich Tchaikovsky On Christmas Eve of 1874, Tchaikovsky took the completed score of his First Piano Concerto to the virtuoso Nikolai Rubinstein, hoping that the player would premiere the work and, through his advocacy, find a place for it in the repertoire. Rubinstein had played other works by Tchaikovsky and, until this point, had been one of the composer’s strongest supporters.

No wonder that Tchaikovsky was stunned when the pianist gave the new concerto a reception that made the Siberian tundra seem warm and welcoming. The composer described the incident in a letter to his benefactor, Nadezhda von Meck, written in January 1878.

“I played the first movement.

Never a word, never a single remark.

Do you know the awkward and ridiculous sensation of putting before a friend a meal which you have cooked yourself, which he eats—and then holds his tongue? Oh, for a single word, for friendly abuse, for anything to break the silence!

For God’s sake say something! But Rubinstein never opened his lips.”

The run-through continued, but the composer still got no reaction from the stone-faced Rubinstein.

The master pianist held his tongue

until Tchaikovsky had played through the entire concerto, at which point Rubinstein could no longer contain his disgust. “‘Well?’ I asked, and rose from the piano. Then a torrent broke from Rubinstein’s lips, gentle at first, gathering volume as it proceeded, and finally bursting into the fury of a Jupiter. My Concerto was worthless, absolutely unplayable; the passages so broken, so disconnected, so unskillfully written, that they could not even be improved; the work itself was bad, trivial, common; here and there I had stolen from other people; only one or two pages were worth anything; all the rest had better be destroyed.

I left the room without a word.

Presently Rubinstein came to me and, seeing how upset I was, repeated that my Concerto was impossible but said if I would suit it to his requirements he would bring it out at his concert. ‘I shall not alter a single note,’ I replied.”

Luckily, Tchaikovsky didn’t. He immediately banished the idea of dedicating the concerto to Rubinstein, eventually bestowing the honor on the German pianist and conductor Hans von Bülow.

Bülow premiered the work in Boston on October 13, 1875, where it was a triumphant success, marking the beginning of a string of

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ABOUT THE PROGR A M

American performances that increased Tchaikovsky’s popularity here.

The opening Allegro non troppo e molto maestoso is majestic and measured. After an introductory flourish dominated by the brass, a series of inevitable chords from the piano rides a passionate melody in the orchestra. Before this first theme has completely run out of steam, snippets of the second steal in, foreshadowing its imminent appearance in a uniquely structured double exposition. The stormy development builds to two shattering climaxes, first for the piano, punctuated by the orchestra, and then for the orchestra, featuring a searing figure for the strings taken up by the piano with thundering bravura. Closing the movement is dazzling passagework for the soloist, which gives melodic shape to a series of resolute chords played by the orchestra.

The central movement unexpectedly presents a meltingly beautiful Andantino semplice—just what one would expect of a slow movement—that gives way to a finger-twisting Prestissimo of the fleetest kind. The melody of this section comes from a French song, “Il faut s’amuser, danser, et rire” (One must have fun, dance, and laugh), a favorite of Tchaikovsky’s onetime fiancée, the soprano Désirée Artôt.

The finale, marked Allegro con fuoco—fast with fire—opens with a flamboyant Ukrainian tune that dissolves into a soaring second theme, played first by the violins, then by the soloist. Tchaikovsky pulls out all the stops for the concerto’s coda, with the orchestra playing the second theme for all its worth before everyone launches into the spellbinding last pages. —John Mangum

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SUITE FROM THE SLEEPING BEAUTY Peter Ilyich Tchaikovsky Tchaikovsky wrote his first ballet, Swan Lake, in 1875 because—he was frank to admit—he needed the money.

The project may have helped fill his pockets, but it also fully awakened what had been manifest in many of his nonballet scores: the gift to write music that captures the essence of dance. Some 13 years, two symphonies, and several operas later, Tchaikovsky was commissioned to write another ballet, this one for the Mariinsky Theater in St. Petersburg, based on The Sleeping Beauty, the fairy tale by Charles Perrault.

The composer was somewhat wary of another bout with the world of ballet, for Swan Lake had been a difficult experience, and the public shrugged off its badly staged 1877 premiere at the Bolshoi Theater. At the time, Tchaikovsky was not surprised at the relative failure of his first balletic child. He wrote in his diary: “Lately I have heard Delibes’ very clever music. Swan Lake is poor stuff compared to it. Nothing in the last few years has charmed me so greatly as this ballet of Delibes’.”

Delibes notwithstanding, the composer had enough faith in his abilities in the genre to accept The Sleeping Beauty commission, and in addition he had the inestimable help

of choreographer Marius Petipa, the founder of the Russian school of classical ballet. Tchaikovsky cooperated fully with Petipa, providing the ballet with music of incomparable richness and rightness—a score of symphonic splendor. Yet at the first production in January 1890 the audience was somewhat dismayed by the score. Although it contains melodies aplenty, it has a scope and a grandeur that were not considered appropriate for the dance theater at the time.

How times have changed.

The Sleeping Beauty has long since attained the status of a classic in the ballet repertory, known and loved in its fullevening version. Even on its own in the concert hall, the music casts its enchantment, for it is Tchaikovsky at his best. No less a musician than the 20th-century master Igor Stravinsky went on record with that latter judgment.

In a lengthy open letter to Ballets Russes director Serge Diaghilev, who presented the London premiere of The Sleeping Beauty in 1921, Stravinsky pays homage to Tchaikovsky and extends gratitude to Diaghilev for “producing that masterpiece by our great and beloved Tchaikovsky. The convincing example of Tchaikovsky’s great creative power is beyond all doubt the ballet The Sleeping Beauty. I have

ABOUT THE PROGR A M

just read again the score of this ballet. I have orchestrated some numbers of it which had remained unorchestrated and unperformed. I have spent some days of intense pleasure in finding again and again the same feeling of freshness, inventiveness, ingenuity, and vigor.” He closed the letter, which was printed in The Times, with “I warmly desire that your audiences of all countries may feel this work as it is felt by me, a Russian musician.”

This suite opens with the music that is heard before the curtain rises. Rather than beginning the ballet with the kind of graceful dance music one might expect in a fairy-tale ballet, Tchaikovsky sounds a vital, muscular tone with the aggressive motif associated with the wicked fairy Carabosse, who casts the evil spell on Princess Aurora. This is followed in short order by the flowing, shimmering strains of Carabosse’s counterpart, the Lilac Fairy, who devotes her magical powers to the happiness of the Princess.

We then encounter the procession of Aurora’s suitors as they each present her a rose, the delightful dance of Puss in Boots from the Act III wedding, and the shimmering Panorama at the start of Act II. The Suite concludes with one of Tchaikovsky’s best-known waltzes, danced by the corps holding garlands of flowers in celebration of Aurora’s 16th birthday. —Orrin Howard

1812 OVERTURE Peter Ilyich Tchaikovsky Triumph is the order of the day in Tchaikovsky’s 1812 Overture. The work’s official title is The Year 1812, a Festival Overture to Mark the Consecration of the Cathedral of Christ the Savior, which was in Moscow. Tchaikovsky wrote the piece in less than a week—his capacity to compose quickly was legendary.

Anton Rubinstein, his teacher at the Moscow Conservatory, remembered an instance when the young Tchaikovsky was asked to submit a few contrapuntal variations; he turned in over 200.

The commission for the overture came from Anton’s younger brother, Nikolai Rubinstein, who was organizing music for an exhibition that took place in 1882. The overture’s first performance took place August 20, not outside the Cathedral of Christ the Savior as is often assumed, but in a concert hall expressly built for the exhibition. The cathedral was built to commemorate the Russian defeat of Napoleon in 1812, and Tchaikovsky crafted a suitably patriotic work for the occasion. He used the Russian Empire’s national anthem, “God Save the Czar,” to open and usher in the close of the work, also incorporating a folk melody borrowed from his forgotten opera The Voyevoda and the French national anthem, “La Marseillaise.” What most remember about the overture, however, is its use of cannons, first to mark the French defeat, then during the final, celebratory dance that follows the second, triumphant statement of “God Save the Czar.” —John Mangum

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ABOUT THE ARTIS TS

OTTO TAUSK

OTTO TAUSK

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Now in his sixth season as Music Director of the Vancouver Symphony Orchestra (VSO) and Artistic Advisor of the VSO School of Music, Dutch conductor Otto Tausk has shown extraordinary artistic leadership in the VSO community and beyond. His innovatively reimagined digital performance series and the initiative to introduce Canadian contemporary music, including five indigenous composers’ works, were received to great acclaim and significantly widened the orchestra’s reach.

Tausk is a passionate believer in the concert as a shared experience between the performers and the audience, and his inclusive approach has had a profound impact on the community of Vancouver, where the orchestra has become an essential part of the cultural identity of the city and its people.

In the 2023/24 season, Tausk conducts masterpieces

by Mahler, Tchaikovsky, and Shostakovich as well as Verdi’s Requiem and Haydn’s Creation, and gives the world premiere

performance of a work by British Columbian composer Nicholas Ryan Kelly. He works with stellar soloists such as Vadim Gluzman, Steven Isserlis, Lang Lang, Yo-Yo Ma, and Fazıl Say. Tausk’s guest-conducting appearances of the season include appearances with the San Diego Symphony, Tasmanian Symphony Orchestra, Concertgebouworkest, Orquesta Sinfónica de Galicia, and Norwegian Radio Orchestra.

He will also conduct Thomas Ades’ opera Powder Her Face at the Nederlandse Reisopera.

Tausk has recorded with the Concertgebouworkest, Sinfonieorchester St. Gallen, BBC Scottish Symphony Orchestra, and the Netherlands Radio Philharmonic Orchestra.

Born in Utrecht, Otto Tausk studied violin with Victor Lieberman and conducting with Jonas Aleksa. From 2004 to 2006, he was an Assistant Conductor to Valery Gergiev with the Rotterdam Philharmonic Orchestra. In 2011, he received the prestigious De Olifant prize of City of Haarlem, recognizing his achievements as music director of the Holland Symfonia and his contribution to the arts in the Netherlands.

ABOUT THE ARTIS TS

BEHZOD ABDURAIMOV Behzod Abduraimov’s performances combine an immense depth of musicality with phenomenal technique and breathtaking delicacy.

He performs with renowned orchestras worldwide, including the Philharmonia Orchestra, Los Angeles Philharmonic, Deutsches Symphonie-Orchester Berlin, San Francisco Symphony, The Cleveland Orchestra, Orchestre de Paris, Concertgebouworkest, Czech Philharmonic, Vienna Symphony Orchestra, NHK Symphony, and RundfunkSinfonieorchester Berlin, with prestigious conductors such as Santtu-Matias Rouvali, Gustavo Dudamel, Semyon Bychkov, Gianandrea Noseda, and Vasily Petrenko.

During the 2023/24 season, he performed with the Chicago Symphony, Houston Symphony, and Pittsburgh Symphony orchestras; Mozarteumorchester Salzburg; Oslo Philharmonic; Stavanger Symphony Orchestra, including a tour of Spain; and the Belgian National Orchestra at the Concertgebouw.

Conductor collaborations include Osmo Vänskä, Juraj Valčuha, Constantinos Carydis, Robin Ticciati, Manfred Honeck, Yoel Levi, Hannu Lintu, and Andris Poga.

In recital, Abduraimov has appeared at Carnegie Hall’s Stern Auditorium, Queen Elizabeth Hall in London, and Amsterdam’s Concertgebouw and has recently been presented by Alte Oper, Frankfurt; Toppan Hall, Tokyo; Teatro alla Scala; and La Società dei Concerti di Milano. Regular festival appearances include Aspen, Verbier, Rheingau, La Roqued’Anthéron, Lucerne, and Ravello.

Abduraimov’s latest recording for Alpha Classics was an Editor’s Choice in the January issue of Gramophone and was included

in Apple Music’s “10 Classical Albums You Must Hear This Month” in February. A DVD of his BBC Proms debut in 2016 with the Münchner Philharmoniker was released in 2018.

Born in Tashkent, Uzbekistan, in 1990, Abduraimov began his piano studies at the age 5. In 2009, he won first prize at the London International Piano Competition. He studied with Stanislav Ioudenitch at the International Center for Music at Park University, Missouri, where he is Artist-in-Residence.

BEHZOD ABDURAIMOV

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ABOUT THE ARTIS TS

USC TROJAN MARCHING BAND

USC TROJAN MARCHING BAND Shortly after the University of Southern California was founded in 1880, a group of musicians came together to form what would become the Trojan Marching Band. Now the largest spirit organization on campus, the band has developed into one of the most exciting and innovative collegiate marching bands in the country. Featuring 350 passionate students from nearly every major, the TMB is a prominent representative of the university with 300 engagements each year. Together with USC Song, the USC Spirit Leaders, and USC’s mascot Traveler, the Trojan Marching

44 PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

Band is known as “The Spirit of Troy” for its commitment to USC and its tireless support of Trojan athletics.

Twice named the “Best Band in College Football” by USA Today, the TMB has not missed a USC football game—at home or on the road—since 1987, a streak that surpassed 440 last season. At home in the Los Angeles Memorial Coliseum, the band entertains the Trojan faithful with performances before, during, and after the game. The traditional pregame features the Trojan fight songs and the band’s distinctive rendition of “The

Star-Spangled Banner.” Each halftime, the TMB presents a new and exciting field show that is a powerful blend of popular music, precision drills, and crowd-pleasing dance routines. Then, after the game, the band performs its customary set of “rock charts” for the lucky fans who stay past the final whistle.

The TMB is directed by Dr. Jacob Vogel, in his third season leading the organization. He was elevated to the position after 12 years as a teaching assistant, assistant director, associate director, and arranger with the program.

PROGR A M

PROKOFIEV & SHOSTAKOVICH TUESDAY AUGUST 6, 2024 8PM Los Angeles Philharmonic Ryan Bancroft, conductor Denis Kozhukhin, piano

PROKOFIEV

Piano Concerto No. 3 in C major, Op. 26 (c. 27 minutes) Andante—Allegro Tema con variazioni Allegro ma non troppo

Denis Kozhukhin INTERMISSION SHOSTAKOVICH

Symphony No. 10 in E minor, Op. 93 (c. 57 minutes) Moderato Allegro Allegretto Andante—Allegro

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills.

Programs and artists subject to change.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1 45

ABOUT THE PROGR A M

PIANO CONCERTO NO. 3 IN C MAJOR, OP. 26 Sergei Prokofiev (1891–1953) In common with Beethoven, Prokofiev wrote five piano concertos. Only one of them, however, is played often. It is the Third, which was first performed in Chicago in December 1921, during the composer’s selfimposed exile from his native Russia. Although the work had been in progress since 1911, its elements are united in an exciting and colorful display that shows no signs of its long gestation period.

Prokofiev made his debut as a pianist-composer in 1908, when he shocked the audience with such daring works as his Suggestion diabolique, and he would go on to write a significant body of work for the keyboard (including an astonishing trilogy of so-called “War” Sonatas—Nos. 6, 7, and 8—between 1939 and 1944).

Prokofiev’s distinctive style, blending rapid and percussive playing with liquid lyricism and pungent harmonies, makes his music almost instantly recognizable. You will hear pre-echoes of his wonderful Romeo and Juliet ballet score (1935–36) in this concerto, which the composer himself introduced in Chicago and then later in Los Angeles.

The first movement opens with a haunting theme in the clarinets that is soon displaced by energetic activity in the strings, making way in turn for the piano’s entry. The staccato passagework required of the soloist is of the most exciting

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(and exacting) order. An interlude for oboe (with castanets) leads to a development of the opening melody, then more fireworks for the soloist and orchestra.

The second movement is in the form of theme and variations, alternating between rapt and poetic, dazzling and dynamic. The third and final movement returns to the brilliant style of the first, uniting the composer’s contrasting proclivities for extremely (even decadently) luscious melody and brittle, machine-like rhythmic energy. —Dennis Bade

SYMPHONY NO. 10 IN E MINOR, OP. 93 Dmitri Shostakovich (1906–1975) Shostakovich’s Tenth Symphony is 50 minutes of tragedy, despair, terror, and violence— and two minutes of triumph.

Since the end of the 1970s, the most widely accepted interpretation of the work has seen it as a depiction of the Stalin years in Russia, when as many as 20 million people died as a direct or indirect result of Stalin’s regime and those who didn’t lived in constant fear. Shostakovich certainly felt the capriciousness of Stalin’s rule firsthand—he was publicly denounced, his works banned, and his status reduced to that of a “non-person.” Friends and colleagues disappeared. The horror of those years—and the collective sigh of relief that doubtlessly followed when Stalin died on March 5, 1953—certainly make a plausible program for Shostakovich’s Tenth.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

Traditionally, the Tenth Symphony has been dated to the summer of 1953, after Stalin’s death; the composer hadn’t written a symphony since an infamous 1948 crackdown proscribed his music. Recent scholarship has shown that the first movement’s two opening themes rework ideas from an abandoned 1946 violin sonata; the pianist Tatiana Nikolayeva asserted that Shostakovich composed the movement in the early part of 1951, simultaneously with his 24 Preludes and Fugues for piano, and completed the symphony, perhaps in an early version, that year. Shostakovich’s own letters clearly date much of the work on the symphony to the summer of 1953, but in light of this other evidence, the work had been stirring in the composer’s imagination for several years.

