PERFORMANCES Magazine December 2016

DECEMBER 2016

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Taylor, Age 8, Pastel

Celebrating

Walt

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DECEMBER 2016 CONTENTS

8 12 20 28 ABOUT THE LA PHIL

LA PHIL NEWS

COMING SOON

DECEMBER 1-18

DECEMBER 17-31

P1

P1

DEC 1-4 Dudamel & Russian Masters

SUPPORT THE LA PHIL

DEC 17 Holiday Sing-Along

P6 DEC 5

China Philharmonic Orchestra

P4 DEC 20

A Chanticleer Christmas

P13 DEC 8-11

Dudamel Conducts Haydn’s Creation

P16 DEC 21

Sweet Honey in the Rock

P19 DEC 15 & 17

Handel’s Messiah

P18 DEC 22

Swinging Christmas with

the Arturo Sandoval Big Band

P25 DEC 16 & 18

ADAMS @ 70: El Niño

P20 DEC 23

White Christmas Sing-Along P22 DEC 31

New Year’s Eve with Pink Martini

Long Yu

Daniil Trifonov

Bernard Labadie

Sweet Honey in the Rock

Arturo Sandoval

La Santa Cecilia

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Perform

“First Republic shares our passion for innovation and world-class performance.”

ANDREA MILLER

Founder, Artistic Director and Choreographer, Gallim Dance 2014 Guggenheim Fellow

(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender Cecilia

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Published By SOUTHERN CALIFORNIA MEDIA GROUP Publisher Jeff Levy Editor in Chief Benjamin Epstein Art Director Carol Wakano

Celebrate with Strauss Waltzes and Operetta Excerpts, featuring European Singers, Dancers and Full Orchestra!

Production Manager Ellen Melton Editor Suzanne Ennis Web Editor Christina Xenos Production Artist Diana Gonzalez Contributing Designer Heidi Schwindt Advertising Director Lyle Laver Account Managers Kerry Brewer, Heather Heintz, Julie Hoffman, Jessica Levin Poff, Heather Price, Crystal Sierra Photo by Chris Lee

Strauss Symphony of America Peter Guth, conductor (Vienna) Lara Ciekiewicz, soprano (Winnipeg) Brian Cheney, tenor (New York) Dancers from Europaballett St.Pölten (Austria) & International Champion Ballroom Dancers THE MUSIC CENTER’S WALT DISNEY CONCERT HALL

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Info: 1.800.545.7807

Business Manager Leanne Killian Riggar Advertising Services Dawn Kiko Cheng Marketing Manager Anna Ciric Administration Amina Karwa, Danielle Riffenburgh Honorary President Ted Levy For information about advertising and rates, call Southern California Media Group 3679 Motor Ave, Suite 300 Los Angeles, CA 90034 tel: (310) 280-2880 fax: (310) 280-2890 Visit Performances Magazine www.socalpulse.com

PERFORMANCES MAGAZINE is published monthly

by Southern California Media Group to serve theatrical attractions throughout the west.

Produced by: Artists subject to change without notice

© 2016 Southern California Media Group.

All rights reserved.

Southern California Media Group 3679 Motor Avenue, Suite 300, Los Angeles, CA 90034 Telephone: (310) 280-2880 FAX: (310) 280-2890

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PERFORMANCES MAGAZINE

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12-Dece

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WELCOME FROM THE PRESIDENT Earlier this season, our Music & Artistic Director Gustavo Dudamel was invited to address this year’s National Medal of Arts and Humanities recipients following the White House awards ceremony hosted by President Obama. Dudamel was joined in our nation’s capital by five current students and alumni of the Youth Orchestra Los Angeles (YOLA) program. His speech told the story of YOLA, and in doing so, made a case for the power of the arts, calling them the “nourishment of the soul” and basis of our “spiritual health.”

This month, the Los Angeles Philharmonic will “nourish our souls” with a Spiritual Masterworks series. Dudamel will open the series with Haydn’s timeless Creation, with a video installation by acclaimed filmmaker Alberto Arvelo. Handel’s Messiah will follow under the direction of Bernard Labadie, and the series will conclude with a work that I have always hoped to see paired with Messiah: the multilingual nativity oratorio El Niño, composed by LA Phil Creative Chair John Adams.

El Niño was first staged by the LA Phil in 2003, and for one of our two concerts, we will revisit its original film accompaniment, created by Adams’ longtime collaborator, director Peter Sellars. Together, Adams and Sellars are responsible for some of the most iconic opera productions of the past 30 years, but in commenting on the growing role of sacred music in their partnership, Sellars said, “Wall-to-wall opera isn’t necessarily what we need.

It’s great to allow some things to have this other kind of spiritual radiance and other kind of abstract splendor and beauty, exactly when the world is so in your face.”

As what has been an especially “in your face” year in America and around the world comes to a close, let us heed the words of these great artists and nourish our souls together, as a community forged through music.

Deborah Borda President and Chief Executive Officer Los Angeles Philharmonic Association David C. Bohnett Presidential Chair

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LOS ANGELES PHILHARMONIC ASSOCIATION BOARD OF DIRECTORS CHAIR Jay Rasulo* PRESIDENT AND CHIEF EXECUTIVE OFFICER Deborah Borda David C. Bohnett Presidential Chair VICE CHAIRS David C. Bohnett* Jerrold L. Eberhardt* Jane B. Eisner* Kenneth Kamins* John V. Mallory* Diane B. Paul* DIRECTORS Gregory A. Adams Julie Andrews Wallis Annenberg Thomas L. Beckmen Lynn A. Booth Linda Brittan David A. Clark Mark Houston Dalzell Mari L. Danihel Donald P. de Brier* Kenneth M. Doran Louise D. Edgerton Lawrence N. Field Nathan Frankel Joshua Friedman David Gindler Cecilia Aguilera Glassman Jennifer Miller Goff Ellen Goldsmith-Vein Lenore S. Greenberg Carol Colburn Grigor Pierre Habis Teena Hostovich

Jonathan Kagan* Sarah Ketterer Darioush Khaledi Ronald Litzinger Kevin MacCarthy Bowen H. “Buzz” McCoy Lynn Mehl David Meline Margaret Morgan Younes Nazarian Leith O’Leary William Powers Barry D. Pressman, M.D. Dudley A. Rauch* Christopher Rising Ann Ronus Jennifer Rosenfeld Laura Rosenwald Nancy S. Sanders* Eric L. Small Christian Stracke Ronald D. Sugar* Jack Suzar Sue Tsao Jonathan Weedman Alyce de Roulet Williamson Irwin Winkler Marilyn Ziering *Executive Committee Member HONORARY LIFE DIRECTORS Royce Diener Frank Gehry John F. Hotchkis Ginny Mancini Rocco C. Siciliano as of October 1, 2016

PERFORMANCES MAGAZINE

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JACKIE

F O R YO U R C O N S I D E R AT I O N BEST ACTRESS N ATA L I E P O R T M A N

“A BEAUTIFUL, COMPLEX TAKE ON THE BIOPIC. NATALIE PORTMAN IS FLAWLESS AND UTTERLY CAPTIVATING AS JACKIE KENNEDY.” LYNN HIRSCHBERG – W MAGAZINE

FOXSEARCHLIGHT.COM/FYC

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ABOUT THE LA PHIL GUSTAVO DUDAMEL As an internationally renowned symphonic and operatic conductor, Gustavo Dudamel is motivated by a profound belief in music’s power to unite and inspire. He currently serves as Music & Artistic Director of the Los Angeles Philharmonic and Music Director of the Simón Bolívar Symphony Orchestra of Venezuela, and the impact of his leadership extends from the greatest concert stages to classrooms, cinemas, and innovative digital platforms around the world. Dudamel also appears as guest conductor with some of the world’s most famous musical institutions: in 2017, he tours Europe with the Berlin Philharmonic and is the youngest-ever conductor to lead the Vienna Philharmonic’s famous New Year’s Day Concert, watched annually by over 50 million people in 90 countries.