The symphony opens with an extended Moderato that comprises nearly half of the work’s total length. The movement centers on two extended groups of thematic material. The first contrasts a steady tread that begins in the cellos and basses, with longer notes held initially by violins and violas. Out of this a wistful motif emerges in the clarinet from which Shostakovich builds to an impassioned, wrenching climax. After a grave brass chorale and an extended reiteration of the clarinet motif, a solo flute starts the second group of material, which Shostakovich slyly works into an insinuating, almost predatory waltz. The bassoons take up the clarinet theme to launch the movement’s nightmarish central section, as Shostakovich

ABOUT THE PROGR A M

quickly builds to a sustained emotional outpouring, complete with lurid, shrieking piccolos and ominous military drum.

Using marches and waltzes for the interior movements of a symphony was something Tchaikovsky had done, so Shostakovich’s decision to write a march and waltz for the second and third movements of the Tenth comes as no surprise. The march is music of unremitting terror and frenzied violence, the military drum again making its presence keenly felt.

In the third-movement waltz, the composer introduces himself into the music with a signature—D, E flat, C, and B, the D-S-C-H motif—from his first initial and the first three letters of his last name spelled out in German. (In German notation,

E flat is known as “Es” and B natural as “H.”) This theme is first introduced by flutes and clarinets about a minute into the movement. Another motif, played repeatedly by the solo horn, comes from the name of one of his pupils, Elmira Nazirova (E-A-E-D-A, or E-La-Mi-Re-A with solfège mixed in), a code cracked by Shostakovich scholar Nelly Kravetz. At the movement’s close, the horn obsesses on the Elmira motif while the piccolo and the flute play the D-S-C-H signature, underlining the music’s dimension of personal tragedy, its sardonic, bitter tone arising from unfulfilled longing for an unattainable muse.

The finale begins with an extended dialogue dominated by solo winds, an effective counterbalance to the

symphony’s opening. The clarinets launch the manic Allegro, which soon ventures into the nightmare territory of the opening movement. A massive eruption of the D-S-C-H motif, hammered out by the full orchestra triple forte, stops the madness. The motif hovers in the background during the ensuing passage, played three times by trumpet and trombone, before a return to the Allegro material. It starts as a jaunty bassoon solo, finally untroubled by the shadows that have haunted the rest of the symphony. The music builds to a massive climax, fortified by the D-S-C-H signature (in horns and trumpets), a resolute assertion of the individual’s triumph over a soulless, dehumanizing regime.

—John Mangum

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ABOUT THE ARTIS TS

RYAN BANCROFT Ryan Bancroft grew up in Los Angeles and first came to international attention in April 2018 when he won First Prize and the Audience Prize at the prestigious Malko Competition for Young Conductors in Copenhagen. Since September 2021, Bancroft has been Principal Conductor of the BBC National Orchestra of Wales. Following his first visit to work with the Tapiola Sinfonietta in Finland, Bancroft was invited to become its Artist in Association from the 2021/22 season onward. In 2021, Bancroft was announced as Chief Conductor Designate of the Royal Stockholm Philharmonic Orchestra and took up the position in September 2023.

Bancroft’s first season in Stockholm opened with the orchestra’s first performance of Sven-David Sandström’s The High Mass, together with the Eric Ericson Chamber Choir.

Throughout the season Bancroft conducted a wide range of repertoire with the orchestra, including premieres by Daniel Börtz and Anders Hillborg and appearances with soloists including Emanuel Ax and Seong-Jin Cho. Bancroft made his Hollywood Bowl debut in August 2023 with the Los Angeles Philharmonic and Eric Lu, followed by his debut with The Cleveland Orchestra at the Blossom Festival alongside Mao Fujita. In the 2023/24 season, he made debuts with the San Francisco and Cincinnati symphony orchestras and returned to the Toronto

RYAN BANCROFT

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Symphony. Previous seasons included performances with the Minnesota, Baltimore, Houston, and Dallas symphony orchestras.

The 2023/24 season also saw Bancroft debut with the NDR Elbphilharmonie Orchestra with Joshua Bell, the Orquesta Sinfónica de Castilla y Léon with Martin Fröst, and the Netherlands Radio Philharmonic with Bomsori Kim, and he returned to the Royal Festival Hall with the Philharmonia and Renaud Capuçon.

Since winning the Malko Competition, Bancroft has conducted other leading European orchestras including the London Philharmonic, BBC Symphony, Orchestre Nationale du Capitole de Toulouse, City of Birmingham Symphony, Swedish Radio Symphony Orchestra, Danish National Symphony, Rotterdam Philharmonic, Rai Torino, and Ensemble Intercontemporain.

Bancroft has a passion for contemporary music and has performed with Amsterdam’s acclaimed Nieuw Ensemble, assisted Pierre Boulez in a performance of his Sur Incises in Los Angeles, premiered works

by Sofia Gubaidulina, John Cage, James Tenney, and Anne LeBaron, and worked closely with improvisers such as Wadada Leo Smith and Charlie Haden.

Bancroft studied trumpet at the California Institute of the Arts, with additional studies in harp, flute, cello, and Ghanaian music and dance. He received a Master of Music degree in Orchestral Conducting from the Royal Conservatoire of Scotland.

ABOUT THE ARTIS TS

DENIS KOZHUKHIN A pianist of exceptional technique, emotional depth, and sophistication, Denis Kozhukhin has gained significant recognition through his powerful performances, establishing himself as one of the most accomplished musicians of his generation.

Highlights of the last two seasons include performances with the San Francisco Symphony, Orchestre symphonique de Montréal, Frankfurt’s hr-Sinfonieorchester, BBC Symphony, Orchestre National de Belgique, Danish National Symphony, Philharmonia Orchestra, Royal Stockholm Philharmonic, and WDR Sinfonieorchester. He has worked with Rafael Payare, Alain Altinoglu, Cristian Măcelaru, Hannu Lintu, Dalia Stasevska, and Santtu-Matias Rouvali.

Kozhukhin’s 2023/24 season includes returns to the Oslo Philharmonic, NHK Symphony, National Symphony (Washington, D.C.), and Orquestra Simfònica de Barcelona, alongside debuts with the Dallas Symphony, Düsseldorfer Symphoniker, and Melbourne Symphony. He also

performs recitals and chamber music at the Pierre Boulez Saal, Elbphilharmonie, Wigmore Hall, Vienna’s Konzerthaus, and Zurich’s Tonhalle. Since winning the Queen Elisabeth Competition in 2010, Kozhukhin has performed with the London Symphony, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, and Staatskapelle Berlin. A sought-after recitalist and chamber musician, he regularly appears at prominent music festivals including Verbier, Gstaad, Grafenegg, Dresden, Intonations, Tsinandali, Klavier Ruhr, Lanaudière, and Jerusalem, as well as the BBC Proms.

Kozukhin is a Pentatone recording artist, with a discography spanning works by Haydn, Mendelssohn, Tchaikovsky, Grieg, Ravel, and Gershwin.

A graduate of the Reina Sofía School of Music in Madrid under the guidance of Dmitri Bashkirov and Claudio Martínez-Mehner, Kozhukhin further honed his skills at the Piano Academy at Lake Como, where he worked with notable pianists such as Fou Ts’ong, Stanislav Ioudenitch, Peter Frankl, Boris Berman, Charles Rosen, and Andreas Staier, and in Stuttgart with Kirill Gerstein.

DENIS KOZHUKHIN

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PROGR A M

LAUFEY WITH THE LA PHIL WEDNESDAY AUGUST 7, 2024 8PM Laufey Los Angeles Philharmonic Thomas Wilkins, conductor Laufey, lead vocals, piano, guitar, cello Heather Rivas, keyboards Maverick MacMillan, drums Dario Bizio, bass Ryland Holland, guitar & percussion Michelle Shin, violin 1 Molly Rogers, violin 2 Leah Metzler, cello Kiara Perico, viola

Intermission to be announced from the stage.

Programs and artists subject to change.

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ABOUT THE ARTIS TS

LAUFEY Laufey (pronounced LAY-vay) is a 25-year-old Los Angeles-based singer, composer, producer, and multi-instrumentalist whose jazz songs are about young love and self-discovery. Raised in Reykjavík and Washington, D.C., with annual visits to Beijing, the Icelandic-Chinese artist grew up playing cello as well as piano and became hooked on the jazz standards of Ella Fitzgerald after digging through her father’s record collection.

In 2020, while still a student at Berklee College of Music, Laufey released her debut single, “Street by Street,” which went on to top the Icelandic radio charts.

Following the launch of her 2021 EP, Typical of Me, Laufey was named Best New Artist in Jazz and Blues at the Icelandic Music Awards and hosted her own show on BBC Radio 3/BBC Sounds. Her first full-length album, Everything

LAUFEY

THOMAS WILKINS

I Know About Love, debuted at No. 1 on Billboard’s Alternative New Artist Album chart, and the lead single, “Valentine,” peaked at No. 1 on the Spotify Jazz Chart. In 2022, Laufey was the most-streamed jazz artist on Spotify, with 425 million streams across all platforms.

THOMAS WILKINS To read about conductor Thomas Wilkins, please turn to page 16.

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SYMPHONIC TANGO & FLAMENCO THURSDAY AUGUST 8, 2024 8PM Los Angeles Philharmonic François López-Ferrer, conductor Blake Pouliot, violin Flamenco Vivo Carlota Santana Emilio Ochando, choreographer

FALLA

The Three-Cornered Hat, Suite No. 2 (c. 12 minutes) The Neighbors Miller’s Dance (Farruca) Final Dance

Flamenco Vivo Carlota Santana PIAZZOLLA, Arranged by Leonid DESYATNIKOV

The Four Seasons of Buenos Aires (c. 27 minutes) Autumn Winter Spring Summer

Blake Pouliot INTERMISSION DEBUSSY

Ibéria (c. 20 minutes)

RAVEL

Boléro (c. 14 minutes) Flamenco Vivo Carlota Santana

Par les rues et par les chemins (Along the streets and along the paths) Les parfums de la nuit (The scents of the night) Le matin d’un jour de fête (The morning of a festive day)

This performance is generously supported by Pasadena Showcase House for the Arts.

Programs and artists subject to change.

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ABOUT THE PROGR A M

THE THREE-CORNERED HAT, SUITE NO. 2 Manuel de Falla (1876–1946) During World War I, neutral Spain received an invigorating influx of foreign artists looking for alternative markets to those along the usual Paris-BerlinVienna routes. Prominent among those artists was the impresario Serge Diaghilev and his Ballets Russes, which became a favorite of King Alfonso XIII. Diaghilev discussed several potential projects with Spanish composer Manuel de Falla, settling on an adaptation of the 19thcentury writer Pedro Antonio de Alarcón’s comic novella El sombrero de tres picos (The Three-Cornered Hat). Falla brought this to the stage first as the pantomime El corregidor y la molinera, based on two scenes adapted by his usual collaborators, the husband-andwife team of Gregorio Martínez Sierra and María Lejárraga.

Alarcón’s novella contains a confusing amount of incident, but the central narrative follows the traditional characters of a jealous miller, his beautiful young wife, and a lecherous corregidor (the local magistrate, whose position is symbolized by his three-cornered hat).

The oafish but persistent corregidor is thwarted at every turn, is mistakenly arrested by his own constables, and suffers the peasant justice of being tossed in a blanket for a finale of general merriment.

For Diaghilev, Falla increased the size of the orchestra and eliminated some incidental music from the second part while adding a solo specifically for Léonide Massine, who choreographed the ballet and danced the part of the miller. Pablo Picasso designed the sets and costumes, and at his request Falla wrote an introduction and solo song to be performed before Picasso’s curtain went up. The ballet had a hugely successful premiere in London in 1919 (as Le tricorne), establishing Falla’s international reputation.

The Second Suite opens with the miller’s neighbors gathering to celebrate the Feast of St. John and dancing seguidillas based on traditional themes, including one also popularized in Gerónimo Giménez’s zarzuela La boda de Luis Alonso. The miller then has his solo, a dark and fiery flamenco farruca, the earthiest dance in the ballet. All of the ballet’s themes combine in the final jota, a chaotic climax and jubilant resolution in one. —John Henken

THE FOUR SEASONS OF BUENOS AIRES Astor Piazzolla (1921–1992) Arranged by Leonid Desyatnikov (b. 1955) Vivaldi’s Spring, Summer, Autumn, and Winter were the first four of the 12 concertos in his Opus 8, The Contest Between Harmony and Invention, published in 1725. Together they comprise Vivaldi’s Seasons, with virtually every passage describing the events set out in a sonnet accompanying each of the concertos. There are also descriptive directions to the players that are not in the sonnets. This extramusical symbolism did not suit everyone’s taste, and the most savage critics were the musicians most opposed to Vivaldian flashiness in the first place.

Two centuries later, Astor Piazzolla faced another sort of argument about propriety.

If the distance of time makes it hard to appreciate Vivaldi’s true importance, geographical and cultural distance obscures the position of Piazzolla, who occupies something of a fringe position in the Eurocentric classical world.

Piazzolla was rooted in the world of the tango. Like the

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ABOUT THE PROGR A M

tango, he was born in Buenos Aires, and similarly, he quickly went elsewhere, moving with his parents to New York’s Little Italy when he was 4. In his teens, he returned to Buenos Aires, where he studied composition with the eminent Argentinian composer Alberto Ginastera and played the bandoneon, a type of accordion (with buttons instead of keys), in tango orchestras.

Setting out on his own, Piazzolla quickly moved beyond the boundaries of traditional tango. His music expanded the use of dissonance and complex harmony and rhythm, and he incorporated elements picked up from the classical and jazz repertoire. It forsook the dance hall for the concert hall, where his audiences were more likely to be classical or jazz fans than tango aficionados.

And yet Piazzolla’s nontango influences made him a controversial figure among those aficionados. “I have had enough of people telling me that what I am playing is not tango,” he said.

One tango purist is said to have threatened him with a gun in the 1950s. Whether coincidentally or not, he left Argentina for Paris in 1954 to study with Nadia Boulanger, who convinced him that he was, after all, a tango composer.

He returned from Paris and formed the quintet (violin, bass, piano, guitar, and bandoneon) that inspired his best-known work in what he called “the New Tango.”

Neither fish nor fowl, his music was

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destined for either the obscurity that befalls work that never finds an audience or the prominence that comes with appealing to multiple audiences that marketers call “crossover.” Toward the end of his life, Piazzolla’s music crossed over in a big way.

The Four Seasons of Buenos Aires, completed in 1970, are themselves fairly well traveled.

Like much of his music, they have been arranged for a host of different instrumentations: Piazzolla recorded them with his own groups, and other versions include solo guitar and piano trio.

The version heard tonight is a fairly free adaptation (by Russian composer Leonid Desyatnikov, arranged for solo violin and orchestra in 1996–98) made with Vivaldi’s Four Seasons in mind: The numerous quotations from Vivaldi (sometimes interpolated and sometimes worked into the fabric of the music) are not from Piazzolla’s pen. But keep in mind that Piazzolla’s own performances of his music were often full of improvisation, so additions or alterations by performers or arrangers can be seen as part of the game. —Howard Posner

IBÉRIA Claude Debussy (1862–1918) Ibéria is the second of three pieces Debussy composed between 1905 and 1912 that are included in the set titled

Images pour orchestre, the first being Gigues and the last Rondes de printemps. Ibéria itself is in three movements.

He originally planned the pieces for two pianos but came to the realization that his visions required the full palette of symphonic color.

For Debussy, the musical essence of Spain elicited subtle insinuation, elegant rhythmic dash, and, perhaps surprisingly in a pictorial work such as Ibéria, a considerable amount of polyphonic activity.

The Spain he conjured in Ibéria is drawn almost entirely from imagination, for the French composer had spent no more than a few hours in the country.

But no less an authority than the great Spanish composer Manuel de Falla attested to Debussy’s genuine embrace of the country’s distinct character, saying of Ibéria: “The echoes from the villages, a kind of sevillana—the generic theme of the work— which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of Andalusian nights, the festive gaiety of a people dancing to the joyous strains of a banda of guitars and bandurrias... all this whirls in the air, approaches and recedes, and our imagination is continually kept awake and dazzled by the power of an intensely expressive and richly varied

ABOUT THE PROGR A M

music.” Falla also thought that Debussy used an ideal approach in composing Ibéria, using merely the fundamental elements of popular music instead of employing authentic folk songs.