As Dudamel enters his eighth season as Music & Artistic Director of the Los Angeles Philharmonic, he has extended his contract to the end of the 2021/22 season. At his initiative, the Los Angeles Philharmonic has dramatically expanded the scope of its community outreach programs, including most notably the creation of Youth Orchestra Los Angeles (YOLA), influenced by the philosophy of Venezuela’s admired El Sistema, which encourages social development through music.

With YOLA and diverse local educational initiatives, Dudamel brings music to children in underserved communities of Los Angeles. These programs have in turn inspired similar efforts throughout the United States, as well as in Sweden (Hammarkullen) and Scotland (Raploch).

In his 18th season as Music Director of the entire El Sistema project in Venezuela, he continues to lead the Simón Bolívar Symphony Orchestra in Venezuela as well as on tour.

Recordings, broadcasts, and digital innovations are also fundamental to Dudamel’s passionate advocacy for universal access to music. A Deutsche Grammophon artist since 2005, Grammy-winner Gustavo Dudamel has numerous recordings on the label, as well as many video/DVD releases that capture the excitement of significant moments of his musical life. He has independently produced an all-Wagner recording available exclusively for download, among others.

Gustavo Dudamel is one of the most decorated conductors of his generation. He received the Americas Society Cultural Achievement Award in 2016, and the 2014 Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society from the Longy School. In 2013 he was named Musical America’s Musician of the Year and inducted into the Gramophone Hall of Fame. Other awards include the 2010 Eugene McDermott Award in the Arts at MIT; 2009 Chevalier de l’Ordre des Arts et des Lettres; being named one of TIME Magazine’s 100 most influential people; and the 2008 “Q” Prize from Harvard. Additionally, he has received several honorary doctorates.

He was born in 1981 in Venezuela, and access to music for all has been the cornerstone of Gustavo’s philosophy both professionally and philanthropically.

For more information about Gustavo Dudamel, visit his official website: gustavodudamel.com.

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LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the leadership of Music & Artistic Director Gustavo Dudamel, is invested in a tradition of the new, through a commitment to foundational works and adventurous explorations. Both at home and abroad, the Philharmonic is leading the way in ground-breaking programming. 2016/17 marks the orchestra’s 98th season.

More than 250 concerts are either performed or presented by the Philharmonic each season at its two iconic venues: Walt Disney Concert Hall and the Hollywood Bowl. During its 30-week winter subscription season at Walt Disney Concert Hall, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the symphonic music experience and delve further into certain artists’ or composers’ work. The organization’s commitment to the music of our time is evident throughout the season programming, as well as in the exhilarating Green Umbrella series and the LA Phil’s extensive commissioning initiatives.

Since 2003, the LA Phil’s home has been the inimitable Frank Gehry-designed Walt Disney Concert Hall, which embodies the energy, imagination, and creative spirit of the city of Los Angeles and its orchestra. Praise for the design and the acoustics of the Hall has been effusive.

The orchestra’s involvement with Los Angeles extends far beyond symphony concerts in a concert hall, with performances in schools, churches, and neighborhood centers of a vastly diverse community.

Among its wide-ranging education initiatives is Youth Orchestra LA (YOLA). Inspired by Venezuela’s revolutionary El Sistema, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 700 students from underserved neighborhoods.

Always inspired to expand its cultural offerings, the LA Phil each season produces concerts featuring distinguished artists in recital, jazz, world music, songbook, and visiting orchestra performances, in addition to special holiday concerts and series of chamber music, organ recitals, and Baroque music.

Through an ongoing partnership with Deutsche Grammophon, the orchestra has a substantial catalog of concerts available online. In 2011, the Los Angeles Philharmonic and Gustavo Dudamel won a Grammy for Best Orchestral Performance for their recording of the Brahms Symphony No. 4.

The Los Angeles Philharmonic was founded by William Andrews Clark, Jr., who established the city’s first permanent symphony orchestra in 1919. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, ten renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929); Artur Rodzinski (1929-1933); Otto Klemperer (19331939); 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).

“ Under Salonen, the [Los Angeles] Philharmonic became the most interesting orchestra in America; under Dudamel, it shows no signs of relinquishing the title.”

THE NEW YORKER

PERFORMANCES MAGAZINE

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→ ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC Gustavo Dudamel Music & Artistic Director Walt and Lilly Disney Chair Esa-Pekka Salonen Conductor Laureate Mirga Gražinyte˙-Tyla Associate Conductor Ann Ronus Chair John Adams Creative Chair Deborah Borda President and Chief Executive Officer David C. Bohnett Presidential Chair

FIRST VIOLINS Martin Chalifour Principal Concertmaster Marjorie Connell Wilson Chair Nathan Cole First Associate Concertmaster Ernest Fleischmann Chair Bing Wang Associate Concertmaster Mark Baranov Assistant Concertmaster Philharmonic Affiliates Chair Akiko Tarumoto Michele Bovyer Rochelle Abramson Camille Avellano Elizabeth Baker Minyoung Chang Vijay Gupta Mischa Lefkowitz Edith Markman Mitchell Newman Stacy Wetzel

SECOND VIOLINS Lyndon Johnston Taylor Principal Dorothy Rossel Lay Chair Mark Kashper Associate Principal Kristine Whitson Johnny Lee Dale Breidenthal Ingrid Chun Jin-Shan Dai Chao-Hua Jin Nickolai Kurganov Guido Lamell Varty Manouelian Paul Stein Yun Tang Suli Xue

VIOLAS

OBOES

TROMBONES

Carrie Dennis Principal John Connell Chair

Ariana Ghez * Principal

David Rejano Cantero Principal

Marion Arthur Kuszyk Associate Principal

James Miller Associate Principal

Anne Marie Gabriele Carolyn Hove

Herbert Ausman

Dale Hikawa Silverman Associate Principal Ben Ullery Assistant Principal Dana Lawson Richard Elegino John Hayhurst Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel

CELLOS Robert deMaine Principal Bram and Elaine Goldsmith Chair Ben Hong Associate Principal Sadie and Norman Lee Chair

CLARINETS Boris Allakhverdyan Principal Burt Hara Associate Principal

Christopher Hanulik Principal Oscar M. Meza Assistant Principal David Allen Moore Jack Cousin Brian Johnson Peter Rofé

FLUTES Denis Bouriakov Principal Virginia and Henry Mancini Chair Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair Elise Shope Henry Sarah Jackson

Sarah Jackson

Norman Pearson

TIMPANI Joseph Pereira Principal Cecilia and Dudley Rauch Chair

E-FLAT CLARINET

Matthew Howard Principal

Andrew Lowy

BASS CLARINET David Howard

BASSOONS

Shawn Mouser Associate Principal

Dennis Trembly Principal

TUBA

PERCUSSION

Jonathan Karoly

BASSES

John Lofton

Andrew Lowy David Howard

Whitney Crockett Principal

David Garrett Barry Gold Jason Lippmann Gloria Lum Tao Ni Serge Oskotsky Brent Samuel

BASS TROMBONE

Carolyn Hove

Dahae Kim Assistant Principal

PICCOLO

10

ENGLISH HORN

Michele Grego Patricia Kindel

CONTRABASSOON Patricia Kindel

HORNS Andrew Bain Principal John Cecil Bessell Chair

James Babor Perry Dreiman

KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Lou Anne Neill

LIBRARIANS Kazue Asawa Mcgregor Kenneth Bonebrake Stephen Biagini

PERSONNEL MANAGER Jeffrey Neville

CONDUCTING FELLOWS

Associate Principal (Vacant)

Paolo Bortolameolli Elim Chan Kahchun Wong

Gregory Roosa William and Sally Rutter Chair

*on sabbatical

Amy Jo Rhine Loring Charitable Trust Chair Brian Drake Reese and Doris Gothie Chair Ethan Bearman Assistant Bud and Barbara Hellman Chair

TRUMPETS Thomas Hooten Principal M. David and Diane Paul Chair

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis.

Players listed alphabetically change seats periodically.

In those sections where there are two principals the musicians share the position equally and are listed in order of length of service.