The first section, “Along the streets and along the paths,” opens with dancing triplet figures in the winds (the woodwinds are the true heroes of Ibéria), castanets, and tambourine, in alternation with strings plucked in modally inflected consecutive fifths. Into this insinuating rhythmic activity the main theme, part plaintive, part haughty, enters on clarinets.

Throughout the movement this theme, fragmented or in its entirety, on its own or used in a contrapuntal texture, plays the leading role, even though others glint in and out of the streets and paths, including a languorous Moorish tune in oboe and viola that will enter again in the second movement and a martial proclamation by horns and trumpets that is taken up at some length. After a return of the main theme, the music dissolves into thin air.

The second movement, “The scents of the night,” is pure Impressionistic poetry, opening with an enchanted garden of provocative sonorities: High muted strings, touches of winds, xylophone, celesta, and tambourine form the backdrop for a hesitant oboe, which finally finds the courage to sing the seductive

melody it foreshadowed in the first movement. An ardent, syncopated idea in the strings becomes an important factor in an increasingly intense climax, after which winds, strings, and muted trumpets recall the first movement’s main theme.

After yet another climax, a flute and a violin voice the melancholy motif introduced earlier by horn, and as bells sound in the distance, the third movement, “The morning of a festive day,” begins without pause. When the day has fully awakened, the strings, strumming vibrant chords like some giant guitar, take the festivities on a joyous course. Themes from the first and second movements are recalled, and the finale, erupting in dazzling exuberance, is an essay in Iberian abandon illuminated by Gallic control. —Orrin Howard

BOLÉRO Maurice Ravel (1875–1937) Boléro grew out of an abortive project to orchestrate piano pieces from Spanish composer Isaac Albéniz’s Iberia to create a ballet, Fandango, for dancer Ida Rubinstein. Another composer had already secured the rights to orchestrate the Albéniz pieces, and Ravel didn’t have time to compose something new. During his summer holiday

in Saint-Jean-de-Luz, Ravel hit on the ingeniously simple idea of Boléro. He created a single theme, introduced by the flute over a simple rhythmic pattern, and repeated it over and over, in different—and brilliant— instrumental combinations, gradually increasing the dynamic level from pianissimo to fortissimo over the work’s 15-minute span.

With the task of composition drastically minimized, Ravel completed the work in time for its November 1928 premiere at the Paris Opera, with Rubinstein in the main role of a Spanish dancer. Spain was not the only inspiration— Ravel hinted to his pupil and biographer Alexis RolandManuel that the relentless rhythm was inspired by the factory, putting the score into the context of other industrial compositions of the period, including Prokofiev’s The Steel Step (which Ravel had seen in Paris in 1927) and Arthur Honegger’s locomotiveinspired Pacific 231 (which premiered at the Opera in 1924). Ravel expressed his dissatisfaction with the “picturesque” Rubinstein production—which featured her dancing on a table in a bar—to his brother Édouard, who oversaw a factoryinspired production at the Opera in 1941. —John Mangum

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FRANÇOIS LÓPEZ-FERRER

FRANÇOIS LÓPEZ-FERRER

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Spanish-American conductor François López-Ferrer, currently serving as the Resident Conductor of the Opéra de Paris’ Académie, boasts a remarkable career trajectory. Formerly Associate Conductor of the Cincinnati Symphony Orchestra (CSO) and May Festival, López-Ferrer further honed his talent during his tenure as a 2021/22 Dudamel Fellow with the Los Angeles Philharmonic. He captivated audiences and critics alike in January 2022 when he stepped in for Louis Langrée with the CSO for the U.S. premiere of Mark Simpson’s Violin Concerto featuring Nicola Benedetti.

His recent career highlights are a testament to his talent, marked by outstanding debuts with prestigious orchestras worldwide including the Chicago Symphony Orchestra, Los Angeles Philharmonic, Hong Kong Philharmonic, Orquesta Nacional de España, Ensemble Intercontemporain, Opéra de Lausanne, Colorado Music Festival, Orquesta de Valencia, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Rochester Philharmonic Orchestra, Omaha Symphony, Sacramento Philharmonic, Orchestra di Padova e del Veneto, and Pasadena Symphony.

Moreover, he was a featured conductor in the prestigious 2022

Bruno Walter National Conductor Preview with the Louisiana Philharmonic Orchestra.

This season’s engagements include debuts with the Hollywood Bowl, May Festival, George Enescu Philharmonic, Colorado Springs Philharmonic, Tucson Symphony, and San Antonio Classical Music Institute, along with a highly anticipated return to the Pasadena Symphony.

López-Ferrer was formerly Associate Conductor of the Orquesta Sinfónica Nacional de Chile and Principal Conductor of the Ballet Nacional Chileno.

His musical journey began as an apprentice of the Verbier Festival’s inaugural Conductor Mentorship Program in 2018, where he made a last-minute, critically acclaimed debut stepping in for Iván Fischer in a program shared with luminaries Simon Rattle and Gábor TakácsNagy. He is a two-time recipient of a Career Assistance Award from the Solti Foundation U.S., winner of the inaugural 2015 Neeme Järvi Prize at the Menuhin-Gstaad Festival, and a former member of the Deutsche Dirigentenforum.

López-Ferrer’s educational background includes a Master’s degree in orchestral conducting from the Haute École de Musique de Lausanne and a Bachelor’s degree in composition from the University of Cincinnati College-Conservatory of Music.

ABOUT THE ARTIS TS

BLAKE POULIOT Described as “immaculate, at once refined and impassioned” (ArtsATL) in his playing, violinist Blake Pouliot (pool-YACHT) has established himself as “one of those special talents that comes along once in a lifetime” (Toronto Star).

Pouliot’s 2023/24 season includes performances across the U.S. and Canada with Orchestre Symphonique de Montréal with Roderick Cox, Artis— Naples and NAC Ottawa with Alexander Shelley, and Quebec City Symphony with Clemens Schuldt, among others. Pouliot makes his Spanish debut with the Philharmonic Orchestra of

BLAKE POULIOT

Spain at the Teatro Monumental in Madrid and plays and directs Piazzolla’s The Four Seasons in a separate chamber program.

During his time as Soloistin-Residence of Orchestre Métropolitain in 2020/21, Pouliot and Yannick Nézet-Séguin performed Mozart’s Violin Concerto No. 5 and Piazzolla’s The Four Seasons, which led to Pouliot’s 2022 debut with The Philadelphia Orchestra, performing John Corigliano’s The Red Violin (Chaconne for Violin and Orchestra) with Nézet-Séguin.

Highlights elsewhere include Beethoven’s Triple Concerto with Orchestre Symphonique de Montréal with Angela Hewitt and Bryan Cheng, as well as

performances of concertos

by Paganini, Mendelssohn, and Saint-Saëns and Bruch’s Scottish Fantasy in subscription series across North America.

As a chamber musician, Pouliot returns this season to NAC Chamber Festival, Aspen Music Festival, and La Jolla SummerFest, where he performed the festivalopening concert last year with conductor Alan Gilbert, and the National Youth Orchestra of Canada for his third consecutive year as Artist in Residence. He also makes his chamber debut with Festival Napa Valley at the San Francisco Conservatory.

Previous recitals include Koerner Hall in Toronto, Seattle Chamber Music Society, and the world premiere of Derrick Skye’s God of the Gaps for violin and electronics at the Isabella Stewart Gardner Museum in Boston.

Pouliot released his debut album of 20th-century French music on the Analekta label in 2019. The recording received a five-star rating from BBC Music Magazine and a 2019 Juno Award nomination for Best Classical Album.

Since his orchestral debut at age 11, Pouliot has also performed with the orchestras of Atlanta, Detroit, Dallas, Madison, Toronto, San Francisco, and Seattle. Internationally, he has performed as soloist with the Sofia Philharmonic in Bulgaria and Orchestra of the Americas on its South American tour. He was the featured soloist for the first-ever joint tour of the European Union Youth Orchestra and National Youth Orchestra of Canada.

Pouliot performs on a 1729 Guarneri del Gesù on generous loan from an anonymous donor.

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ABOUT THE ARTIS TS

FLAMENCO VIVO CARLOTA SANTANA Founded in 1983 and having just reached its 40th anniversary, Flamenco Vivo Carlota Santana is one of America’s premier flamenco companies with home bases in New York City and Durham, NC. The company serves more than 30,000 people nationwide each year through far-reaching programs that entertain, educate, and empower. The company’s mission is to promote flamenco as a living art form and a vital part of Hispanic heritage; produce and perform high-quality dance works; provide arts education programs that catalyze connections among diverse participants; and nurture the next generations of flamenco artists and educators.

Recognized by UNESCO as an intangible world treasure, flamenco

is a powerful vehicle for fostering community through an expression of shared humanity. Flamenco Vivo believes that the universal spirit of flamenco—with influences from Arab, Jewish, Roma, Spanish, and Latin American cultures—gives this art form a unique power to build bridges between people.

Hailed as “The Keeper of Flamenco” by Dance Magazine and honored by the King and Government of Spain with La Cruz de la Orden del Mérito Civil for “all the years of passion, excellence, and dedication to the flamenco art,” Carlota Santana is a revered flamenco and Spanish dance artist and educator. In 1983, she cofounded the company with Roberto Lorca. Following his death from AIDS in 1987, she continued their work and, in the decades since, has led Flamenco Vivo’s growth into one of this country’s most successful flamenco companies.

Under Santana’s artistic direction, Flamenco Vivo has premiered original works, offering commissions to flamenco artists from Spain and the U.S. Santana created the company’s innovative arts-ineducation program, integrating flamenco and culture with academic curricula, and has pioneered bilingual education initiatives targeted to immigrant populations, as well as programs supporting students with disabilities.

Emilio Ochando Fanny Ara Adrian Dominguez Lorena Franco Fernando Jiménez Ricardo Moro Madison Olguin Laura Peralta Alberto Sellés Rebeca Tomás Yoel Vargas

FLAMENCO VIVO CARLOTA SANTANA

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ABOUT THE ARTIS TS

EMILIO OCHANDO Emilio Ochando was born in Valencia in 1984. At the age of 9 he began to train as a dancer, at 12 he collaborated with the National Ballet of Spain, and at 16 he moved to Madrid, where he continued his training as a professional dancer at the Madrid Royal Conservatory.

He has danced in companies such as Domingo Ortega, Inma Ortega, Malucos Danza, Nuevo Ballet Español (Rojas and Rodríguez), Aida Gómez, and Flamenco Vivo, where he covers the entire national and international scene. He has also danced in various large tableaus such as El Corral de la Pacheca, La Morería, and Las Tablas. Three years ago, Ochando began his career as a choregrapher and created his own dance company.

Among his repertoire are shows such as Round Trip, 3DEUNO, and the recently launched SIROCO. He is currently immersed in the latest production of the Royal Professional Conservatory of Dance Mariemma and in solo projects for national and international companies as a guest artist. He also continues to tour Spain and abroad at renowned festivals such as the Jerez Festival, Suzanne Dellal Festival, Madrid Flamenco Festival, and Red Theaters while continuing to conduct workshops and master classes all over the world.

EMILIO OCHANDO

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ALLRACHMANINOFF TUESDAY AUGUST 13, 2024 8PM Los Angeles Philharmonic Dima Slobodeniouk, conductor Alexander Malofeev, piano

RACHMANINOFF

Rhapsody on a Theme of Paganini, Op. 43 (c. 22 minutes) Alexander Malofeev INTERMISSION

RACHMANINOFF

Symphony No. 2 in E minor, Op. 27 (c. 60 minutes) Largo—Allegro moderato Allegro molto Adagio Allegro vivace

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Pianos provided by Steinway Piano Gallery—Beverly Hills.

Programs and artists subject to change.

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ABOUT THE PROGR A M

RHAPSODY ON A THEME OF PAGANINI, OP. 43 Sergei Rachmaninoff (1873–1943) 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 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.”

The Rhapsody on a Theme of Paganini is one of his least sentimental pieces—with the exception of that swooning 18th variation, which is a tour de force in which the minorkey Paganini theme is inverted to become a major-key, inescapably Russian theme.

The score was written in 1934, by which time Rachmaninoff could look back on three decades of fame as a virtuoso pianist, admired for performing not only his own works but also those of Beethoven and Chopin, and alongside distinguished violinists, chief among them Fritz Kreisler.

His own music had by the early 1930s become leaner and meaner from the sprawling, yearning pre-World War I scores on which his reputation, for good or ill, rested. In the

later works—beginning with the Fourth Piano Concerto, Op. 40, continuing with the Three Russian Songs, Op. 41, the Corelli Variations for solo piano, Op. 42, and culminating with the Rhapsody—the level of dissonance is higher, while rhythms are more angular than in the past.

The Rhapsody—though there is nothing rhapsodic about its tightly focused structure— comprises an introduction followed by 24 variations on the last of Nicolò Paganini’s 24 caprices for solo violin (a set of variations in itself). The theme was a favorite subject of 19thcentury composers for largescale variations works, among them Robert Schumann, Liszt, and Brahms. Rachmaninoff applied his own, highly original thoughts on the subject, his grandest inspiration being the combining of the theme by the “devilish” violinist with the hellish medieval liturgical Dies irae theme, which is heard in the seventh, 10th, and 24th variations. —Herbert Glass

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SYMPHONY NO. 2 IN E MINOR, OP. 27 Sergei Rachmaninoff Rachmaninoff composed his Second Symphony from 1906 to 1907, a decade after the First Symphony, whose failure with critics and the public resulted in one of the most storied nervous breakdowns in musical history. But Rachmaninoff was creatively active again within a couple of years and in 1901 achieved what would remain his greatest popular success—the C-minor Piano Concerto, Op. 18.

The acclaim that came in the wake of the concerto was so great that by 1905 Rachmaninoff was in constant demand as a performer of his own works in Russia and throughout Europe and had achieved celebrity status at home and abroad. The tall, gaunt Rachmaninoff was recognized and often mobbed by fans on the streets of Moscow and St. Petersburg. Even for as sociable a man as he was at the time, it all became too much. He found it impossible to compose.

So, early in 1906 he, his wife, and their young daughter moved to quiet, dignified Dresden, a city Rachmaninoff had loved since his first visit there in 1891.

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The Saxon capital appealed not only for its own sedate charms but also for its proximity to Leipzig and the famed Gewandhaus Orchestra, whose conductor, Arthur Nikisch, Rachmaninoff admired above all others.

Rachmaninoff began composing the moment he arrived in Dresden, producing in rapid (for him) succession his First Piano Sonata; the songs of Op. 26; the finest of his symphonic poems, The Isle of the Dead; and his orchestral masterpiece, the Second Symphony.

He drafted the symphony in less than three months, the orchestration took two more, and the whole was completed in fall 1907. The composer conducted the first performance in St. Petersburg the following January.

It was a smashing success.

Sketches for the opening pages of the E-minor Symphony— including the dark, seven-note motto theme from which the first movement and the whole symphony grows—were lifted virtually intact from a fragment of a student work that was quickly abandoned. That opening is announced by the cellos and basses. It is followed by some portentous woodwind phrases and a luscious descending violin figure that winds down to a mournful English horn solo recalling the motto theme.

PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

The faster main theme, still based on that seven-note motto, is a long-lined, gorgeous affair in which the composer seems to achieve the ultimate soulful Russian melancholy that has come to signify the quintessential “love music” of the classics. The composer reveals his bursting heart uninhibitedly. But this is Rachmaninoff, and he goes the first movement one better with the voluptuous third movement.

Not, however, before a respite in the form of a festive scherzo (Allegro molto) brazenly announced by four unison horns, their tune taken up and reshaped by the violins.

There are contrasting, slower episodes before the second movement ends. The music fades away to prepare us for that improbably gorgeous Adagio, with its two killer melodies—one for the violins, the other for solo clarinet—which become contrapuntally interwoven.

The finale is a rowdy affair whose opening and main theme recall a Neapolitan tarantella. It is followed by a brief, rather grotesque march, yet another delicious slow tune (violins and violas in unison octaves) and an unexpected recapitulation of one of the slow movement’s heartbreakers before the tarantella rhythm returns and ushers in the jolly, raucous conclusion. —Herbert Glass

ABOUT THE ARTIS TS

DIMA SLOBODENIOUK Praised for his exhilarating approach and energetic leadership by musicians and audiences alike, Dima Slobodeniouk has become one of the most sought-after conductors of his generation.

Slobodeniouk works with the world’s foremost orchestras, including the New York Philharmonic, Boston Symphony Orchestra, London Symphony Orchestra, Berliner Philharmoniker, Gewandhausorchester Leipzig, Münchner Philharmoniker, Concertgebouworkest Amsterdam, and NHK Symphony Orchestra.