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

James Wilt Associate Principal Christopher Still Ronald and Valerie Sugar Chair Stéphane Beaulac

PERFORMANCES MAGAZINE

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LA PHIL NEWS YOLA ON TOUR Celebrating its 10-year anniversary, Youth Orchestra Los Angeles (YOLA) embarked in October on its first-ever tour, travelling across California with stops at the Valley Performing Arts Center in Northridge, the LJ Williams Theatre in Visalia, and the William Saroyan Hall in Fresno, conducted by Juan Felipe Molano. The tour ended at Paramount Theatre in Oakland, where the orchestra was conducted by the LA Phil’s Music & Artistic Director Gustavo Dudamel.

“It’s a beautiful way to celebrate our 10th anniversary,” Dudamel told the Mercury News. “Sharing the experience of our young musicians’ program has been so successful for the children. I think that’s the most important thing, to be sharing that with San Francisco and Oakland. It’s a place that we love, that we have in our hearts, and we are really looking forward to it... because it’s a celebration of joy, of love, of music as an important element of society. Especially in our times, we need more of this element – this art, this cultural element that brings beauty and love to people.”

YOLA, the LA Phil’s landmark education program,

was launched in the Fall of 2007 as an unprecedented initiative to establish youth orchestra programs in underserved communities throughout Los Angeles.

Inspired by Venezuela’s visionary El Sistema program, which nurtured Gustavo Dudamel, the YOLA program works with community partners to provide free instruments, intensive music training, and academic support to students, empowering them to become vital citizens, leaders, and agents of change. YOLA currently serves nearly 800 students in three programs: YOLA at EXPO Center, YOLA at HOLA, and YOLA at LACHSA, and reaches thousands more young people through YOLA-inspired music education residencies in 15 elementary schools that surround YOLA sites.

For the tour, 80 of the most advanced YOLA students, representing all three sites, performed 45-minute educational concerts that featured works by Beethoven, ˇ and John Williams. The conBernstein, Brahms, Dvorák, certs also involved a narrative and video component that illuminated the transformative power of music and community, and paid homage to YOLA’s rich 10-year history.

YOLA’s California Tour was supported by generous grants from The Legacy Foundation and Kaiser Permanente.

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Youth Orchestra Los Angeles and Gustavo Dudamel

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DEC

22

DEC

DEC

17

23

DEC 15/17

DEC

21

DEC

20

THU

Handel’s Messiah

8pm

Los Angeles Philharmonic Bernard Labadie, conductor Karina Gauvin, soprano • Ann Hallenberg, mezzo-soprano Allan Clayton, tenor • Matthew Brook, bass-baritone La Chapelle de Québec, chorus

DEC 15 SAT

DEC 17 8pm

THU

DEC 22 8pm

Trumpet virtuoso 10-time Grammy®-honoree Arturo Sandoval leads a Latin-flavored jazz program for the holidays.

FRI

From the gentle simplicity of the Pastorale to the colossal final choruses, Handel’s musical epic is a beloved holiday tradition.

SAT

DEC 17 11:30am 2:30pm

Accompanied by pipe organ, choir and jazz combo, you’ll have a jolly good time singing numerous popular songs of the season!

The 12 men of this “orchestra of voices” make a welcome return with their exquisite and eclectic Christmas program.

WED

Sweet Honey in the Rock: Celebrating the Holidays

8pm

2 PERFORMANCES

White Christmas Sing-Along Using the onscreen lyrics, your family and friends will enjoy singing along to this heartwarming holiday film starring Bing Crosby, Rosemary Clooney and Danny Kaye. © Paramount Pictures

Melissa Peterman, host

8pm

DEC 21

3pm 8pm

Holiday Sing-Along

A Chanticleer Christmas

DEC 20

DEC 23

2 PERFORMANCES

TUE

Swinging Christmas with the Arturo Sandoval Big Band

SAT

DEC 31 7pm 10:30pm

2 PERFORMANCES

New Year’s Eve with Pink Martini With vocalists China Forbes and Storm Large, and lots of special guests, Pink Martini is the perfect way to ring in the New Year!

This female African-American a cappella group returns with a special holiday performance guaranteed to spread joy and cheer.

ASL interpretation provided for this concert.

DEC

31

TICKETAST START ! $30

LAPhil.com/DeckTheHall 323.850.2000

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GIVE THE GIFT OF MUSIC!

LAPhil.com/GiftCard

WALT DISNEY CONCERT HALL Fees may apply. See back.

Programs, artists, prices and dates subject to change

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→ LA PHIL NEWS

SUSANNA MÄLKKI NAMED CONDUCTOR OF THE YEAR

Susanna Mälkki; Barry Socher; Judith Mass

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In October, Musical America announced the winners of its annual awards, and several members of the extended LA Phil family won honors from the venerable service organization. Susanna Mälkki, who becomes Principal Guest Conductor of the Los Angeles Philharmonic next season, was named Conductor of the Year. Additionally, pianist Yuja Wang, an LA Phil favorite, was named Artist of the Year, and composer Andrew Norman, who has received several commissions from the orchestra, was named Composer of the Year. Eric Owens, who has appeared with the LA Phil at Walt Disney Concert Hall and the Hollywood Bowl in a number of works since 2008, was named Vocalist of the Year.

Now the Chief Conductor of the Helsinki Philharmonic, Finnish conductor Susanna Mälkki first conducted the Los Angeles Philharmonic in November 2010, in a program that featured the U.S. premiere of Mark-Anthony Turnage’s Hammered Out, as well as Strauss’ Also sprach Zarathustra and Mozart’s Violin Concerto No. 1 with LA Phil Principal Concertmaster Martin Chalifour. In 2013 she led a program of Stravinsky’s Violin Concerto (with soloist Leila Josefowicz), Brahms’ Fourth Symphony, and the U.S. premiere of Enno Poppe’s Markt. In 2015 she conducted the orchestra and a large cast in Unsuk Chin’s opera Alice in Wonderland, in a multimedia staging by Netia Jones.

Mälkki is only the third Principal Guest Conductor of the LA Phil, preceded by Sir Simon Rattle and Michael Tilson Thomas. “I’m absolutely thrilled to deepen my collaboration with the wonderful Los Angeles Philharmonic and Gustavo Dudamel in the years to come,” Mälkki said about her appointment last April.

“The orchestra is one of the most exciting, versatile, and skillful ensembles in the world, truly showing what a symphony orchestra of the 21st century can be.

Belonging to the artistic team of this fantastic institution is most inspiring to me, and I’m very much looking forward to music-making with the orchestra.”

Trained as a cellist as well as a conductor, Mälkki was the Principal Cello of the Gothenburg Symphony Orchestra for several years before moving her career to the podium. Her first leadership post was as artistic director of the Stavanger Symphony Orchestra in Norway; she has also been music director of the Ensemble InterContemporain.

BARRY SOCHER 1947-2016 The Los Angeles Philharmonic family was deeply saddened by the death of Barry Socher, a recently retired first violinist for the Los Angeles Philharmonic, who passed away on Saturday, October 22, following a long and courageous battle with brain cancer. Socher, born November 2, 1947, is survived by his loving wife, Jutta Thorne; three sons: Peter Thorne, Michael Thorne, and Aron Socher; one daughter, Leslie Beattie; and four granddaughters.

Socher was hired by Los Angeles Philharmonic Music Director Carlo Maria Giulini in 1981 and played in the orchestra’s first violin section for 35 years. He performed frequently with the LA Phil’s New Music Group and Chamber Music Society, as well as in recitals throughout Southern California.

Throughout his illustrious career, Socher served as concertmaster for the Los Angeles Master Chorale Orchestra, the Pasadena Pops Orchestra, and the Fresno Philharmonic, Ojai Festival, and Oregon Bach Festival orchestras. Additionally, he was the founder and first violinist of the Armadillo String Quartet, which developed a remarkable sustained collaboration with composer Peter Schickele.

Socher was also a successful composer, having written pieces performed by the Los Angeles Philharmonic, Fresno Philharmonic, and other ensembles throughout the United States and Europe. In September 2015, the LA Phil performed his composition FinTango at the Hollywood Bowl, in honor of his final concert as a member of the orchestra.

A Los Angeles native, Socher taught at the Idyllwild

PERFORMANCES MAGAZINE

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FILM TITLE: FENCES

DATE: November 2, 2016 10:31 AM

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→ LA PHIL NEWS School of Music and the Los Angeles Philharmonic Institute for many summers, and also served on the faculties of Pomona College and the University of Southern California.

Los Angeles Philharmonic Music & Artistic Director Gustavo Dudamel dedicated the Sunday, October 23 matinee performance at Walt Disney Concert Hall to Socher.

VIOLINIST BOWS OUT The Los Angeles Philharmonic honors violinist Judith Mass, who retired last month after 36 years in the orchestra. Mass joined the Philharmonic at the beginning of the 1980/81 season, under Music Director Carlo Maria Giulini.

A native Californian, she began playing violin at the age of eight and eventually studied at the San Francisco Conservatory of Music, the University of Texas at Austin, and Brooklyn College. Her teachers have included Itzhak Perlman, Stuart Canin, Stephen Clapp, Dorothy DeLay, and Ivan Galamian.

In the years prior to her joining the Philharmonic, she was a member of the Austin Symphony, the Corpus Christi Symphony, the National Orchestral Association, the Opera Orchestra of New York, and the Santa Fe Opera Orchestra. She has also participated in many festivals and seminars, including the Aspen Festival, Meadowmount, Sarasota New College Festival, and the Cleveland Chamber Seminar.

GRAND AVENUE ARTS CELEBRATION

Will Tee Yang

Will Tee Yang

On October 29, the Los Angeles Philharmonic participated enthusiastically in Grand Ave Arts: All Access.

For several blocks, Grand Avenue became a free festival of the arts and culture, offering an inside look at

rehearsals, architecture tours, museum exhibitions, performances, workshops, food and drink, and kids’ film screenings for all to enjoy. The participating organizations included the Music Center companies (LA Opera, the Los Angeles Master Chorale, and Center Theatre Group, as well as the LA Phil), The Broad, the Colburn School, Grand Park, the Central Library, MOCA, and REDCAT. The LA Phil’s part in the day included Nimbus, the performance installation that transforms the escalator well from the parking garage at Walt Disney Concert Hall into a performance site. Kicking off director Yuval Sharon’s three-year residency as Artist-Collaborator with the LA Phil, the installation acts as a timepiece as commissioned music by composer Rand Steiger changes over the course of the day, alternating between computer-generated musical atmospheres and compositions built from material recorded by soloists from the Los Angeles Philharmonic. These pieces, spatially distributed over 32 speakers, alternate with periods of silence interrupted by brief related sounds triggered by motion sensors.

There is also a live music performance option for Nimbus, which was in effect as part of Grand Ave Arts: All Access. Vocalists from The Industry contributed the live performance component, inspired by lines from Rilke’s Duino Elegies: “And we, who think of joy as ascending, will be overwhelmed by the emotion of a joyful thing falling.”

Nimbus is produced in collaboration with The Industry, the independent, artist-driven company founded

by Sharon. Its Visual Realization is by Patrick Shearn, with Production Design by Ed Carlson and Danielle Kaufman. The installation will be open throughout the LA Phil’s 2016/17 season in Walt Disney Concert Hall.

There were also craft activities in BP Hall and an Instrument Petting Zoo in the Blue Ribbon Garden, similar to elements of the orchestra’s famous Symphonies for Youth.

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→ LA PHIL NEWS

SHOP THE LA PHIL STORE FOR HOLIDAY GIFTS Be sure to experience the LA Phil Store during your Walt Disney Concert Hall visit and shop for music, architecture, and design-inspired gifts for everyone on your list. The LA Phil Store opened as a part of Walt Disney Concert Hall in 2003, and has become a must-visit space in the vibrant new downtown.

You will discover a thoughtful selection of music of the Hall, from the Los Angeles Philharmonic itself to the myriad diverse artists it presents, and including a new expanded selection of music on vinyl. The Store’s staff is passionate and knowledgeable about all genres of music, and on hand, in the Store, to assist and offer recommendations for the most up-to-date, new, and interesting music available, including books about music and classical scores. The Store’s wide selection of gifts for the music lover also includes music-themed ties, books, office and desk accessories, cards, and holiday ornaments. The LA Phil Store is also the perfect place to kick start music appreciation for youngsters, with kids’ toys, games, instruments, and more.

The LA Phil Store features the most contemporary classics for the home, inspired by the music of the LA Phil and the beauty of Walt Disney Concert Hall. The Store offers a selection of home and personal accessories that speak to high design and feature new and emerging designers whose collections are not widely found.

These include Philippi – a design house that works with artists from all over the world to create simple and smartly designed products for the home that are made of stainless steel – and Pepe Heykoop, a Dutch designer who develops decorative creations using low-tech methods. A colorful, hand-folded paper vase is designed to be manually shaped over any empty bottle to create a high-design object with an architectural feel.

Philippi

Gräf & Lantz

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The architecture of Walt Disney Concert Hall has inspired the LA Phil Store’s collection of personal accessories, including jewelry, scarves, ties, and handbags: beautiful, wearable art by designers such as Sandrine Giraud, who began her career in the film industry as a costume and accessories designer.

Through the careful bending and shaping of the metal cables that she uses to create her pieces, she has designed convertible, sculptural jewelry that can be manipulated into a one-of-a kind jewelry each time it’s worn. New in the store for the holidays are handbags, totes, and home accessories from Gräf & Lantz, a Los Angeles-based studio, who craft a sophisticated collection made from the world’s oldest fabric – Merino wool felt. With a background in structural engineering and Japanese design, the team set out to develop items that are known for simple lines, minimal shapes, and exposed stitching.

The LA Phil Store is a unique Los Angeles shopping destination – each time you visit, you will be inspired and learn something new about music, architecture, and design. Keep an eye out for its special meet-andgreet artist signings and in-store events!

Open 10AM – 5PM daily; also before, during, and after evening concerts. Call 213.972.3440, or visit LAPhilStore.com.

Sandrine Giraud

PERFORMANCES MAGAZINE

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COMING SOON WORLD ON A STRING In January, violin lovers will have the world on a string as the Los Angeles Philharmonic presents three generations of fiddle greats here at Walt Disney Concert Hall.

To open the New Year, rising star Ray Chen plays the Sibelius Concerto with Bramwell Tovey and the LA Phil (January 5, 7, & 8). Two weeks later, established virtuoso Gil Shaham tackles Prokofiev’s Second Violin Concerto with Lionel Bringuier and the orchestra (January 19-21), and then Itzhak Perlman, the beloved grand master of the instrument, offers a Celebrity Recital with pianist Rohan de Silva (January 24).

Video Virtuoso Born in Taiwan and raised in Australia, Ray Chen was accepted at age 15 into the Curtis Institute of Music in Philadelphia, where he studied with Aaron Rosand.

Winner of the Queen Elisabeth and Yehudi Menuhin competitions, he has released three Sony Classical CDs of music from Bach to Tchaikovsky, including a recital disc that won an ECHO Klassik award. Very much a child of the digital age, he has over two million followers on SoundCloud, a series of quirky, self-made online videos, and a regular blog produced by the Italian publisher Rizzoli. He is supported by Giorgio Armani and has been featured in Vogue as well as music magazines such as The Strad and Gramophone.

Itzhak Perlman

Jean Sibelius

Chen made his Los Angeles Philharmonic debut at the Hollywood Bowl in 2013, playing Mendelssohn’s E-minor Violin Concerto under Nicholas McGegan. “Whereas virtuosity once implied making technical challenges look and sound effortless, Chen is a creature of the showier video age,” Mark Swed wrote in his Los Angeles Times review of the concert. “He may have sported an elegantly tailored tuxedo... But he signaled each virtuosic feat more like an Olympic athlete in a track outfit, glorying in the effort for everyone to see.”

The Sibelius Concerto that he will play here in January opens with the most magical, naturally expressive of themes. This will offer an immediate display of Chen’s distinctive, much-lauded tone, an individual aspect that he worked on heavily with his teacher Aaron Rosand.