In the 2023/24 season, Slobodeniouk makes debuts with the National Symphony Orchestra in Washington and TonhalleOrchester Zürich. He returns to the London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, NDR Elbphilharmonie Orchester, and Rundfunk-Sinfonieorchester Berlin. He also appears with the Wiener Symphoniker and Helsinki Philharmonic Orchestra and will make a special return to the Orquesta Sinfónica de Galicia, where he was Music Director until 2022. Slobodeniouk opened the season with the Boston Symphony Orchestra in Tanglewood. He returned to the orchestra later in the season and appeared with the Seattle Symphony Orchestra in the spring.

In the opera pit, Slobodeniouk makes his debut at the Bayerische Staatsoper, where he conducts the revival of Calixto Bieito’s production of Boris Godunov.

Soloists he has worked with include Leif Ove Andsnes, Emanuel Ax, Khatia Buniatishvili, Seong-Jin Cho, Isabelle Faust, Kirill Gerstein, Barbara Hannigan, Håkan Hardenberger, Martin Helmchen, Alexandre Kantorow, Patricia Kopatchinskaja, Beatrice Rana, Baiba Skride, Yuja Wang, and Frank Peter Zimmermann.

Known for his musical expertise and interpretive depth, Slobodeniouk is also an acclaimed recording artist.

Recent notable recordings include Esa-Pekka Salonen’s Cello Concerto with Rotterdam Philharmonic Orchestra and Nicolas Altstaedt on Alpha, for which he received an ICMA Award. On the BIS label, he released an album of music inspired by the Finnish folk epic the Kalevala. Other releases on this label include the works of Kalevi Aho with the Lahti Symphony Orchestra, which won the 2018 BBC Music Magazine Award, and a later disc of Aho’s Sieidi and his Fifth Symphony. For the Ondine label, Slobodeniouk recorded works

by Perttu Haapanen and Lotta Wennäkoski with the Finnish Radio Symphony Orchestra.

Slobodeniouk studied with the Ukrainian violinist Olga Parkhomenko at Helsinki’s Sibelius Academy and graduated in 2001. It was there that he took up conducting studies with Leif Segerstam, Jorma Panula, and Atso Almila.

From 2016 to 2021, he was Principal Conductor of the Lahti Symphony Orchestra,

as well as the Artistic Director of the Sibelius Festival. He was Music Director of the Orquesta Sinfónica de Galicia from 2013 to 2022 and Principal Conductor of the Lahti Symphony Orchestra from 2016 to 2021, as well as the Artistic Director of the Sibelius Festival. Together with the Orquesta Sinfónica de Galicia he built an extensive and highly acclaimed media library of live concert recordings in recent years. A passionate believer in widening opportunity, he started a conducting initiative while at the Orquesta Sinfónica de Galicia, giving aspiring conductors podium time with a professional orchestra and the opportunity to work with him on selected repertoire.

DIMA SLOBODENIOUK

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ABOUT THE ARTIS TS

ALEXANDER MALOFEEV

ALEXANDER MALOFEEV

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PERFORMANCES MAGAZINE AUGUST 1–13 2024 • BOOK 1

Alexander Malofeev came to international prominence when, in 2014, he won the International Tchaikovsky Competition for Young Musicians at age 13.

Reviewing the performance, Amadeus noted, “Contrary to what could be expected of a youngster… he demonstrated not only high technical accuracy but also an incredible maturity.

Crystal clear sounds and perfect balance revealed his exceptional ability.” Since this triumph, Malofeev has quickly established himself as one of the most prominent pianists of his generation.

Highlights of the 2023/24 season include Malofeev’s return to the Bournemouth Symphony for a multi-concert residency, a solo tour in China, and a European tour with Filarmonica della Scala and Riccardo Chailly, as well as performances at the Amsterdam Concertgebouw, Munich Isarphilharmonie, Elbphilharmonie in Hamburg, and Carnegie Hall in New York. He performs with the National Symphony Orchestra, Lucerne Festival Orchestra,

Frankfurt Radio Orchestra, Netherlands Radio Philharmonic Orchestra under Kent Nagano, and Orchestre de la Suisse Romande under Marin Alsop.

Malofeev performs with some of the best-known orchestras and most distinguished conductors around the world. He has been a guest of renowned music festivals and series including Verbier Festival, Rheingau Music Festival, Tanglewood Music Festival, Aspen Music Festival, and the Celebrity Series of Boston.

Malofeev was born in Moscow in October 2001. Now living in Berlin, he continues to give concerts at the Concertgebouw in Amsterdam, where he opened the 30th-anniversary concert of the renowned Meester Pianists series. In addition to his First Prize at the Tchaikovsky Competition for Young Musicians, he has won numerous awards and prizes at international competitions and festivals, including the Grand Prix of the first International Competition for Young Pianists Grand Piano Competition, the Premio Giovane Talento Musicale dell’anno, and Best Young Musician of 2017. In 2017, Malofeev became the first Young Yamaha Artist.

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ABOUT THE ARTIS TS

LOS ANGELES PHILHARMONIC Gustavo Dudamel Music & Artistic Director

Ashley Park Justin Woo Katherine Woo Ye Melody Yuan

Zubin Mehta Conductor Emeritus

SECOND VIOLINS

Esa-Pekka Salonen Conductor Laureate

Dorothy Rossel Lay Chair

Walt and Lilly Disney Chair

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 Deanie and Jay Stein Chair

Rochelle Abramson Minyoung Chang I.H. Albert Sutnick Chair

Tianyun Jia Jordan Koransky

[Position vacant] Principal 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 Vivian Kukiel Nickolai Kurganov Varty Manouelian Michelle Tseng Suli Xue Ayrton Pisco* Nebyu Samuel* VIOLAS Teng Li Principal

John Connell Chair

Ben Ullery Associate Principal Jenni Seo Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel Jarrett Threadgill* Nancy and Leslie Abell LA Phil Resident Fellow Chair

* Judith and Thomas L. Beckmen LA Phil Resident Fellow +

On sabbatical

68 PERFORMANCES MAGAZINE AUGUST 2024

CELLOS

Elise Shope Henry

HORNS

TUBA

Robert deMaine Principal

Sarah Jackson

Andrew Bain Principal

Mason Soria

Bram and Elaine Goldsmith Chair

Ben Hong Associate 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* BASSES Christopher Hanulik Principal Diane Disney Miller and Ron Miller Chair

Kaelan Decman Associate Principal Oscar M. Meza Assistant Principal David Allen Moore Ted Botsford Jack Cousin Jory Herman Brian Johnson Peter Rofé Nicholas Arredondo* FLUTES Denis Bouriakov Principal

Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal

Mari L. Danihel Chair

Piccolo Sarah Jackson OBOES

John Cecil Bessell Chair

David Cooper Associate Principal

TIMPANI Joseph Pereira Principal

Gregory Roosa

Cecilia and Dudley Rauch Chair

Carol Colburn Grigor Chair

Amy Jo Rhine

David Riccobono Assistant Principal

Marion Arthur Kuszyk Associate Principal

Elyse Lauzon

Anne Marie Gabriele Carolyn Hove

Matthew Howard Principal

Ethan Bearman Assistant

James Babor+ Perry Dreiman David Riccobono

[Position vacant] Principal

English Horn Carolyn Hove CLARINETS Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

Burt Hara Associate Principal Andrew Lowy Taylor Eiffert E-Flat Clarinet Andrew Lowy Bass Clarinet Taylor Eiffert BASSOONS Whitney Crockett Principal Shawn Mouser Associate Principal

Alan Scott Klee Chair

Loring Charitable Trust Chair Reese and Doris Gothie Chair

Bud and Barbara Hellman Chair

Elizabeth Linares Montero* TRUMPETS Thomas Hooten Principal

M. David and Diane Paul Chair

James Wilt Associate Principal Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong TROMBONES David Rejano Cantero Principal

Ann Ronus Chair

Koni and Geoff Rich Chair

Michele Grego Evan Kuhlmann

James Miller Associate Principal

Contrabassoon Evan Kuhlmann

Paul Radke

Mr. and Mrs. H. Russell Smith Chair

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

PERCUSSION

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

Bass Trombone John Lofton Miller and Goff Family Chair

The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

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Hollywood Bowl Magazine • Ful Pg 8.125” x 10.875” • July 2024 Version A

SEPTEMBER 4 - OCTOBER 13

ABOUT THE ARTIS TS

HOLLYWOOD BOWL ORCHESTRA Thomas Wilkins Principal Conductor John Mauceri Founding Director FIRST VIOLINS Kathryn Eberle Concertmaster Marisa Sorajja Principal Grace Oh Associate Principal Rebecca Bunnell Chloe Szu-Yun Chiu Christine Frank Yen-Ping Lai Radu Pieptea Adrianne Pope Yutong Sharp Shelly Shi Mari Tsumura

SECOND VIOLINS

CELLOS

OBOES

TRUMPETS

PERCUSSION

[position vacant] Principal

Dennis Karmazyn Principal

Lelie Resnick Principal

Robert Schaer Principal

Wade Culbreath Principal

Cheryl Norman Brick Associate Principal

Armen Ksajikian Associate Principal

English Horn Catherine Del Russo

Robert Frear

Gregory Goodall

TROMBONES

HARP

CLARINETS

William Booth Principal

Cristina Montes Mateo Principal

Pam Gates Natalie Leggett Carolyn Osborn Robert Schumitzky Kathleen Sloan Olivia Tsui Vivian Wolf VIOLAS Erik Rynearson Principal [position vacant] Associate Principal Carrie Holzman-Little Carole Kleister-Castillo Stefan L. Smith Phillip Triggs Hyeree Yu

Giovanna Moraga Clayton Trevor Handy Julie Jung Erin Breene Schumitzky BASSES [position vacant] Principal Denise Briesé Associate Principal Paul Macres Barry Newton

Gary Bovyer Principal Bass Clarinet Ralph Williams BASSOONS Elliott Moreau Principal Contrabassoon Allen Savedoff HORNS

FLUTES

Dylan Hart Principal

Heather Clark Principal

Allen Fogle Associate Principal

Lawrence Kaplan Piccolo [position vacant]

Alexander Iles Bass Trombone Todd Eames TUBA Jim Self Principal TIMPANI Tyler Stell Principal DRUMS Brian Miller Principal

Todd Miller

The Hollywood Bowl Orchestra string section utilizes revolving seating on a systematic basis.

Players listed alphabetically change seats periodically.

70 PERFORMANCES MAGAZINE AUGUST 2024

KEYBOARDS Alan Steinberger Principal SAXOPHONE [position vacant] ASSOCIATE CONDUCTOR Scott Dunn PERSONNEL MANAGER Shana Bey LIBRARIAN Stephen Biagini

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OPENING NIGHT COMMITTEE Nancy and Leslie Abell

Hilary Garland

Carrie Nery

Lisette and Norman Ackerberg

Erika Glazer

Diane and M. David Paul

Tom and Judy Beckmen

Alexandra Glickman and Gayle Whittemore

Nancy and Glenn Pittson

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Steve Cius—Risk Placement Services

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PERFORMANCES MAGAZINE AUGUST 2024

Barry and Sandy Pressman Koni and Geoff Rich Michael and Katy Saei Bill Silva Mark and Rose Sturza Jack Suzar and Linda May Jon Vein and Ellen Goldsmith-Vein Kathy S. Walton Megan Watanabe and Hideya Terashima Gregory Annenberg Weingarten, GRoW @ Annenberg Alyce de Roulet Williamson

Bernadette Peters and Lea Salonga star in Cameron Mackintosh’s Production of Stephen Sondheim’s Old Friends.

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FE ATURE

LA PHIL ON TOUR As a capstone to an extraordinary season, the Los Angeles Philharmonic, under the leadership of Music & Artistic Director Gustavo Dudamel, set off on a 12-day tour to Barcelona, Paris, and London. Joined by the rising violin virtuoso María Dueñas as well as the cast and choruses of Fidelio, the group presented seven performances at four venues, winning applause and accolades along the way.

BARCELONA

The tour began with two performances of the LA Phil’s landmark semi-staged production of Fidelio at the Gran Teatre del Liceu on May 26 and 27. Featuring a cast of opera singers alongside Deaf actors who performed the libretto in International Sign Language, the production “united two communities in an opera house: those with hearing functionality and those who are Deaf like Beethoven himself,” reported La Vanguardia.

On May 28, the orchestra performed at modernist gem the Palau de la Música Catalana. John Williams’ Olympic Fanfare and Theme opened the program before Dueñas joined in for Gabriela Ortiz’s violin concerto Altar de cuerda. The second half of the program featured Dvořák’s Symphony No. 9, “From the New World.” La Vanguardia summed up the programs: “The maestro leaves a new success at the Palau de la Música and a human lesson on deafness with Fidelio.”

Support for the LA Phil on tour is generously provided by the Michele and Dudley Rauch Tour Fund and the Karl Loring Fund.

76

PERFORMANCES MAGAZINE AUGUST 2024

PARIS

A pair of sold-out houses greeted the orchestra in the City of Lights, where it performed both programs at the Philharmonie de Paris. On May 30, composer Gabriela Ortiz joined Dueñas to a rapturous reception for her Altar de cuerda. Efecto Cocuyo described the evening’s concert as “a sensory journey that left the audience paralyzed and breathless.”

The following night, the cast of Fidelio was equally applauded.

“The recitatives, exclusively performed in sign language, are performed in a striking silence that captures the attention,” wrote Forum Opéra, and Le Point remarked on how this integrated production “touched on the transformative power of art.”

LONDON

The third and final leg of the tour took the orchestra to the Barbican on June 2 and 3. Reporting on the first concert, featuring the music of Williams, Ortiz, and Dvořák, Scene and Heard International wrote, “The LA Phil has no weak sections…. This was a performance of exactitude: Gustavo Dudamel wasted no time getting started, and from then off, razor-sharp precision was the order of the day.”

The production of Fidelio provided a fitting finale for the 2024 European tour, an extraordinary union of orchestra, two casts, three choirs, and the opera’s message of “brotherhood” under Dudamel.

PERFORMANCES MAGAZINE AUGUST 2024 77

GALA Tuesday, October 1, 20" Los Angeles Philharmonic Gustavo Dudamel, conductor Lang Lang, piano Gustavo Castillo, baritone RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 GINASTERA Estancia

M

COCKTAIL RECEPTION 5:30PM CONCERT 7PM DINNER AND AFTER-PARTY 9PM

THIS EVENING IS MADE POSSIBLE WITH THE PROUD SUPPORT OF

For more information, call 213 972 3051, email gala@laphil.org, or visit us online at laphil.org/gala.

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TR ANSP ORTATION

LEAVE THE DRIVING TO US! Take the stress out of your next concert trip. Audiences have been taking part in the Hollywood Bowl bus program since 1974, helping to make it the largest and most comprehensive transportation system of any concert venue west of the Mississippi. This season, the Hollywood Bowl has added a transportation hub to help streamline access for Park & Ride, Bowl Shuttle, Metro, and rideshares. These efforts help reduce the number of cars coming to the Bowl by more than 2,000 vehicles each evening, making your night run smoother. Plan your next trip at hollywoodbowl.com/gettinghere.

DID YOU KNOW? • When you show your

same-day Park & Ride or Shuttle ticket at the Plaza Marketplace, you get 20% off your purchase.

• New this season,

buses drop you off at the top of Lot B.

• Bowl Shuttle rides

are FREE with a valid TAP card used within the past two hours, a GoMetro RoundTrip Pass, or Burbank Metrolink ticket.

LAND ACKNOWLEDGMENT We acknowledge the Gabrielino Tongva, Gabrielino Kizh, and Fernandeño Tataviam Nations as the traditional stewards of the land now called the Hollywood Bowl.

We honor and respect the many indigenous peoples connected to this land and express our admiration for their resilient and important cultural leaders in our region—past, present, and future.

80 PERFORMANCES MAGAZINE AUGUST 2024

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COUNT Y OF LOS ANGELES

LOS ANGELES COUNTY

BOARD OF SUPERVISORS BOARD OF SUPERVISORS Hilda L. Solis Holly J. Mitchell Lindsey P. Horvath Chair Janice K. Hahn Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director

Janice K. Hahn FOURTH DISTRICT

Hilda L. Solis FIRST DISTRICT

Lindsey P. Horvath THIRD DISTRICT CHAIR

Kathryn Barger

Holly J. Mitchell SECOND DISTRICT

FIFTH DISTRICT CHAIR PRO TEM

The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. We provide leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross-sector creative strategies that address civic issues. All of this work is framed by our long-standing commitment to fostering access to the arts and by the County’s Cultural Equity and Inclusion Initiative.

The Los Angeles County Arts Commission supports and advocates for the mission, vision, and values of the Los Angeles County Department of Arts and Culture. The Commission is an advisory group to the Board of Supervisors, with three appointees for each District.

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 Arts Commission, from the City of Los Angeles Department of Cultural Affairs, and from the National Endowment for the Arts.