(Chen plays the 1715 “Joachim” Stradivarius violin, on loan from the Nippon Music Foundation.)

“When it comes to creating a violin tone, I just try to be myself – meaning, that it has to be natural and reflect who I am as a person,” Chen said in a 2011 interview.

“I believe that your personality should show through in your playing, and this won’t happen if you’re trying to play or sound like someone else.”

You can preview Chen’s Sibelius on his SoundCloud channel, in a live performance from Sweden. In January’s concerts, conductor Tovey frames the concerto with the Jazz Age sass of Walton’s Façade Suite No. 2 and the fairy tale passion of Tchaikovsky’s Sleeping Beauty ballet music.

Ray Chen

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→ COMING SOON Prokofiev by Word of Mouth Like Chen, Gil Shaham made his LA Phil debut playing the Mendelssohn Concerto at the Hollywood Bowl. But that was in 1991, when Chen was two years old. Shaham’s star was already in ascendence, thanks in large part to a celebrated substitution for Itzhak Perlman with the London Symphony Orchestra two years earlier. Born in Illinois, Shaham was raised in Israel, where he began studying violin at age seven, later working with Dorothy DeLay at the Aspen Festival and Juilliard.

With more than two dozen CDs released, Shaham has won every major classical recording award, including multiple Grammys. He founded his own label, Canary Classics, in 2004, and has covered his instrument’s repertory, from Bach and Mozart to new works by Avner Dorman, William Bolcom, Bright Sheng, and others. Most of this he has also presented in regular appearances with or for the Los Angeles Philharmonic, including a memorable evening of Bach’s solo sonatas and partitas with video by David Michalek.

Shaham’s recording of the Prokofiev Violin Concerto No. 2 is on Vol. 2 of his “1930s Violin Concertos” project, released earlier this year, with The Knights ensemble under Eric Jacobsen. “I have really cherished the conversations I have had discussing this score with legendary violinist Isaac Stern, who recounted conversations [he] had with Prokofiev himself,” Shaham wrote in the liner notes. This is a work he has played many times – he learned it from a copy of the score marked with David Oistrakh’s fingerings and first played it on a U.S. tour with the Israel Sinfonietta when he was 13 years old – and even recorded before, but over time ”things grow in your head, and the way you feel about the music changes.” Hear him play the concerto January 19-21.

“Shaham sustains long phrases with plenty of substance to the sound, and brings a poised, well-articulated lightness to the faster passages,” Erica Jeal wrote in her review of the recording for The Guardian. (Shaham plays the “Countess Polignac” Stradivarius.)

Gil Shaham

Lifetime Achievement Itzhak Perlman’s name is one of the most recognizable brands in the arts today. In addition to 16 Grammys (including the Lifetime Achievement Award), he has four Emmys for a television presence that started on The Ed Sullivan Show in 1958, and ranges from Sesame Street to The Late Show with David Letterman. He collaborated with John Williams in the scores for Schindler’s List and Memoirs of a Geisha, as well as with Tan Dun in Zhang Yimou’s film Hero.

Perlman began studying violin at age three in his native Tel Aviv, and later with Ivan Galamian and Dorothy DeLay at Juilliard, a generation before Shaham.

He contracted polio at four, and uses crutches and a motorized scooter for mobility onstage, and has become a prominent activist for people with physical disabilities. Honored with the National Medal of Arts and the Presidential Medal of Freedom, he is almost as widely known as a humanitarian conscience as he is as a musical force, making news recently for cancelling a performance in North Carolina in protest of the state’s controversial new law limiting civil rights protection for LGBT people. (He had also refused to play in South Africa during apartheid and to record and play with Herbert von Karajan, over the famed Austrian conductor’s membership in the Nazi Party.)

Perlman made his debut with the Los Angeles Philharmonic in February 1966, playing the Bruch Gminor Concerto under Sixten Ehrling. He returned that summer at the Hollywood Bowl, and has been almost an annual presence now for over 50 years. He is also an active conductor, and made his LA Phil debut in that capacity at the Bowl in 2000.

He returns January 24 for a Celebrity Recital with his frequent collaborator, pianist Rohan de Silva. Expect classics of the sonata repertory, as well as Perlman’s patented mix of popular short pieces.

Sergei Prokofiev

Rohan de Silva An image from Alberto Arvelo’s video for The Creation

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→ COMING SOON

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A GARLAND OF RAGAS

DOUBLE AX

Ravi Shankar premiered his Second Sitar Concerto with Zubin Mehta and the New York Philharmonic in April 1981. Less than two months later, his daughter Anoushka was born. Next month (January 13-15), Anoushka Shankar makes her Los Angeles Philharmonic debut with her father’s concerto, once again conducted by Mehta.

Anoushka Shankar played and studied the sitar with her father in an intense guru-disciple relationship since she was nine. At age 13 she made her performance debut in New Delhi. She released her self-titled first solo CD in 1998, and has released seven more albums since then, and participated in many other collaborations. In 2002 she wrote Bapi: The Love of My Life, an intimate biographical portrait of her father; and in 2004 she earned a Best Supporting Actress nomination from India’s National Film Awards for her debut role in the feature film by Pamela Rooks, Dance Like a Man. She has also performed her father’s Sitar Concerto No. 1, and in 2009 she premiered his Third Concerto with the Orpheus Chamber Orchestra.

Dedicated to Mehta, the Sitar Concerto No. 2 is subtitled Raga Mala (“A Garland of Ragas”), presenting about 30 ragas in four big movements. “In working with Ravi in New York, knowing that he coud not read or write the Western notation, it was my honor to sit next to him when he was composing his concerto for the New York Philharmonic and take diction from this great master,” Mehta recalled in a eulogy for the late Indian master in 2012. “These are hours I will never forget.”

Also on the January program is another big piece that is a specialty of Mehta with the Los Angeles Philharmonic, of which he was Music Director for 16 years: Richard Strauss’ autobiographical tone poem Ein Heldenleben (A Hero’s Life), in which Strauss frequently quotes his own music.

Pianist Emanuel Ax has been a beloved member of the extended LA Phil family for decades. (His performances last season, playing Franck’s Symphonic Variations under Daniel Harding, marked the 40th anniversary of his first collaboration with the orchestra.) Next month he returns to play two concertos on the same program, pairing Mozart and Schoenberg with LA Phil Music & Artistic Director Gustavo Dudamel (January 26-28). Then three days later he joins LA Phil Principal Concertmaster Martin Chalifour and Principal Cello Robert deMaine in Brahms’ Piano Trio No. 1 (January 31).

Winner of seven Grammys, Ax has recorded most of the core classical repertory, in concertos and recital discs, and chamber music with such regular partners as Yo-Yo Ma and Itzhak Perlman, as well as a wide range of contemporary compositions, and rarities such as Richard Strauss’ melodrama Enoch Arden with narrator Patrick Stewart. Ax made a highly esteemed recording of the Schoenberg Piano Concerto for Sony in 1993, with the Philharmonia led by LA Phil Conductor Emeritus Esa-Pekka Salonen, and he has returned to the work often.

Schoenberg’s Piano Concerto evidently began as a “slight piano piece” Oscar Levant asked him to write when Levant was studying with the composer in Los Angeles. When it grew into a four-movement concerto, Levant dropped out of the project. But something of Levant’s clever jazz spirit may have remained in its conversational style and rhythmic punch. (Levant also suggested that elements of his name were used in the 12-tone theme.) As Virgil Thomson wrote in his review of the premiere (in 1944; Leopold Stokowski conducted the NBC Symphony Orchestra, with Eduard Steuermann the soloist): “It sounds like chamber music for a hundred players.

There is plenty of melody, but no massing of instruments on any single line for giving the melody emphasis, as is customary in oratorical symphonic writing.

The work is not oratorical, anyway. It is poetical and

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→ COMING SOON reflective. And it builds up its moments of emphasis by rhythmic device and contrapuntal complication very much as old Sebastian Bach was wont to do. Its inspiration and its communication are lyrical, intimate, thoughtful, sweet, and sometimes witty, like good private talk.”

Mozart’s Piano Concerto No. 14 in E-flat major, K. 449, is equally intimate, something very like an instrumental chamber opera in its delightful whirl of vividly characterized themes. Dudamel surrounds the two concertos (except the Casual Fridays performance January 27, when the Schoenberg Concerto will not be presented) with Schoenberg’s edgy little Accompaniment to a Film Scene and Mozart’s “Paris” Symphony (No. 31, K. 297).

(The film scene of Schoenberg’s title was imaginary.)

Schoenberg revered the great composers of the past.

He believed that Mozart’s aesthetic would always apply in music, regardless of the use of traditional tonality. So while Schoenberg experimented with and then codified atonality, he was intent on retaining traditional forms and principles, such as clarity, balance, and proportion, to name only a few.

Schoenberg also loved Brahms, orchestrating his predecessor’s G-minor Piano Quartet (which the Los Angeles Philharmonic premiered in 1938 under Otto Klemperer) and lecturing on “Brahms the Progressive.”

Ax certainly shares that love and admiration, reflected not least in his Brahms Project, which he shared with us in a series of concerts in February 2014.

“I have loved the music of Brahms since I was a teenager,” Ax has written. “We still listened to music on long-playing records, and I wore out two copies of the B-flat Piano Concerto played by Arthur Rubinstein.

The more I got to know Brahms’ music and his personal story, the more I admired both. I believe it was Herbert von Karajan who said in an interview that Brahms’ music is like “a deep well: You can keep drawing from it forever and never come to the bottom.” It remains a very true and potent image for me – I have been studying and practicing his music for 40 years, and wish that I had another 40 to understand it better.”

The Chamber Music program that the Brahms Op. 8 Trio caps begins with more Mozart: the blithe Flute Quartet in D major, K. 285; the equally charming but also quite serious Quintet in E-flat major, K. 452, for piano and winds – “the best thing I have ever written,” Mozart wrote to his father; and a sly arrangement of the energetic Overture to The Marriage of Figaro for four cellos.

→ For tickets and further information, please call

COUNTY OF LOS ANGELES BOARD OF SUPERVISORS Hilda L. Solis Chair Mark Ridley-Thomas Sheila J. Kuehl Don Knabe Michael D. Antonovich Sachi Hamai Chief Executive Officer COUNTY ARTS COMMISSION Bettina Korek President Pamela Bright-Moon Vice President Betty Haagen Secretary Helen Hernandez Executive Committee Eric Hanks Constance Jolcuvar Peter Lesnik Claudia Margolis Kathryn McDonnell Alis Clausen Odenthal Claire Peeps Norma Provencio Pichardo David Valdez Hope Warschaw Rosalind Wyman Laura Zucker Executive Director

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.

323.850.2000 or visit LAPhil.org.

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PERFORMANCES MAGAZINE

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ENDOWMENT DONORS We are honored to recognize donors to our Endowment Fund, whose generosity ensures a living tradition of world-class music at Walt Disney Concert Hall and the Hollywood Bowl. The following list represents contributions to the Los Angeles Philharmonic Endowment Fund.

$25,000,000

$10,000,000 TO $19,999,999

Dorothy and B. Allen Lay Earl and Victoria Pushee William and Sally Rutter Dody Waugh Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

The Annenberg Foundation Colburn Foundation

$250,000 TO $499,999

Walt and Lilly Disney Foundation

$20,000,000 David Bohnett Foundation

$5,000,000 TO $9,999,999 The Eli and Edythe Broad Foundation Lenore S. and Bernard A. Greenberg Fund Terri and Jerry M. Kohl M. David and Diane Paul Ronus Foundation

$2,500,000 TO $4,999,999 Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Dunard Fund USA Carol Colburn Grigor Alfred E. Mann Flora L. Thornton

$1,000,000 TO $2,499,999 Linda and Robert Attiyeh Judith and Thomas L. Beckmen Gordon and Adele Binder Helen and Peter S. Bing William H. Brady, III Richard and Norma Camp Michael J. Connell Foundation The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Kiki and David I. Gindler Mr. and Mrs. Bram Goldsmith Joan and John F. Hotchkis Norman and Sadie Lee Foundation Los Angeles Philharmonic Committee Karl H. Loring Ginny Mancini E. Peter Mauk, Jr./Doyce B. Nunis, Jr. Barbara and Buzz McCoy Elise Mudd Marvin Trust Beatrix and Martin Padway William Powers and Carolyn Powers Cecilia and Dudley Rauch H. Russell Smith Foundation Ronald and Valerie Sugar

$500,000 TO $999,999 Ann and Martin Albert Betty Freeman Gertrude and Arthur Friedman Monique and Jon Kagan

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Linda and Maynard Brittan Linda and Abbott Brown Mark Houston Dalzell Margaret and Jerrold Eberhardt Veronica and Robert Egelston Gordon Family Foundation William Randolph Hearst Foundation Yvonne and Gordon Hessler The Kaplan Family Trust Gerald L. Katell Ms. Norma D. Kayser Carrie and Stuart Ketchum The Estate of Raymond A. Lieberman Los Angeles Philharmonic Affiliates Merle and Peter Mullin Jane and Marc Nathanson The Ralph M. Parsons Foundation Nancy and Sidney Petersen Sandy and Barry D. Pressman Rice Family Foundation Robert Robinson Alyce and Warren B. Williamson

$100,000 TO $249,999 Anonymous Rachel and Lee Ault W. Lee Bailey, M.D. Baker Family Trust Deborah Borda Jacqueline Briskin Jane G. Carruthers David A. Clark The James and Paula Coburn Foundation Silvia and Kevin Dretzka Christine and Daniel Ewell Eva G. and William D. Fremont Arnold Gilberg, M.D., Ph.D. Gonda Family Foundation The Estate of Fay Bettye Green Kathryn Kert Green and Mark Green Bud and Barbara Hellman H. Kirkland Jones and Yuri Long-Jones Jo Ann and Charles Kaplan Susanne and Paul Kester Vicki King Sylvia Kunin The L. Franc Scheuer Trust Ann and Edward Leibon Ellen and Mark Lipson

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Ms. Helen McKenna Minturn Family Foundation National Endowment for the Arts Soraya and Younes Nazarian Margaret M. Parmaley Edith Peluse Mary Pickford Foundation Sally and Frank Raab Nancy S. and Barry Sanders David and Linda Shaheen Foundation William and Luigina Sheridan Mr. and Mrs. William E.B. Siart Katherine and Thomas Stoever Geoffrey and Margot Tyrrash Wasserman Foundation

$25,000 TO $99,999 Anonymous (2) Mr. Robert J. Abernethy William A. Allison Joe Austin Marie Baier Foundation Angela Bardowell Richard Bardowell, M.D. Alvin W. Bisher Lynn and Otis Booth Dorothy Burke Ann and Tony Cannon Hannah Carter Dee and Robert E. Cody The Colburn Fund Community Foundation Silicon Valley The Geraldine P. Coombs Trust Mr. Allen Don Cornelsen Terry Cox Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Nancy and Donald de Brier Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Allan and Diane Eisenman Robert E. Englekirk Ernest Fleischmann Claudia and Mark Foster Lillian and Stephen Frank Tomas Fuller and William Kelly Dr. Suzanne Gemmell Ms. Jeanne M. Giovannoni Paul and Florence Glaser David and Paige Glickman Good Works Foundation Margaret Grauman The Harris Family Foundation Joan Green Harris Trust Anne Heineman Linda Joyce Hodge In and Ki Hong Jean W. Horton Drs. Judith and Herbert Hyman Bernice and Wendell Jeffrey Albert E. and Nancy C. Jenkins Charitable Trust Robert Jesberg and Michael J. Carmody C.W. & Irene Johnson Family Trust Stephen A. Kanter, M.D. Hugh W. Kennedy

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Sandra Krause and William Fitzgerald Sarah F. Manson Vicki and Kerry McCluggage Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John D. Millard Diane and Leon Morton Alfren and Arlene Noreen Occidental Petroleum Corporation M. Lee Pearce Ann and Robert Ronus Lois Rosen James M. Rosser Anne and James Rothenberg Donald Tracy Rumford SahanDaywi Foundation Charles I. Schneider and Nancy Barrier Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Mr. and Mrs. Robert M. Stevens Priscilla and Curtis Tamkin Don Taylor Ms. Fran H. Tuchman Magda and Frederick R. Waingrow Rhio H. Weir Jean E. Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino

LOS ANGELES PHILHARMONIC MUSICIANS Martin Chalifour Brian Drake Barry Gold Christopher Hanulik Ingrid Hutman Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar M. Meza Mitchell Newman Peter Rofé Meredith Snow Barry Socher Paul Stein Leticia Oaks Strong Dennis Trembly James Wilt Suli Xue

We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions up to $24,999, 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 Development Office at 213.972.7557. Thank you.