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COUNTY ARTS COMMISSION Leticia Buckley President Randi Tahara Vice President Rogerio V. Carvalheiro Secretary Liane Weintraub Immediate Past President Pamela Bright-Moon Patrice Cullors Diana Diaz Eric R. Eisenberg Brad Gluckstein Sandra P. Hahn Helen Hernandez Constance Jolcuvar Alis Clausen Odenthal Anita Ortiz Jennifer Price-Letscher

PERFORMANCES MAGAZINE AUGUST 2024

LAMC

Hailed as America’s finest major chorus, the Grammy® Award-winning Los Angeles Master Chorale celebrates six decades of excellence and artistry. The 2024/25 Season features world premieres, classic favorites and a special 60th Anniversary Concert.

years GRANT GERSHON KIKI & DAVID GINDLER ARTISTIC DIRECTOR

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ASSOCIATE ARTISTIC DIRECTOR

REENA ESMAIL

SWAN FAMILY ARTIST-IN-RESIDENCE

SUPP ORT THE L A PHIL

AS A PATRON AND A PARENT, MADELEINE HEIL NURTURES THE NEXT GENERATION OF MUSIC LOVERS Madeleine Heil and her husband, Sean Peterson, have always been avid theatergoers and music lovers. Their journey into the world of the arts began early, with both growing up learning to play the piano. “My husband went to school for composition,” Heil says. “We’ve both had educational exposure to the arts for a long time growing up.”

As members of Club 101, a group of dedicated donors at the Hollywood Bowl and The Ford, Madeleine and Sean have found a community of like-minded individuals who share their passion for the arts. Club 101 offers exclusive benefi ts and unique experiences to its members, fostering a deeper connection with the music and artists they love.

Heil particularly treasures the sense of community fostered by the LA Phil: “Getting to watch [Music & Artistic Director Gustavo] Dudamel do his thing is incredible—the energy as soon as he walks out onstage is unmatched,” she says. “And

SEAN PETERSON AND MADELINE HEIL ( RE AR ) WITH THEIR SON AND HEIL’S PARENTS

having people like Freyja [Annual Giving Manager Freyja Glover] on our team has been amazing. She helped us take advantage of so many opportunities we didn’t even know about, like upgrading our seats to the Pool Circle for Jacob Collier and enjoying the talks before the concerts.”

The Collier concert was a family affair, Heil recalls: “Our son was in the front row at just two weeks old, with little headphones on.

He slept through 90% of it, but it was important to us

“YOU DONʼT REALIZE THE EX TENT TO WHICH THE L A PHIL GIVES BACK TO THE COMMUNIT Y UNTIL YOUʼRE A GREATER PART OF IT.” — Madeleine Heil

to start him early.” And this spring they added a third generation to the mix when Heil’s parents traveled to Los Angeles for James Taylor: “It was just wonderful to create those memories,” she says.

For Heil, the LA Phil’s impact extends far beyond the major performances.

“You don’t realize the extent to which the LA Phil gives back to the community until you’re a greater part of it,” she refl ects. “The public only knows about the big headliners, but it’s all the smaller programs that help everyone else where the real value in donating is.”

Heil’s generous support and enthusiastic participation highlight the vital role that patrons play in sustaining the arts. Her family’s story is a testament to the transformative power of the arts and the importance of community in enriching our cultural landscape.

Join Club 101 today to be part of this vibrant community and support the arts in Los Angeles. Find out more at hollywoodbowl.com/club101.

84 PERFORMANCES MAGAZINE AUGUST 2024

WAC

SUPP ORT THE L A PHIL

CORPORATE PARTNERS 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 corporatepartnerships@laphil.org.

ANNUAL GIVING

2 2

From the concerts that take place onstage at Walt Disney Concert Hall, Hollywood Bowl, and The Ford to the learning programs that fi ll 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 TM

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 after-school 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.

PHILHARMONIC COUNCIL Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs 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.

86 PERFORMANCES MAGAZINE AUGUST 2024

Soray

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Music and Lyrics by Randy Newman

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Tessa Lark, violin Joshua Roman, cello Edgar Meyer, double bass ONSTAGE SESSIONS

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Clayton-Hamilton Jazz Orchestra

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Coco Live-to-Film Concert Featuring Orquesta Folclórica Nacional de México

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50th Anniversary Tour

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Emanuel Ax, piano

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Reuniendo a Los Mejores Talentos del Mariachi

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MEMBERS

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Conrad Tao & The Clayton-Hamilton Jazz Orchestra Gershwin’s Rhapsody in JAZZ Christopher Rountree, conductor with musicians from Wild Up

Ballet BC New Works by Medhi Walerski and Crystal Pite

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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 April 15, 2024. $25,000,000 AND ABOVE

Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999 David Bohnett Foundation

$10,000,000 TO $19,000,000 The Annenberg Foundation Colburn Foundation Lenore S. and Bernard A. Greenberg Fund

$5,000,000 TO $9,999,999

Anonymous Dunard Fund USA 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

$1,000,000 TO $2,499,999

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 Maddocks-Brown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin William and Carolyn Powers Koni and Geoff Rich H. Russell Smith Foundation Jay and Deanie Stein Foundation Trust Ronald and Valerie Sugar I.H. Sutnick

$500,000 TO $999,999

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 Judy Ungar and Adrienne Fritz Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$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 Nicholas T. Goldsborough $250,000 Gonda Family TO $499,999 Foundation Nancy and Leslie Abell Margaret Grauman Mr. Gregory A. Adams Kathryn Kert Green Baker Family Trust and Mark Green Veronica and Joan and Robert Egelston John F. Hotchkis Gordon Family Freya and Mark Ivener Foundation Ruth Jacobson Ms. Kay Harland Stephen A. Kanter, M.D. Joan Green Harris Trust Jo Ann and Bud and Charles Kaplan Barbara Hellman Yates Keir Gerald L. Katell Susanne and Norma Kayser Paul Kester Joyce and Kent Kresa Vicki King Raymond Lieberman Sylvia Kunin Mr. Kevin MacCarthy Ann and and Ms. Lauren Lexton Edward Leibon Alfred E. Mann Charities Ellen and Mark Lipson Jane and B. and Lonis Liverman Marc B. Nathanson Glenn Miya and Y & S Nazarian Steven Llanusa Family Foundation Ms. Gloria Lothrop Nancy and Vicki and Sidney Petersen Kerry McCluggage Rice Family Foundation David and Robert Robinson Margaret Mgrublian Katharine and Diane and Leon Thomas Stoever Morton Sue Tsao Mary Pickford Alyce and Foundation Warren Williamson Sally and Frank Raab

Mr. David Sanders Malcolm Schneer and Cathy Liu David and Linda Shaheen Foundation William E.B. and Laura K. Siart Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna and James W. Manns

$25,000 TO $99,999

Marie Baier Foundation Dr. Richard Bardowell, M.D. Jacqueline Briskin Dona Burrell Ying Cai & Wann S. Lee Foundation Ann and Tony Cannon Dee and Robert E. Cody The Colburn Fund Margaret Sheehy Collins Mr. Allen Don Cornelsen Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Jane B. and Michael D. Eisner The Englekirk Family Claudia and Mark Foster Lillian and Stephen Frank Dr. Suzanne Gemmell Paul and Florence Glaser Good Works Foundation Anne Heineman Ann and Jean Horton Drs. Judith and Herbert Hyman Albert E. and Nancy C. Jenkins Robert Jesberg and Michael J. Carmody Ms. Ann L. Kligman Sandra Krause and William Fitzgerald Michael and Emily Laskin Sarah and Ira R. Manson Carole McCormac Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John Millard National Endowment for the Arts

Alfred and Arlene Noreen Occidental Petroleum Corporation Dr. M. Lee Pearce Lois Rosen Anne and James Rothenberg Donald Tracy Rumford Family Trust The SahanDaywi Foundation Mrs. Nancie Schneider William and Luiginia Sheridan Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Ms. Fran H. Tuchman Tom and Janet Unterman Rhio H. Weir Mrs. Joseph F. Westheimer Jean Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

LA PHIL MUSICIANS

Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik John Hayhurst Jory and Selina Herman Ingrid Hutman Andrew Lowy Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar and Diane Meza Mitchell Newman Peter Rofé Meredith Snow and Mark Zimoski Barry Socher Paul Stein Leticia Oaks Strong Lyndon and Beth Johnston Taylor Dennis Trembly Allison and Jim Wilt Suli Xue

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.

88 PERFORMANCES MAGAZINE AUGUST 2024

LACO

ROMANTICS: SCHUBERT’S TROUT

TRAILBLAZERS: MARTÍN + BRAHMS + BAUER

DIRECTOR OF CHAMBER MUSIC

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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 April 16, 2023, and April 15, 2024.

$1,000,000 AND ABOVE Anonymous (3)

Ann and Robert

Ronus

$500,000 TO $999,999 The Ahmanson Foundation

Ballmer Group

Dunard Fund USA

Jennifer Miller Goff

Music Center Foundation

The Hearthland Foundation Tylie Jones Terri and Jerry M. Kohl Anne Akiko Meyers and Jason Subotky

The Music Man Foundation Michael J. Connell Foundation Pasadena Showcase House for the Arts Barbara and Jay Rasulo

The Rauch Family Foundation James D. Rigler/ Lloyd E. Rigler - Lawrence E. Deutsch Foundation Rolex Watch USA, Inc.

Linda and David Shaheen Alyce de Roulet Williamson

Ms. Erika J. Glazer Daniel Huh Kaiser Permanente Winnie Kho and Chris Testa County of Los Angeles Mr. and Mrs. David Meline

John Mohme Foundation Maureen and Stanley Moore The Ralph M. Parsons Foundation Peninsula Committee

Richard and Ariane Raffetto Koni and Geoff Rich Rosenthal Family Foundation James and Laura Rosenwald/ Orinoco Foundation

Elizabeth and Henry T. Segerstrom Jay and Deanie Stein Foundation Trust Christian Stracke Kristin and Jeff Worthe Ellen and Arnold Zetcher

Barbara and Amos Hostetter Ms. Teena Hostovich and Mr. Doug Martinet Frank Hu and Vikki Sung Rif and Bridget Hutton Monique and Jonathan Kagan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan W.M. Keck Foundation Darioush and Shahpar Khaledi Dr. Ralph A. Korpman

Mr. and Mrs. Keith Landenberger The Norman and Sadie Lee Foundation Live Nation Los Angeles County Department of Arts and Culture Renee and Meyer Luskin Alfred E. Mann Charities Linda May and Jack Suzar Barbara and Buzz McCoy Ms. Irene Mecchi Michael and Lori Milken Family Foundation

Ms. Christine Muller and Mr. John Swanson National Endowment for the Arts M. David and Diane Paul Ms. Linda L. Pierce Sandy and Barry D. Pressman David William Upham Foundation Mr. Bennett Rosenthal Allyson Rubin Wendy and Ken Ruby Thomas Safran Richard and Diane Schirtzer

Elizabeth and Justus Schlichting Ronald and Valerie Sugar Keith and Cecilia Terasaki Sue Tsao Michael Tyler Ellen GoldsmithVein and Jon Vein Barbara and Robert Veir Mr. Alex Weingarten John and Marilyn Wells Family Foundation Margo and Irwin Winkler Debra Wong Yang and John W. Spiegel

$200,000 TO $499,999 Anonymous Lynn K. Altman Judith and Thomas L. Beckmen Colburn Foundation Jane B. and Michael D. Eisner Lisa Field

Robyn Field and Anthony O’Carroll The Getty Foundation Gordon P. Getty Max H. Gluck Foundation William Randolph Hearst Foundation

$100,000 TO $199,999 Anonymous (3) Nancy and Leslie Abell Mr. Gregory A. Adams Gregory Annenberg Weingarten, GRoW@ Annenberg The Blue Ribbon

R. Martin Chavez Donelle Dadigan Louise and Brad Edgerton/ Edgerton Foundation The Eisner Foundation Breck and Georgia Eisner

$50,000 TO $99,999 Anonymous (4) Mr. Robert J. Abernethy Amgen Foundation Ms. Kate Angelo and Mr. Francois Mobasser Aramont Charitable Foundation Linda and Maynard Brittan California Community Foundation Canon Insurance Service Esther S.M. Chui Chao & Andrea Chao-Kharma Dan Clivner Nancy and Donald de Brier

De MarchenaHuyke Foundation Berta and Frank Gehry Mr. James Gleason Alexandra S. Glickman and Gayle Whittemore 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 David Z. & Young O. Hong Family Foundation

CONTINUED ON PAGE 94

90

PERFORMANCES MAGAZINE AUGUST 2024

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92 PERFORMANCES MAGAZINE AUGUST 2024

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ANNUAL DONORS

$25,000 TO $49,999 Anonymous (7) The Herb Alpert Foundation Amazon Tracy Anderson Mr. and Mrs. Phil Becker Susan and Adam Berger Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. David Bohnett Foundation Kawanna and Jay Brown Michele Brustin Gail Buchalter and Warren Breslow Thy Bui Steven and Lori Bush Oleg and Tatiana Butenko Ying Cai & Wann S. Lee Foundation California Arts Council California Office of The Small Business Advocate Chevron Products Company Mr. Richard W. Colburn

Becca and Jonathan Congdon Mr. and Mrs. Robert Cook Lynette and Michael C. Davis Orna and David Delrahim Jennifer Diener and Eric Small The Walt Disney Company Malsi and Johnny Doyle Michael Dreyer Van and Francine Durrer East West Bank Kathleen and Jerry L. Eberhardt Dr. Paul and Patti Eisenberg Austin and Lauren Fite Foundation Max Factor Family Foundation Marianna J. Fisher and David Fisher Foothill Philharmonic Committee Debra Frank Drs. Jessie and Steven Galson

The Rosalinde and Arthur Gilbert Foundation Kiki Ramos Gindler and David Gindler Francis Goelet Charitable Lead Trusts Goldman Sachs Co. Llc Good Works Foundation and Laura Donnelley Kate Good Liz and Peter Goulds Rob and Jan Graner Faye Greenberg and David Lawrence Jason Greenman and Jeanne Williams Renée and Paul Haas Harman Family Foundation Lynette Maria Carlucci Hayde Stephen T. Hearst Madeleine Heil and Sean Petersen Andrew Hewitt Liz Levitt Hirsch David and Martha Ho

Fritz Hoelscher Mr. Tyler Holcomb Thomas Dubois Hormel Foundation Ms. Michelle Horowitz Mr. and Mrs. Daniel Paul Horwitz Annica and James Newton Howard Mr. and Mrs. James L. Hunter Robin and Gary Jacobs Jo Ann and Charles Kaplan Terri and Michael Kaplan Paul Kester Mr. and Mrs. Simon K.C. Li City of Los Angeles, Department of Cultural Affairs Los Angeles Philharmonic Affiliates Roger Lustberg and Cheryl Petersen The Seth MacFarlane Foundation

Mrs. Beverly C. Marksbury Ashley McCarthy and Bret Barker Marc and Ashley Merrill Molly Munger and Stephen English Deena and Edward Nahmias Anthony and Olivia Neece Mr. and Mrs. Randy Newman Mr. Robert W. Olsen Tye Ouzounian Bruce and Aulana Peters Dennis C. Poulsen and Cindy Costello Madeline and Bruce Ramer Ross Endowment Fund Bill and Amy Roth Linda and Tony Rubin Katy and Michael S. Saei Mr. Lee C. Samson San MarinoPasadena Philharmonic Committee Ellen and Richard Sandler

Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Melanie and Harold Snedcof Randy and Susan Snyder Jeremy and Luanne Stark Lisa and Wayne Stelmar Dwight Stuart Youth Fund Dr. James Thompson and Dr. Diane Birnbaumer Charles Urban Jennifer and Dr. Ken Waltzer Walter and Shirley Wang Debra and John Warfel Stasia and Michael Washington Mindy and David Weiner John and Samantha Williams Libby Wilson, M.D. Jill Black Zalben Lynn and Roger Zino Zolla Family Foundation

Ms. Nancy Carson and Mr. Chris Tobin Dominic Chan Andrea ChaoKharma and Kenneth Kharma Marlene Schall Chavez, Ph.D Chivaroli and Associates, Tiffany and Christian Chivaroli Sarah and Roger Chrisman Larison Clark Susan Colvin Jay and Nadege Conger Faith and Jonathan Cookler

Zoe Cosgrove Cary Davidson and Andrew Ogilvie Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Michael Dillon Sean Dugan and Joe Custer Dr. and Mrs. William M. Duxler Michael Edelstein and Dr. Robin Hilder Edison International Ms. Ruth Eisen Ms. Robin Eisenman and Mr. Maurice LaMarche Geoff Emery Bonnie and Ronald Fein

Evelyn and Norman Feintech Family Foundation E. Mark Fishman and Carrie Feldman Dr. and Mrs. Arthur A. Fleisher, II Tony and Elisabeth Freinberg Joan Friedman, Ph.D. and Robert N. Braun, M.D. Mr. and Mrs. Josh Friedman Ms. Kimberly Friedman Gary and Cindy Frischling Roberta and Conrad Furlong Dr. and Mrs. Bruce Gainsley

Mr. and Mrs. Ronald Gertz Carrie and Rob Glicksteen Greg and Etty Goetzman Goodman Family Foundation Robert and Lori Goodman Lori Greene Gordon and Neil Gordon The Gorfaine/ Schwartz Agency Mr. Bill Grubman Marnie and Dan Gruen Eric Gutshall and Felicia Davis Vicken and Susan J. Haleblian

$15,000 TO $24,999 Anonymous (4) Drew and Susan Adams Honorable and Mrs. Richard Adler Ms. Elizabeth Barbatelli Stephanie Barron Susan Baumgarten Camilo Esteban Becdach Mr. and Mrs. Philip Bellomy Dr. William Benbassat Miles and Joni Benickes Mark and Pat Benjamin Helen and Peter S. Bing

Robert and Joan Blackman Family Foundation Mr. Ronald H. Bloom Tracey BoldemannTatkin and Stan Tatkin Otis Booth Foundation Jaron and Wendy Brooks Mrs. Linda L. Brown Business and Professional Committee Campagna Family Trust The Capital Group Companies Charitable Foundation

CONTINUED ON PAGE 96

94

PERFORMANCES MAGAZINE AUGUST 2024

2024 - 2025 SEASON SEPT 20 - OCT 13

JAN 24 - FEB 16

NOV 8 - DEC 1

APR 25 - MAY 18

JUNE 6 - 29

(562) 944-9801 | LaMiradaTheatre.com

ANNUAL DONORS

Laurie and Chris Harbert and Family Lyndsay Harding Diane Henderson M.D. Walter and Donna Helm Stephen D. Henry and Rudy M. Oclaray Carol Henry Marion and Tod Hindin Gerry Hinkley and Allen Briskin Arlene Hirschkowitz Deedie and Tom Hudnut Mr. Gregory Jackson and Mrs. Lenora Jackson Meg and Bahram Jalali Mr. Eugene Kapaloski Tobe and Greg Karns Mr. and Mrs. Robert A. Kasirer Igor Khandros and Susan Bloch

Jennifer and Cary Kleinman Larry and Lisa Kohorn Ms. Ursula C. Krummel Naomi and Fred Kurata Ellie and Mark Lainer David Lee Keith and Nanette Leonard Allyn and Jeffrey L. Levine Marvin J. Levy Ms. Agnes Lew Karen and Clark Linstone Ms. Judith W. Locke Theresa Macellaro / The Macellaro Law Firm The Mailman Foundation Raulee Marcus Mr. and Mrs. Andrew W. Marlowe

Phillip and Stephanie Martineau Leslie and Ray Mathiasen Jonathan and Delia Matz Dwayne and Eileen McKenzie David and Margaret Mgrublian Marcy Miller Cindy Miscikowski Mrs. Judith S. Mishkin Mr. John Monahan Ms. Susan Morad at Worldwide Integrated Resources, Inc. Wendy Stark Morrissey Mr. Brian R. Morrow Ms. Kari Nakama Mr. and Mrs. Dan Napier NBC Universal Shelby Notkin and Teresita Tinajero Christine M. Ofiesh Laura Owens

Melissa PappGreen and Jeff Green Andy S. Park Gregory Pickert and Beth Price Nancy and Glenn Pittson Mr. and Mrs. Arnold Porath Diana Reid and Marc Chazaud Cathleen and Scott Richland Ms. Anne Rimer John Peter Robinson and Denise Hudson Mimi Rotter Ann M. Ryder The SahanDaywi Foundation Ron and Melissa Sanders Santa MonicaWestside Philharmonic Committee Gary Satin Evy and Fred Scholder Family

Mr. Murat Sehidoglu Joan and Arnold Seidel Neil Selman and Cynthia Chapman Marc Seltzer and Christina Snyder Jane Semel Mr. James J. Sepe Julie and Bradley Shames Mr. Steven Shapiro Nina Shaw and Wallace Little Jill and Neil Sheffield Hyon Chough and Maurice Singer Mr. and Mrs. Richard Sondheimer Mr. Lev Spiro and Ms. Melissa Rosenberg Stein Family Fund - Judie Stein Zenia Stept and Lee Hutcherson Eva and Marc Stern

Tom Strickler Akio Tagawa Priscilla and Curtis S. Tamkin Megan Watanabe and Hideya Terashima Warren B. and Nancy L. Tucker Elinor and Rubin Turner Tom and Janet Unterman Nancy Valentine Noralisa Villarreal and John Matthew Trott Meredith Jackson and Jan Voboril Frank Wagner and Lynn O’Hearn Wagner Mahvash and Farrok Yazdi Mr. Nabih Youssef Karl and Dian Zeile Mr. and Mrs. Howard Zelikow Kevork and Elizabeth Zoryan

Mr. Tommy Finkelstein and Mr. Dan Chang Ella Fitzgerald Charitable Foundation Daniel and Maryann Fong Mr. Michael Fox Bernard H. Friedman and Lesley Hyatt Dr. and Mrs. David Fung Beth Gertmenian Harriett and Richard E. Gold Manuela Cerri Goren Mr. and Mrs. Daniel M. Gottlieb Mr. and Mrs. Ken Gouw Diane and Peter H. Gray Tricia and Richard Grey Beverly and Felix Grossman Roberta L. Haft and Howard L. Rosoff

Ms. Marian L. Hall Ms. Deborah Harkness Mr. Sam Harris Mr. and Mrs. Irwin Helford and Family Jackson N. Henry Jessica and Elliot Hirsch Linda Joyce Hodge Elizabeth HofertDailey Trust Mr. Raymond W. Holdsworth Joyce and Fredric Horowitz Mr. Frank J. Intiso James Jackoway Kristi Jackson and William Newby Sharon and Alan Jones Mr. and Mrs. Steaven K. Jones, Jr. Marilee and Fred Karlsen Rizwan and Hollee Kassim Marty and Cari Kavinoky

Mr. and Mrs. Michael C. Kelley Mr. and Mrs. Jon Kirchner Mr. and Mrs. Kenneth N. Klee Nickie and Marc Kubasak Lauren B. Leichtman and Arthur E. Levine Mr. and Mrs. Norman A. Levin Randi Levine Dr. Stuart Levine and Dr. Donna Richey Maria and Matthew Lichtenberg Anita Lorber Kyle Lott Sandra Cumings Malamed and Kenneth D. Malamed Vilma S. Martinez, Esq. Pam and Ron Mass Mr. and Mrs. Steve Matt

Liliane Quon McCain Cathy McMullen Lisa and Willem Mesdag Ms. Joanna Miller Marc and Jessica Mitchell Carmen Morgan Dick and Chris Newman / C & R Newman Family Foundation Kenneth T. & Eileen L. Norris Foundation Irene and Edward Ojdana Mr. and Mrs. Peter O’Malley Steve and Gail Orens Mr. Ralph Page and Patty Lesh Loren Pannier Ellen Pansky Ms. Debra Pelton and Mr. Jon Johannessen Chris Pine

$10,000 TO $14,999 Anonymous (4) ABC Entertainment Affiliates of the Desert B. Allen and Dorothy Lay Tichina Arnold Ms. Lisette Arsuaga and Mr. Gilbert Davila The Aversano Family Trust Pamela and Jeffrey Balton Dr. Richard Bardowell, M.D. Mrs. Linda E. Barnes Mr. Joseph A. Bartush Sondra Behrens Phyllis and Sandy Beim Mr. Herbert M. Berk Suzette and Monroe Berkman Ms. Gail K. Bernstein Ken Blakeley and Quentin O’Brien

Christopher Bridges Garrett Camp Mara and Joseph Carieri Chien Family Chivaroli and Associates Insurance Services Carla Christofferson Leland Clow Mr. and Mrs. V. Shannon Clyne Mrs. and Mr. Eleanor Congdon Mr. and Mrs. Richard W. Cook Alison Moore Cotter Dr. and Mrs. Nazareth E. Darakjian Nancy and Patrick Dennis Lauren Shuler Donner Elizabeth and Kenneth M. Doran Emil Ellis Farrar and Bill Ramackers

CONTINUED ON PAGE 98

96 PERFORMANCES MAGAZINE AUGUST 2024

ANNUAL DONORS

Lorena and R. Joseph Plascencia Troy Pospisil Joyce and David Primes Mark Proksch and Amelie Gilette William “Mito” Rafert Lee Ramer Risk Placement Services

Hon. Ernest M. Robles Ernesto Rocco Mr. and Mrs. William C. Roen Ms. Rita Rothman Jesse Russo and Alicia Hirsch Alexander and Mariette Sawchuk Dr. and Mrs. Heinrich Schelbert

Samantha and Marc Sedaka Dr. Donald Seligman and Dr. Jon Zimmermann Ruth and Mitchell Shapiro Walter H. Shepard and Arthur A. Scangas Gloria Sherwood The Sikand Foundation

Angelina and Mark Speare Jennifer Speers Terry and Karey Spidell Joseph and Suzanne Sposato Mr. and Mrs. Mark Stern James C. Stewart Charitable Foundation

Rose and Mark Sturza Marcie Polier Swartz and David Swartz Suzanne and Michael E. Tennenbaum Michael Frazier Thompson Jeremy Thurswell Christine Upton Kathy Valentino

Mr. and Mrs. Johannes Van Tilburg Rachel Wagman Laura and Casey Wasserman Bob and Dorothy Webb Sheila and Wally Weisman Alana L. Wray David Zuckerman and Ellie Kanner

Steven Blum Joan N. Borinstein Greg Borrud Mr. and Mrs. Hal Borthwick Mr. Ray Boucher The Hon. Bob Bowers and Mrs. Reveta Bowers Mrs. Susan Bowey Ms. Marie Brazil Lynne Brickner and Gerald Gallard

Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Mr. and Mrs. Steven Bristing Kevin Brockman and Dan Berendsen Jennifer Broder and Soham Patel Mary Lou Byrne and Gary W. Kearney Tanille Carter CBS Entertainment

Dr. Kirk Y. Chang Dr. Stephanie Cho and Jacob Green Mr. and Mrs. Ronald Clements Dr. and Mrs. Lawrence J. Cohen Mr. David Colburn Mr. Michael Corben and Ms. Linda Covette Mr. and Mrs. Bruce Corwin

Lloyd Eric Cotsen Mr. and Mrs. Richard R. Crowell Mr. James Davidson and Mr. Michael Nunez Gloria De Olarte Ms. Rosette Delug Ms. Mary Denove Wanda DensonLow and Ronald Low

$5,500 TO $9,999 Anonymous (9) Cary Albertsone Edgar Aleman Bobken and Hasmik Amirian Mr. Robert C. Anderson Debra and Benjamin Ansell Art and Pat Antin Javi Arango Dr. Mehrdad Ariani Ms. Judith A. Avery

Mr. Mustapha Baha Karen and Jonathan Bass Reed Baumgarten Ellis N. Beesley, Jr. M.D. Logan Beitler Ms. Karen S. Bell and Mr. Robert Cox Maria and Bill Bell Mr. and Mrs. Richard Birnholz Mitchell Bloom

CONTINUED ON PAGE 100

2024 OPENING NIG HT AT THE HOLLY WOOD BOWL . ( T O P , L E F T T O R I G H T ) OPENING NIG HT CO - CH AIRS KEITH TER ASAKI , CECILIA TERASAKI, ROBYN FIELD, AND LISA FIELD; CHARLEY HAMES JR. WITH K AISER PERMANENTE’S MICHELLE GASKILLHAMES; AND OPENING NIGHT CO-CHAIR TEENA HOSTOVICH. ( BOT TO M RI G HT ) CENTENNIAL LEADERS JERRY AND TERRI KOHL.

98 PERFORMANCES MAGAZINE AUGUST 2024

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The Randee and Ken Devlin Foundation Mr. Kevin Dill Julie and Stan Dorobek James and Andrea Drollinger Bob Ducsay and Marina Pires de Souza Steven Duffy Janet and Larry Duitsman Mr. and Mrs. Brack W. Duker Anna Sanders Eigler Mrs. Eva Elkins Bryan Elms John B. Emerson and Kimberly Marteau Emerson Richard J. Evans and Sara Evans Janice Feldman, JANUS et cie Mr. and Mrs. Irwin S. Field The Hon. Michael W. Fitzgerald and Mr. Arturo Vargas The Franke Family Trust Dr. and Mrs. Robert Freilich Linda and James Freund Mrs. Diane Futterman Ruchika Garga Mr. and Mrs. Alan M. Gasmer Gibson, Dunn & Crutcher Leslie and Cliff Gilbert-Lurie Donald Glover Jory Goldman Mr. and Mrs. Russell Goldsmith Mr. and Mrs. Louis L. Gonda Juan Carlos Gonzalez Lee Graff Foundation Mr. and Mrs. Paul E. Griffin III Mr. and Mrs. Paul Guerin Beth Fishbein Hansen Dwight Hare and Stephanie Bergsma Mr. Rick Harrison and Ms. Susan Hammar Mr. Donald V. Hayes Stephen and Hope Heaney Myrna and Uri Herscher Family Foundation Jill Hopper Dr. and Mrs. Mel Hoshiko Kevin Huvane Andrei and Luiza Iancu Libby and Arthur Jacobson Jeffrey and Kristen Jaeger Mr. and Mrs. Leonard Jaffe Mr. Channing Johnson Barbara A. Jones Randi and Richard B. Jones Dr. William B. Jones Mr. William Jordan Meredith Jury Catherine and Harry Kane Judith and Russell Kantor Mr. and Mrs. Stephen Keller Susan Keller and Myron S. Shapero, M.D. Leigha Kemmett and Jacob Goldstein Mr. Mark Kim and Ms. Jeehyun Lee

ANNUAL DONORS

Molly Kirk Phyllis H. Klein, M.D. Kathryn Ko Lee Kolodny Mr. and Mrs. Scott Krivis Craig Kwiatkowski and Oren Rosenthal Dr. and Mrs. Kihong Kwon Mr. and Mrs. Ronald B. Labowe Vicki Lan Katherine Lance Mr. and Mrs. Jack D. Lantz Mrs. Grace E. Latt Ms. Leerae Leaver Mr. George Lee Mr. Randall Lee and Ms. Stella M. Jeong Mr. Benjamin Lench Mary Beth and John Leonard Saul Levine Lydia and Charles Levy Mr. Jeff Levy Arthur Lewis Marie and Edward Lewis David and Rebecca Lindberg Lynn Loeb Patricia and Larry Londre Julie and Ron Long Ms. Diana Longarzo Scott Lord Los Angeles Philharmonic Committee Mr. Joseph Lund and Mr. James Kelley Ruth and Roger MacFarlane Mr. and Mrs. John V. Mallory Melvin Mandel, M.D. Paul Martin Milli M. Martinez and Don Wilson Mr. Gary J. Matus Kathleen McCarthy and Frank Kostlan Mr. and Mrs. Thomas E. McCarthy Mr. and Mrs. William F. McDonald Jeffrey and Tracy McEvoy Mr. David McGowan Mr. Sheldon and Dr. Linda Mehr Michael and Jan Meisel Lawry Meister Carlos Melich Mr. and Mrs. Dana Messina Ms. Marlane Meyer Coco Miller Mr. Weston F. Milliken Linda and Kenneth Millman Mrs. Lillian Mueller Gretl and Arnold Mulder Sheila Muller Munger, Tolles & Olson Craig and Lisa Murray Kevin Nazemi Robert and Sally Neely Mrs. Cynthia Nelson

Bringing Luxury Center Stage In The South Bay: Where Real Estate Meets Performance

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PERFORMANCES MAGAZINE AUGUST 2024 101

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Stanley Clarke

Judith Hill

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INSTANT ALTER with Emilio Modeste and Natasha Agrama

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Mumsey and Allan Nemiroff Mr. Jerold B. Neuman Ms. Kimberly Nicholas Ms. Mary D. Nichols Renae Niles Steven A. Nissen Nellie Nizam Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell Adriana Ortiz Ana Paludi and Michael Lebovitz Cynthia Patton Alyssa Phaneuf Julie and Marc Platt Bronwyn Pollock Lyle and Lisi Poncher Robert J. Posek, M.D. Ms. Eleanor Pott James S. Pratty, M.D. Steven Ray Mr. Eduardo Repetto Hon. Vicki Reynolds and Mr. Murray Pepper Mrs. Laura H. Rockwell Murphy and Ed Romano and Family Peter and Marla Rosen Mr. Bradley Ross and Ms. Linda McDonough Mr. Steven F. Roth Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough Dr. Michael Rudolph Mr. David Rudy Mr. and Mrs. Paul Rutter Thomas C. Sadler and Dr. Eila C. Skinner Ms. Yvonne Nam and Mr. David Sands Drs. Joan and Harry Saperstein Mark and Valerie Sawicki Dr. Marlene M. Schultz and Philip M. Walent Dr. and Mrs. Hervey Segall Hope and Richard N. Shaw Abby Sher Mr. Adam Sidy Mr. and Mrs. Peter R. Skinner Professor Judy and Dr. William Sloan Mr. Douglas H. Smith Mr. and Mrs. Michael G. Smooke Virginia Sogomonian and Rich Weiss William Spiller Ian and Pamela Spiszman Lael Stabler and Jerone English John Stauffer Ms. Margaret Stevens and Mr. Robin Meadow Jennifer Taguchi Mr. and Mrs. Randall Tamura Andrew Tapper and Mary Ann Weyman Mr. Stephen S. Taylor Mr. Todd H. Temanson