SUPPORT THE PHIL ANNUAL FUND From the concerts that take place on stage at Walt Disney Concert Hall and the Hollywood Bowl, to the education programs that fill our community with music, it is support from Annual Donors that makes our work possible. We hope you, too, will consider joining the LA Phil family. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music – sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation, at any level, is critical to our success.

FRIENDS OF THE LA PHIL Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall and the Hollywood Bowl as well as groundbreaking educational initiatives such as YOLA, which provides free after-school music instruction to children in underserved communities throughout Los Angeles. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, please call 213.972.7557.

BOARD OF OVERSEERS Jack Suzar and Linda May, Chairs Jonathan and Monique Kagan, Vice Chairs The Board of Overseers is a vital leadership group, providing critical resources in support of the LA Phil’s general operations.

Their vision and generosity enables the LA Phil to recruit the best musicians, invest in groundbreaking educational initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Board of Overseers.

For more information, please call 213.972.7209.

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LOS ANGELES PHILHARMONIC

DUDAMEL & RUSSIAN MASTERS LOS ANGELES PHILHARMONIC Gustavo Dudamel, conductor Daniil Trifonov, piano

RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30

> Allegro ma non tanto > Intermezzo — > Finale

INT E RM ISS ION

PROKOFIEV

Scythian Suite, Op. 20 > Adoration of Veles and Alla > The Hostile God and Dance of the Dark Spirits > Night > Glorious Departure of Lolli and Cortege of the Sun

SCRIABIN

Poem of Ecstasy, Op. 54

Thursday DECEMBER 1, 2016 8pm Friday DECEMBER 2 11am Saturday DECEMBER 3 8pm Sunday DECEMBER 4 2pm

Daniil Trifonov

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Media sponsor (12/1): Los Angeles Magazine Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

GUSTAVO DUDAMEL Music & Artistic Director

PERFORMANCES MAGAZINE

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ABOUT THE PROGRAM

Notes by Herbert Glass Rachmaninoff and Prokofiev, two prickly geniuses, detested each other, their animosity having its origins in their clashing stylistic attitudes: Prokofiev’s “progressivism” rankled in the “conservative” Rachmaninoff’s soul. And there was also a gulf between the men’s attitude toward the third composer on this program, Alexander Scriabin, whom both admired but regarded from differing viewpoints. All three, it must be noted, were virtuoso pianists.

In November of 1915 a recital honoring the recently deceased – at age 43 – Scriabin was held at the Moscow Conservatory. The program consisted of his own piano works, performed by 42-year-old fellow Moscow Conservatory graduate Rachmaninoff. In the audience was the 24-year-old Prokofiev.

Surviving press reports make it clear that the worshipful (of Scriabin) audience found Rachmaninoff’s playing wanting in the “mystery” that characterized Scriabin’s own

playing. Prokofiev acknowledged the negativity of the press reports and the unmistakable “novelty” of Rachmaninoff’s performance, but voiced no immediate protest of his own. His coolheadedness wouldn’t appease the older composer-pianist though, and what Prokofiev describes next is a first look at the combative relationship they would share for the rest of their lives.

“Entering the artists’ room, I spoke: ‘And yet, Sergei Vasilyevich, you played very well.’

Rachmaninoff smiled acidly – ‘And you probably thought I’d play badly?’ and he turned to someone else. Some part in this was certainly contributed by Rachmaninoff’s rejection of my music, and the irritation it provoked in him.”

Thereafter, there would be many parallels in their careers if not in their stylistic inclinations. Both left Russia after the Revolution to spend many years abroad. Rachmaninoff would never return to the Soviet Union.

PIANO CONCERTO NO. 3 IN D MINOR, OP. 30 Sergei Rachmaninoff > Composed: 1909

> Length: c. 40 minutes

> Orchestration: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle), strings, and solo piano > First LA Phil performance: January 2, 1930, with pianist Vladimir Horowitz, Artur Rodzinski conducting

The Third Concerto was already six years old by the time of that Scriabin recital. It was given its first performance by the New York Symphony Orchestra on November 28, 1909, with Walter Damrosch conducting.

Rachmaninoff scored such a success – as soloist and composer – that both concerto and pianist were brought back several months later by the New York Philharmonic and its newly appointed music director, Gustav Mahler.

Rachmaninoff’s observations regarding the rehearsals give some insight into Mahler’s working habits: “At that time, Mahler was the

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only conductor whom I considered worthy to be classed with [Artur] Nikisch. He touched my composer’s heart straight away… According to Mahler every detail of the score was important – an attitude rare among conductors.

“The rehearsal began at 10. It was to last until 12:30. But we did not begin to work at the concerto until 12. I did my utmost to play through a composition which should have taken at least 36 minutes. We played and played… Half an hour was long past, but Mahler paid no attention… Forty-five minutes later he announced, ‘Now we will repeat the first movement.’

COMPOSER PROFILE

SERGEI RACHMANINOFF Born: 1873, Semyonovo, Russia Died: 1943, Beverly Hills Rachmaninoff followed in the tradition of his idol Tchaikovsky, adding a phenomenal prowess as a pianist and great gifts as a conductor. As the new century developed, his music stubbornly retained many of the characteristics of his idol, but always with an unmistakably personal stamp. For years he was better known as a piano virtuoso, but his compositions have come to be acknowledged as masterworks of the Russian school.

Further listening: Suite No. 2 for Two Pianos (1900-1901) Yefim Bronfman, Emanuel Ax (Sony Classical) Vespers (contralto, tenor, and chorus; 1915) Olga Borodina, Vladimir Mostowoy, St. Petersburg Chamber Choir, Nikolai Korniev (Philips)

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“I expected a… heated protest from the orchestra. This would certainly have happened with any other orchestra, but I did not notice signs of displeasure… At last we finished and I went up to the conductor’s desk and together we examined the score. The musicians in the back began quietly to pack up their instru-

ments. Mahler exploded… ‘What is the meaning of this?’ The leader: ‘It is half past one, Master.’

‘That makes no difference! As long as I am here, no musician has a right to get up.’ One assumes that they were eventually released.”

The performance, as with Damrosch, was an enormous critical and audience success.

SCYTHIAN SUITE, OP. 20

COMPOSER PROFILE

Sergei Prokofiev

SERGEI PROKOFIEV

> Composed: 1915 > Length: c. 20 minutes

Born: 1891, Sontsovka, Russia Died: 1953, Moscow, Russia

> Orchestration: piccolo, 3 flutes (3rd = alto flute), 3 oboes, English horn, 3 clarinets (3rd = E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 4 trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum, tam-tam, tambourine, triangle, xylophone), 2 harps, piano, celesta, and strings > First LA Phil performance: August 28, 1956, Leopold Stokowski conducting

At the time of Rachmaninoff’s Scriabin recital, Prokofiev was putting the finishing touches to his Scythian Suite. Its origins were in a “barbaric” ballet commissioned by Sergei Diaghilev for his Ballets Russes which was, thematically and sonically, to at least approach the scandalous success of Stravinsky’s Sacre du printemps of 1913.

The scenario concerned practices of the Scythians, nomadic steppe dwellers of central Asia, and eventually well beyond, whom the Greek historian Herodotus, described as the most brutish, bloodthirsty, depraved race ever to walk the earth.

Diaghilev’s assignment to Prokofiev was to produce a “ballet on a Russian fairy tale or a primitive prehistoric theme.” Not surprisingly, the composer chose the latter.