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$3,500 TO $5,499 Anonymous (3) Dr. and Mrs. Frank Agrama Mr. Robert A. Ahdoot Ty Ahmad-Taylor Ms. Rose Ahrens Adrienne S. Alpert Mr. Peter Anderson and Ms. Valerie Goo Carol L. Archie Sandra Aronberg, M.D. Carlo and Amy Baghoomian Tawney Bains and Zachary Roberts Mr. Barry Baker Terence Balagia Howard Banchik Clare Baren and David Dwiggins Isaac Barinholtz and Erica Hanson Ken and Lisa Baronsky Catherine and Joseph Battaglia Kay and Joe Baumbach George and Karen Bayz Newton and Rochelle Becker Charitable Trust Ms. Nettie Becker Mr. Richard Bemis Benjamin Family Foundation Mr. Stephen Bergens Mr. and Mrs. Elliot S. Berkowitz Mr. and Mrs. Gregg and Dara Bernstein Vince Bertoni and Damon Hein

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104 PERFORMANCES MAGAZINE AUGUST 2024

Mr. and Mrs. Dan Biles Lisa Biscaichipy Dr. Andrew C. Blaine and Dr. Leigh Lindsey Michael Blake Mr. Michael Blea Mr. Larry Blivas Thomas J. Blumenthal Ms. Leslie Botnick Anita and Joel Boxer Dr. and Mrs. Hans Bozler Mrs. William Brand and Ms. Carla B. Breitner Drs. Maryam and Iman Brivanlou Mr. Tad Brown and Mr. Jonathan Daillak Casey and Brea Brumels Diana Buckhantz Mrs. Lupe P. Burson Mr. Jon C. Chambers Jerry Chang Nolan and Marlene Charbonnet Adam Chase Mr. Louis Chertkow Arthur and Katheryn Chinski Mr. and Mrs. Joel T. Chitea Mr. and Mrs. Michael Colby Susan and David Cole Ms. Ina Coleman Dr Leni and Roger Cook Kevin and Katie Cordano Cox Family - Pernell, Keila, and Harper Q. John Curry Mrs. Nancy A. Cypert Jessica and James Dabney Ms. Laurie Dahlerbruch Chris Daly Mr. and Mrs. Leo David Mr. Howard M. Davine David Diaz Tim and Neda Disney R. Stephen Doan and Donna E. Doan Mr. Anthony Dominici and Ms. Georgia Archer Mr. Gregory C. Drapac Martha Duran Dr. David Eisenberg Alex Elias Susan Entin Bob Estrin Ms. Anita Famili Sidney B. Felsen Jen and Ted Fentin Lyn and Bruce Ferber Dr. Walter Fierson and Dr. Carolyn Fierson Mr. Michael A. Firestein A.B. Fischer Ms. Melanie Salata Fitch Mr. and Mrs. Michael M. Flynn David and Eve Ford Mrs. Diane Forester Bruce Fortune and Elodie Keene

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Lynn Franklin Mr. and Mrs. Michael Freeland Ms. Alisa J. Freundlich Friars Charitable Foundation Ian and Meredith Fried Steven Friednam David Fury Ben Gardner Ms. Sybil Garry Sara and Derek Geissler Dr. and Mrs. Anthony Gerber Susan and David Gersh Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs Jason Gilbert Mr. and Mrs. David A. Gill The Gillis Family William and Phyllis Glantz Mr. and Mrs. Herbert Glaser Ms. Patricia Glaser and Mr. Sam Mudie Glendale Philharmonic Committee Madelyn and Bruce S. Glickfeld Dana Goldberg Dr. and Mrs. Steven Goldberg The Honorable and Mrs. Allan J. Goodman Samantha Grant Mr. and Mrs. Carl C. Gregory Dr. Wayne W. Grody Marcy Gross Mr. Gary M. Gugelchuk Mr. and Mrs. Pierre and Rubina Habis Charles F. Hanes Mr. Robert T. Harkins Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Lewis K. Hashimoto Mr. David R. Hatcher Christy Haubegger Kaitlin and Jonathan Hawk Byron and DeAnne Hayes Nicolette F. Hebert Mr. Rex Heinke and Judge Margaret Nagle Dryden and Brian Helgoe Gail and Murray E. Heltzer Betsydiane and Larry Hendrickson Mr. and Mrs. Enrique Hernandez, Jr. Jim Herzfeld The Hill Family Dr. and Mrs. Hank Hilty Greg and Jill Hoenes Laura Fox, M.D., and John Hofbauer, M.D. Janice and Laurence Hoffmann Mrs. Cathy Hong In Hong Douglas and Carolyn Honig Dr. Timothy Howard and Jerry Beale

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International Committee Harry and Judy Isaacs Mr. and Mrs. Theodore W. Jackson Gordon M. Johnson and Barbara A. Schnell Mr. Sean Johnson Ratna Jones Robin and Craig Justice Mr. Ken Kahan Lawrence Kalantari Karen and Don Karl Mr. and Mrs. David S. Karton Ms. Christine Kaunitz Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick Mr. Stephen Keck Richard Kelton Ms. Sharon Kerson Nona Khodai Daisietta Kim and Rudolf Marloth Richard and Lauren King Jay T. Kinn and Jules B. Vogel Michael and Patricia Klowden Mr. and Mrs. Bruce Konheim Sandra Krause and William Fitzgerald Sharon and Joel Krischer Brett Kroha and Ryan Bean Tom Lallas and Sandy Milo Thomas and Gloria Lang Joan and Chris Larkin James Laur and Peter Kongkasem Craig Lawson and Terry Peters Mr. Les Lazar Mr. Robert Leevan Ms. Marie-Laure Leglise Dr. Bob Leibowitz Mr. Stephen Leidner Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Benjamin Bear Levy David and Meghan Licata Dr. and Mrs. Mark Lipian Ms. Elisabeth Lipsman Mr. Greg Lipstone Ms. Bonnie Lockrem and Mr. Steven Ravaglioli Long Beach Auxiliary Robert and Susan Long Susan Disney Lord and Scott Lord Mr. and Mrs. Boutie Lucas

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PERFORMANCES MAGAZINE AUGUST 2024

Crystal and Elwood Lui Nigel Lythgoe Dr. Jamshid Maddahi Konstantina Mahlia Mr. and Mrs. Ronald Manzani Mona and Frank Mapel Dorrie and Paul Markovits Mr. Allan Marks and Dr. Mara Cohen Jay and Alice Marks Mr. and Mrs. Stanley Maron Bridgette Marsh Dr. and Mrs. Gene Matzkin Lisa Mazzocco and Andrew Silver Courtney McKeown Robert L. Mendow Marcia Bonner Meudell and Mike Merrigan Linda and David Michaelson Larry and Mary Anne Mielke Dr. Gary Milan Mr. and Mrs. Michael D. Miller Mr. and Mrs. Simon Mills Janet Minami Mr. and Mrs. William Mingst Mr. Lawrence A. Mirisch Cynthia Miscikowski Maria and Marzi Mistry Robert and Claudia Modlin Linda and John Moore Mr. Alexander Moradi William Morton Mr. Emory R. Myrick Mr. James A. Nadal and Amelia Nadal Mr. Jose Luis Nazar Stuart and Bruce Needleman Mr. John M. Nisley Ms. Jeri L. Nowlen Ms. Margaret R. O’Donnell Mr. Dale Okuno Mr. and Mrs. John D. Olinski David Olson and Ruth Stevens Mr. and Mrs. Richard Orkand Kim and P.F. James Overton January Parkos-Arnall Nicholas Pepper Mrs. Ethel Phipps Pillsbury Winthrop Shaw Pittman LLP Nancy Pine

Mr. Jeff Polak and Mrs. Lauren Reisman Polak Mr. Joseph S. Powe Debbie and Rick Powell Mr. Albert Praw John R. Privitelli Ms. Marci Proietto Ms. Miriam Rain Bradley Ramberg Marcia and Roger Rashman Mr. and Mrs. Wayne Ratkovich Mr. and Mrs. Harold Ray David and Mary Beth Redding Resource Direct Dr. Susan F. Rice Mr. Ronald Ridgeway Mr. and Mrs. Kenneth Riley Mr. and Mrs. Norman L. Roberts Mr. Jed Robinson Phil Alden Robinson and Paulette Bartlett Rock River Ms. Kristina Rodgers Berta Rodriguez In memory of RJ and JK Roe Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Michelle and Mark Rosenblatt Mr. Richard Rosenthal and Ms. Katherine Spillar Joshua Roth and Amy Klimek Mr. Michael Rouse Mr. Andrew E. Rubin Betty J. Saidel Valerie Salkin Esa-Pekka Salonen Curtis Sanchez Mr. and Mrs. Michael Sanders Mr. and Mrs. Charles M. Sarff Ms. Maryanne Sawoski Sue and Don Schuster Carol (Jackie) and Charles Schwartz Mr. Alan Scolamieri Michael Sedrak John L. Segal Mr. and Mrs. Peter Segal Dr. and Mrs. Hooshang Semnani Ms. Amy J. Shadur-Stein Ms. Avantika Shahi Dr. Ava Shamban Dr. Alexis M. Sheehy Ms. Martha Shen-Urquidez

ANNUAL DONORS

Mr. Chris Sheridan Mr. Ross Shideler and Ms. Kathleen Komar Pamela and Russ Shimizu Mr. and Mrs. Elliot Shoenman Mr. Murray Siegel June Simmons Loraine Sinskey Leah R. Sklar Cynthia and John Smet Ms. Roberta Smith Mr. Steven Smith Michael Soloman and Steven Good Michael and Mildred Sondermann Dr. Michael Sopher and Dr. Debra Vilinsky Mr. Hamid Soroudi Shondell and Ed Spiegel Ms. Angelika Stauffer Mr. and Mrs. Pierre Steele Mr. and Mrs. Joseph Stein Jeff and Peg Stephens Mr. Scott Stephens Hilde Stephens-Levonian Mr. Roy Sukimoto Ed and Peggy Summers Deborah May and Ted Suzuki Mr. and Mrs. Larry W. Swanson David Jan Takata Mr. Marc A. Tamaroff Mr. Glenn Tan Judith Taylor Mrs. Elayne Techentin Mr. Nick Teeter Suzanne Thomas Mr. and Mrs. Harlan H. Thompson Ms. Evangeline M. Thomson Tichenor & Thorp Architects, Inc. Tina Gittelson John Tootle Mr. and Mrs. Leonard Unger Ingrid Urich-Sass The Valley Committees for the Los Angeles Philharmonic Vargo Physical Therapy David H. Vena Dorrit Vered and Jerome Vered Adriana Vinson Jenny Vogel Elliott and Felise Wachtel Christopher V. Walker Mr. Eldridge Walker Kathy S. Walton J. Leslie Waxman Craig R. Webb and Melinda Taylor Ms. Diane C. Weil and Mr. Leslie R. Horowitz Robert Weingarten Mr. and Mrs. Doug M. Weitman

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PERFORMANCES MAGAZINE AUGUST 2024 107

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Bob Blumenfield Kevin de León Marqueece Harris-Dawson Eunisses Hernandez Heather Hutt Paul Krekorian President John S. Lee Tim McOsker Imelda Padilla Traci Park Curren D. Price, Jr. Nithya Raman Monica Rodriguez Hugo Soto-Martínez Katy Young Yaroslavsky

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POOL CIRCLE The LA Phil is pleased to recognize and thank the following Pool Circle supporters.

We are deeply grateful for the generosity received for the 2024 Hollywood Bowl season.

Anonymous (6) ABC Entertainment Mrs. Lisette Ackerberg Mr. Gregory A. Adams Ms. Barbara Adams-Mitchell Arnon and Camille Adar Dr. and Mrs. Frank Agrama Nancy Furse Alder Edgar Aleman Missy and Dennis Alfieri Mr. and Mrs. Stephen L. Allen Mr. Ronald Altoon Dariush Arfaania Avery Dennison Corporation Bank of America Ms. Elizabeth Barbatelli Dr. Richard Bardowell, M.D. Karen and Jonathan Bass Gia Battocchio and Carrie Battocchio Menachem Mr. Robert Bellevue Dr. William Benbassat Barbara Bernstein and Stephen R. Bernstein Mr. and Mrs. Gregg and Dara Bernstein Beverly Hills Plastic Surgery, Inc. Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Mr. and Mrs. John Blasius Mr. Michael Blea Martha and Avrum Bluming Mr. Jay Borzi Ms. Bonnie Brae John and Annette Brende Gabriel and Deborah Brener Abbott Brown Mrs. Linda L. Brown Patricia Bulkeley Mr. Ronald W. Burkle

110

Canon Insurance Service Mara and Joseph Carieri Mr. Ernie Carswell and Mr. Donald Kreindler Andrea ChaoKharma and Kenneth Kharma Chicago Title Company Helen and Morgan Chu The Cloobeck Family Bruce M. Cohen, Esq. Mr. Garrett Collins and Mr. Matthew McIntyre Mr. Robert Corwin Arline and Michael Covell Faye and Bob Davidson Kelvin and Hana Davis, in honor of Mary Davis Orna and David Delrahim Ms. Rosette Delug Mr. John Devoe Mr. Kevin Dill Michael Dillon Martin and Geraldine Dirks Elizabeth and Kenneth M. Doran Malsi and Johnny Doyle Kathleen and Jerry L. Eberhardt Anna Sanders Eigler Dr. David Eisenberg Geoff Emery Dr. Annette Ermshar and Dan Monahan Dr. James Eshom Marc Ezralow Mr. Brad Fauvre Mr. C. Randolph Fishburn and Mr. Andrew Sands Pauline and Gordon Freshman Joan Friedman, Ph.D., and Robert N. Braun, M.D. Mr. and Mrs. Josh Friedman

PERFORMANCES MAGAZINE AUGUST 2024

Mrs. Brenda L. Galloway Rachel Gerstein The Rosalinde and Arthur Gilbert Foundation Leslie and Cliff Gilbert-Lurie Kiki Ramos Gindler and David Gindler Mr. and Mrs. Gregg J. Gittler Paige and David Glickman Greg and Etty Goetzman Mr. and Mrs. Ronald Goldberg Henry J. Gonzalez, M.D. Daniel Gore Mr. and Mrs. Ken Gouw Mr. Jeff Green Leonard Green and Partners LP Tricia and Richard Grey Mr. Alan Grosbard and Ms. Karen Bobo Renée and Paul Haas Mr. and Mrs. David Haddad Rod Hagenbuch Ms. Timi Hallem Hancock Park Associates Mr. and Mrs. John Hancock Dwight Hare and Stephanie Bergsma Mr. Les Harrison Kaitlin and Jonathan Hawk Lynette Hayde Mr. and Mrs. Kenneth Hearn Mr. and Mrs. Irwin Helford and Family Mr. and Mrs. Enrique Hernandez, Jr. Mr. and Mrs. Kenneth Hertz Dr. and Mrs. Warren F. Hoffman Janice and Laurence Hoffmann K. Hohman Family Heather and Chris Holme

Mr. and Mrs. Philip J. Holthouse Mr. Benjamin Hops Mr. and Mrs. Daniel Paul Horwitz Ms. Julia Huang Mrs. Bonnie Hutchins Dr. and Mrs. Mark H. Hyman Shelby and Jason Istrin Mr. and Mrs. Theodore W. Jackson Mr. Richard Jacobs Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mrs. Michelle Joanou Jones Day Jones Marketing Services Gary Kading Monique and Jonathan Kagan Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Dr. and Mrs. Robert M. Karns Tobe and Greg Karns Rizwan and Hollee Kassim Jerry Katell Kem Productions, Inc. Richard Kendall and Lisa See Darioush and Shahpar Khaledi Vicki King Mr. Gary Kirkpatrick and Mrs. Rebeccah Bush Kirkpatrick Ms. Madeleine A. Kleiner Michael and Patricia Klowden Dr. and Mrs. Robert Koblin Carla and Archy Kotoyantz KPMG LLP Mr. and Mrs. Stanley Kramer Sandra Krause and William Fitzgerald Eric Kunze

Tom Lallas and Sandy Milo The Norman and Sadie Lee Foundation Mr. and Mrs. Russ Lesser Saul Levine Mr. and Mrs. Steven Levine Lydia and Charles Levy Allison and Thomas S. Levyn Ms. Agnes Lew Marie and Edward Lewis Mr. Stuart Liner Mr. and Mrs. Steve Loeb Mr. and Mrs. Robert Lopata Shelly and Dennis Lowe Ms. Marion Lowry Dr. and Mrs. Franklin W. Lusby Theresa Macellaro / The Macellaro Law Firm Barbara Marshall Mr. Gary J. Matus Mr. and Mrs. Brad McCroskey Dwayne and Eileen McKenzie Sharyl and Rafael Mendez, M.D. Marc and Ashley Merrill Mr. and Mrs. Bruce A. Meyer David and Margaret Mgrublian Ms. Julie Milligan Ms. Cynthia Mitchell Montessori School Mr. David S. Moromisato Michael J. Morris and Julie A. Dopheide Susan Morse Christy Mozilo Larsen Ms. Christine Muller and Mr. John Swanson Mr. Jose Luis Nazar Mumsey and Allan Nemiroff Mr. Jerold B. Neuman Dr. and Mrs. Jay Orringer

Ana Paludi and Michael Lebovitz M. David and Diane Paul Mr. and Mrs. Joseph P. Perna Lorena and R. Joseph Plascencia Mr. Mark E. Pollack Lyle and Lisi Poncher Mr. Michael Poole Resource Direct Mr. Max Rifkind-Barron Betsey and Neil Roberts Ms. Iva C. Roberts Ari Rosenblatt, D.D.S. James and Laura Rosenwald/ Orinoco Foundation Joyce and Deane Ross Robyn and Steven Ross Linda and Tony Rubin Mr. Larry Ruderman Katy and Michael S. Saei The Saitman Family Mr. Lee C. Samson Ellen and Richard Sandler David N. Sayah, M.D. Mr. and Mrs. Alfred G. Scheid Mr. and Mrs. Gerry Schwartz Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Dr. and Mrs. Hrayr K. Shahinian Dr. Hanna Shammas Mrs. S. Shinbane Dr. and Mrs. Lee B. Silver June Simmons Grady and Shelley Smith Marilyn and Eugene Stein Hilde StephensLevonian Ed and Peggy Summers

Mr. David Suruki and Mr. Bob Shahnazarian Mr. Elgart Aster and Mr. Paul A. Swerdlove Mr. Stephen A. Talesnick Mr. and Mrs. Randall Tamura Mr. Andrew Tennenbaum and Dr. Ali Strocker Ms. Jennifer Cannon Terry Suzanne Thomas Thomson Technicolor Jeremy Thurswell Judith and Dr. John Uphold Ellen GoldsmithVein and Jon Vein Joan Velazquez and Joel Kozberg Noralisa Villarreal and John Matthew Trott Western Health Insurance Services, Inc. Christopher V. Walker Robert and Nancy Wallan Lisa and Tim Wallender Walter and Shirley Wang Fredda and Bruce Wasserman Mr. and Mrs. Bradley Wayne Mr. and Mrs. Stephen Weber Mr. Beryl Weiner Mindy and David Weiner Mr. Joel Weiner Ms. Galena Nayberg and Mr. Seth Weissman Alyce de Roulet Williamson Willkie Farr & Gallagher LLP Mr. Peter Christian and Mr. Robert Wyka Mr. Dylan Yolles Mrs. Lillian Zacky Ms. Seeta Zieger

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Kim Noltemy PRESIDENT & CEO

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Linda Holloway

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ADMINISTRATION Jermaine Banks

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Michael Chang

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Sarita Eldridge

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Kevin Ma

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PARKING & TRAFFIC ASSISTANT

Charee Heard EVENT MANAGER

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Norm Kinard

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Mark Ladd

DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL

Gina Leoni

ASSOCIATE DIRECTOR OF OPERATIONS & LOGISTICS, THE FORD

Tom Waldron

Jose Villasenor

AUDIENCE SERVICES Vilma Alvarez

OPERATIONS ADMINISTRATOR

Megan Ly-Lim

TICKET SELLER

Laura Connelly

Dreima Flores

1ST ASSISTANT TREASURER

CHIEF CONTENT OFFICER

REPRESENTATIVE

Steve Arredondo

Mark Wilson

FINANCE Jyoti Aaron CONTROLLER

Adriana Aguilar

PAYROLL ADMINISTRATOR

Steven Cao

ACCOUNTING MANAGER

Katherine Franklin

VENUE ACCOUNTING SUPERVISOR

EVENT MANAGER

ASSOCIATE DIRECTOR OF OPERATIONS, HOLLYWOOD BOWL

HUMAN RESOURCES Bessy Arizmendi HR BUSINESS PARTNER

Amber Blanco

HR BUSINESS PARTNER

Monica Ly

HR REPRESENTATIVE

Bryan Namba

HR BUSINESS & EDI PARTNER

Lisa Hernandez

LEARNING

Debbie Lang To

PROGRAM MANAGER, YOLA AT TORRES

ACCOUNTS PAYABLE MANAGER

DuMarkus Davis

Bernie Keating

FINANCIAL PLANNING MANAGER

Melissa Magana

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William Minor

PAYROLL MANAGER

Rosa Ochoa

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Karen O’Sullivan

FINANCIAL PLANNING ANALYST

Eden Palomino

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Richard Ponce

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LaTonya Lindsey

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Luz Myrick

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Lisa Renteria

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Sierra Shultz

Diana Melgar

Robert Siegel

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Lorenzo Johnson PROGRAM MANAGER, YOLA AT INGLEWOOD MANAGER, LEARNING

DIRECTOR, LEARNING

Salas HOLLYWOOD BOWL / Michael MANAGER, YOLA NATIONAL FORD SUMMER STAFF Gaudy Sanchez Joel Argueta

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Michael Vitale

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ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES & ANALYTICS

Justin Foo

ASSOCIATE DIRECTOR, SALES & CUSTOMER ENGAGEMENT

DIRECTOR, PRODUCTION TECHNICAL DIRECTOR

Bill Williams

PRODUCTION ADMINISTRATOR

PHILANTHROPY Annalise Aguirre MAJOR GIFTS OFFICER

Caila Gale

Robert Albini

Tara Gardner

Joshua Alvarenga

SENIOR DIGITAL PRODUCER SENIOR MANAGER, DIGITAL MARKETING

Karin Haule

GRAPHIC DESIGNER

Annisha Hinkle

SENIOR MANAGER, PROMOTIONS & PARTNERSHIPS

Jennifer Hoffner

ASSOCIATE DIRECTOR, ADVERTISING

Alexis Kaneshiro

SENIOR GRAPHIC DESIGNER

Jordan Kauffman

MANAGER, AUDIENCE GROWTH & ENGAGEMENT

Jediah McCourt

DIRECTOR, MAJOR GIFTS

ASSOCIATE DIRECTOR, MAJOR GIFTS

Jennifer Berger BOARD LIAISON

Taylor Burrows

SENIOR COORDINATOR, GIFT PLANNING

Abigail Butts

SENIOR GIFT PLANNING OFFICER

Michelle Carrasquillo DATABASE MANAGER, PHILANTHROPY OPERATIONS

Julia Cole

DIRECTOR, INSTITUTIONAL GIVING

Joel Fernandez

SENIOR RESEARCH ANALYST

MANAGER, CORPORATE PARTNERSHIPS

Elan Fields

RETAIL MANAGER, MERCHANDISING

Fabian Fuertes

Ino Mercado

ASSISTANT MANAGER, PHILANTHROPY OPERATIONS

Ricky O’Bannon

GIFT PLANNING OFFICER

DIRECTOR, CONTENT

Freyja Glover

DIRECTOR, PUBLIC RELATIONS

Genevieve Goetz

Leah Price

Erin Puckett

MARKETING MANAGER

Andrew Radden

DIRECTOR, CORPORATE PARTNERSHIPS

Anna Ress

SENIOR DIRECTOR, COMMUNICATIONS

Rochell Rotenberg

SENIOR MANAGER, CORPORATE PARTNERSHIPS

Sadie Sartini Garner CREATIVE COPYWRITER

Mary Smudde

ASSOCIATE CREATIVE DIRECTOR

Piper Starnes

CREATIVE COPYWRITER

MANAGER, ANNUAL GIVING

DIRECTOR, GIFT PLANNING

Angelina Grego

MANAGER, AFFILIATES & VOLUNTEER ENGAGEMENT

Gerry Heise

SENIOR MAJOR GIFTS OFFICER

Julian Kehs

MANAGER, INSTITUTIONAL GIVING

Emily Lair

SENIOR MAJOR GIFTS OFFICER

Shannon K. Larner

DIRECTOR, ANNUAL GIVING

Emily LaSalle

MAJOR GIFTS OFFICER

Christina Magaña

Natalie Suarez

ASSISTANT MANAGER, DONOR RELATIONS

Kahler Suzuki

DIRECTOR, BOARD RELATIONS

SENIOR CREATIVE DIRECTOR SENIOR VIDEO PRODUCER

Jonathan Thomas

MARKETING DATABASE SPECIALIST

Lauren Winn

SENIOR PROJECT MANAGER, CREATIVE SERVICES

ORCHESTRA MANAGEMENT & MEDIA INITIATIVES

Allison Mitchell Gisela Morales

SENIOR MAJOR GIFTS OFFICER

Michelle Mountain

DIRECTOR, SPECIAL EVENTS

Ryan Murphy

ASSISTANT MANAGER, SPECIAL EVENTS

Sophie Nelson

SENIOR COORDINATOR, MAJOR GIFTS

Andrea Perez-Rulfo

Gema Allatorre

FACILITY SERVICES MANAGER

DIRECTOR, INFORMATION TECHNOLOGY

Alejandra Cabrales

LOT MANAGER

SYSTEM SUPPORT I

Angelica Carbajal

LOT MANAGER

Irene Chow

BOWL SECURITY

Melissa Achten

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

David Cranton

BOWL SECURITY

Mary Allen

PROJECT MANAGER, MEDIA INITIATIVES

Dustin Seo

Shawana Deloach

VALET PARKING MANAGER

Amanda Angel

MANAGER, ORCHESTRA PERSONNEL

Rochelle Siegrist

Matt Dolce

LOT MANAGER

Lushia Anson

Juan Fernandez

HOUSE MANAGER

MARKETING & COMMUNICATIONS OPERATIONS MANAGER

Nancy Fitzgerald

HOUSE MANAGER

SENIOR DIRECTOR, BRAND

Tina Kane

ASSOCIATE HOUSE MANAGER

DIRECTOR, RETAIL SERVICES

Taylor Lockwood

Tyler Teich

Angelia Franco

SENIOR DIRECTOR, MARKETING & PARTNERSHIPS

Kimberly Mitchell

Derek Traub

Noricel Fulay Cole

LOT MANAGER

Carla Galvez Kim Havens

Jeff Matchan

Sergio Menendez Edward Mesina

INFRASTRUCTURE ENGINEER

Andrew Moreno

ASSISTANT, OFFICE SERVICES

Angela Morrell TESSITURA SUPPORT

Marius Olteanu IT SUPPORT ENG I

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel A. Ponce, Jr. SYSTEM SUPPORT I

Christopher Prince TESSITURA SUPPORT

Mark Quinto

DIRECTOR, IT SERVICES

Meredith Reese

SENIOR MANAGER, INFORMATION TECHNOLOGY

Aly Zacharias DIRECTOR, LEGAL

2ND ASSISTANT TREASURER

Oswaldo Camarena

TICKET SELLER

Janelle Cuevas

MARKETING & COMMUNICATIONS

1ST ASSISTANT TREASURER

Michael Forrest

MANAGER, SOCIAL MEDIA

2ND ASSISTANT TREASURER

Pierre Gamble

2ND ASSISTANT TREASURER

Tamir Gilboa

2ND ASSISTANT TREASURER

Judy Lim

TICKET SELLER

Gabriel Maceo

TICKET SELLER

Kelsey Reeder

2ND ASSISTANT TREASURER

Ruben Reyes

Janice Bartczak

TICKET SELLER

Hai Tran

Lisa Burlingham

TICKET SELLER

Thao Tran

Frank Varela

MANAGER, DIRECT MARKETING

ASSISTANT TECHNICAL DIRECTOR

2ND ASSISTANT TREASURER

Fred Vogler

SENIOR DIRECTOR, SALES AND CUSTOMER EXPERIENCE

ASSOCIATE DIRECTOR, PRODUCTION

TICKET SELLER

Micaela Accardi-Krown

Shana Bey

DIRECTOR, ORCHESTRA MANAGEMENT

Jessica Farber

OPERATIONS MANAGER, RETAIL

Raymond Horwitz

SENIOR MANAGER, SOCIAL MEDIA

Maren Slaughter

DIRECTOR, EDITORIAL

Scott Arenstein

PRODUCTION Alex Grossman

SENIOR PRODUCTION MANAGER

Sofia Rosenberg

COORDINATOR, SPECIAL EVENTS

Carina Sanchez

ASSOCIATE DIRECTOR, RESEARCH

Marie Santana

ASSISTANT MANAGER, SPECIAL EVENTS ASSISTANT MANAGER, ANNUAL GIVING SENIOR COORDINATOR, ANNUAL GIVING

Erica Sitko

DIRECTOR, STEWARDSHIP & PRINCIPAL GIFT STRATEGY

Peter Szumlas

SCHEDULING MANAGER

ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

PRODUCTION MANAGER

SENIOR GIFT & DATA SPECIALIST

ASSOCIATE DIRECTOR, PRODUCTION

MANAGER, PHILANTHROPY COMMUNICATIONS

LOT MANAGER

Charles Carroll

Cameron Pieratt

FORD FACILITY MANAGER

Joe Carter

Christopher Slaughter

SOUND DESIGNER

ANNUAL GIVING OFFICER

Morgan Walton

ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT

Jonathan Thompson

ASSOCIATE PRODUCTION MANAGER

The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

PERFORMANCES MAGAZINE AUGUST 2024 111

FIELD GATE

’S Y E CO C C LA M P Z ET Z K R BU A M

GENER AL INFOR M ATION

4

VALET PARKING

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7

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SHUTTLE DROP-OFF & PICKUP

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→

→

PARK & RIDE PICKUP

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EN

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101

B1 → → →

→→

→→

→→

→→

B2

→

MARQUEE

WAY

PHOTOGRAPHS

→

→

E

101 SOUTH

→→ →→

→→

→ PARK & RIDE → → PICKUP →

B3

TR

T IC S TA U E E Q MAR

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→ → →

B4

C AN

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The Bowl Store Box Offi ce, Info & Accessibility Dept

Entrance Gate 11 Escalator / Moving Sidewalk 12 First Aid

Parking

Picnic Areas (1-14) Picnic Box Pickup TH

ER

Accessible Facilities

13

Restrooms Rideshare

10 1 N O R

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Accessible Facilities

Food + Wine

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Zev Yaroslavsky Main Gate / Lawrence N. Field Gate / Monique & Jonathan Kagan Patio Norman & Sadie Lee Foundation Pool Circle / Margo & Irwin Winkler Promenade

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112 PERFORMANCES MAGAZINE AUGUST 2024

OF

FMP

EN

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LEGEND Cushion Rental

H L AN D

RA

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10

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→→

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UN

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Any lost articles found on concert nights may be claimed at the Operations Office the next morning. Unclaimed articles are kept for 30 days from the date they are found. For information, call 323 850 2060.

CA

LOST AND FOUND

PARK & RIDE DROP-OFF

CE

ACCESSIBLE PARKING

B7

DW

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In case of illness or injury, please see an usher, who will escort you to the First Aid Station.

S CE

T

H

FIRST AID

PA

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LOT B

For information detailing accessible seating, restrooms, dining, on-site transportation, assistive listening devices, or any further information, please request the Map of the Hollywood Bowl for Patrons with Disabilities by phoning 323 850 2125. Please ask for Accessible Services or visit hollywoodbowl.com/accessible.

MID GATE

V

By law (LACC 17.04.645), smoking is not permitted on the Hollywood Bowl grounds, except in designated areas. Violators are subject to removal. Smoking in any other areas could lead to arrest and would be considered a misdemeanor.

PATRONS WITH DISABILITIES

3

CE A ET PL E ET W K S R & R A ST P ’S A MA O N B E H N E S A IN W

S

D

6

SMOKING POLICY

Your use of a ticket constitutes acknowledgment of willingness to appear in photographs taken in public areas of the Hollywood Bowl and releases the Los Angeles Philharmonic Association, its lessees, and all others from liability resulting from the use of such photographs.

LE

C IRC L

NADE

T

X SE

SUPE R S

N

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T E R R AC E B O

X

If the behavior of a patron or patrons near you becomes disruptive, the incident should be reported to the nearest usher or security person. To report an incident discreetly during an event, a text can be placed to the Customer Courtesy Line using the keyword BOWL sent to 69050.

For the full Code of Conduct, visit hollywoodbowl.com/houserules.

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07/06/2024 10:32