The scenario settled on one of the common themes of Slavic mythology, the conflict between light and darkness, the former personified by the sun god, Veles; darkness by Chuzbog, the most loathsome of monsters, a relative to Kastchei of Stravinsky’s Firebird; his prisoner Alla, the nymph of the forests; and the brave Scythian warrior Lolli, her rescuer.

Prokofiev had in mind as centerpiece a vast orgy of the evil spirits and criticized the initial concoction of poet-collaborator Sergei Gorodetzky as “too pretty.” Which was close

to Diaghilev’s opinion when the composer delivered the piano score. Plans for the ballet were scrapped.

But Prokofiev thought the score worth saving and boiled it down to a four-movement concert suite, which scandalized and delighted its first Mariinsky audience in January 1916.

“The timpanist tore the kettledrum head with his furious blows, and Siloti [the impresario, a noted pianist-composer himself] promised to send me the mangled piece of leather as a keepsake,” Prokofiev reported.

“In the orchestra itself there were noticeable signs of antagonism. ‘I have a sick wife and three children, must I be forced to suffer this hell?,’ grumbled a cellist [one wonders how Prokofiev could have heard this], while behind him the trombones blew fearful chords into his ear. Siloti, in fine fettle, said we had given the audience a right slap in the face.”

“A scandal in high society,” reported the critic of the magazine Music. “The first movement was received in silence. The last called forth both applause and stormy protests. Despite this, the composer, who had conducted his own ‘barbaric’ work, took a number of bows.”

Before the Russian Revolution, Sergei Prokofiev shocked the St. Petersburg musical establishment as an enfant terrible. He quickly joined the European avant-garde in the ’20s and ’30s – his 1923 opera The Fiery Angel was so advanced that it remained unperformed until after his death.

The Soviet Union scored a major coup when Prokofiev returned for good in 1936. The composer weathered the persecution of composers in the late ’30s and the trauma of World War II, only to die on the same day as Stalin – March 5, 1953.

Further listening: Piano Concerto No. 2 (1913; rev. 1923) Yuja Wang; Simón Bolívar Symphony Orchestra, Gustavo Dudamel (DG) Alexander Nevsky (1939) Christine Cairns; Los Angeles Master Chorale; Los Angeles Philharmonic, André Previn (Telarc)

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POEM OF ECSTASY, OP. 54 Alexander Scriabin > Composed: 1908

> Length: c. 22 minutes

> Orchestration: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, church bell, cymbals, orchestra bells, tam-tam, triangle), 2 harps, celesta, organ, and strings > First LA Phil performance: November 6, 1925, Walter Henry Rothwell conducting

The fascination with Moscow-born Alexander Scriabin at the turn of the 19th into the 20th century stems less from his early, great success as a pianist, mainly playing his own Chopin-influenced short pieces with Chopinesque names – prelude, etude, nocturne, etc.

– attractive as that music be. He became notorious as purveyor of the “mystical” creations of the final decade of his short life: his last piano sonatas and two orchestral works, the Poem of Ecstasy heard on the present program and the subsequent Prometheus, Poem of Fire.

The Poem of Ecstasy was written in a villa near Genoa where the composer was hiding out from a censorious Russian society with Tatiana Schlözer, for whom he was in the process of leaving his wife. Scriabin’s self-exile coincided with an invitation to come to New York to present a series of recitals and to perform his early Piano Concerto with the New York Philharmonic. However, the orchestra’s conductor, Vassily Safonov, a friend of the abandoned Mrs. Scriabin, would not countenance Scriabin’s presence, or his music. He refused to conduct the concerto and what would have been the world premiere of the recently completed Poem of Ecstasy.

With warnings from an old friend, the conductor Modest Altschuler, that serious problems lay ahead – the Russian writer Maxim Gorky and a woman not his wife recently had been run out of New York for similar “moral offenses” – Scriabin and Tatiana returned to Europe. The Poem finally made it to New York

two years later, when it was presented by Altschuler and the Russian Symphony Orchestra of New York. The reviews were scathing.

A program note for a concert of Scriabin’s music given in Moscow in March of 1909, offers a view of the piece that is probably Scriabin’s own (we can’t blame anyone else) – and a small taste of what “theosophy” is about: “Poem of Ecstasy is the joy of liberated action. The Cosmos, i.e., Spirit, is eternal Creation without External Motivation, a Divine Play with Worlds. The Creative Spirit, i.e., the Universe at Play, is not conscious of the absoluteness of its creativeness, having subordinated itself to a Finality and made creativity a means toward an end. The stronger the pulse-beat of life and the more rapid the precipitation of rhythms, the more clearly the awareness comes to the Spirit that is consubstantial with creativity, immanent within itself, and that its life is a play. When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall then arrive.”

To go much further in describing this gloriously over-the-top, swooning piece of musical mysticism would be to bring it down to earth, the last thing its composer would have wanted.

COMPOSER PROFILE

ALEXANDER SCRIABIN Born: 1872, Moscow, Russia Died: 1915, Moscow Although Alexander Scriabin was a brilliant pianist in his youth, he devoted himself to composition after an injury to his right hand in his 20s; many of his works are especially demanding of the left hand. His early compositions reveal the influence of Frédéric Chopin, but Scriabin later developed an atonal and dissonant musical system inspired by his own brand of mysticism and his obsession for linking musical tones with specific colors. In his lifetime, Scriabin’s works influenced composers such as Sergei Prokofiev and Igor Stravinsky. His popularity declined drastically after his death, but his music has recently been reevaluated, leading to a wider appreciation.

Further listening: Prometheus, Op. 60 Kirov Orchestra, Valery Gergiev (Philips) Piano Sonata No. 9, “Black Mass” Marc-André Hamelin (Hyperion)

Herbert Glass has written for many publications in the U.S. and abroad and was for 15 years an editor-annotator for the Salzburg Festival.

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ABOUT THE ARTISTS

For a biography of conductor GUSTAVO DUDAMEL, please see page 8.

DANIIL TRIFONOV Russian pianist Daniil Trifonov has made a spectacular ascent in the world of classical music since winning first prize at both the Tchaikovsky and Rubinstein competitions in 2011 at the age of 20. Combining consummate technique with rare sensitivity and depth, his performances are a perpetual source of awe.

The 2016/17 season brings the release of Transcendental, a double album that not only is Trifonov’s third title as an exclusive Deutsche Grammophon artist, but also the first time that Liszt’s complete concert etudes have been recorded for the label in full. In concert, the pianist – a nominee for Gramophone’s 2016 Artist of the Year award – plays Tchaikovsky’s First Piano Concerto under Riccardo Muti in the historic gala finale of the Chicago Symphony’s 125th anniversary celebrations. Having scored his second Grammy nomination with Rachmaninoff Variations, he performs Rachmaninoff for his debut with the Berlin Philharmonic under Sir Simon Rattle at the orchestra’s famous New Year’s Eve concerts, scheduled to air live in cinemas throughout Europe. Also with Rachmaninoff, he makes debuts with the Melbourne and Sydney symphonies, returns to the Los Angeles Philharmonic under Gustavo Dudamel and to the Royal Liverpool Philharmonic, and headlines the Munich Philharmonic’s “Rachmaninoff Cycle” tour with longtime collaborator Valery Gergiev.

Mozart is the vehicle for his reengagements with the New York Philharmonic, Cleveland Orchestra, and Philadelphia Orchestra, as well as for dates with the Staatskapelle Dresden at home and at the Salzburg Festival and London’s BBC Proms. He rejoins the Staatskapelle for Ravel, besides playing Beethoven with Zurich’s Tonhalle Orchestra; Prokofiev with the Rotterdam Philharmonic; Chopin

on tour with the Mahler Chamber Orchestra; and Schumann with the Houston Symphony, Royal Stockholm Philharmonic, and on tour with Riccardo Chailly and La Scala Orchestra.

An accomplished composer, Trifonov also reprises his own acclaimed concerto in Kansas City. With a new program of Schumann, Shostakovich, and Stravinsky, he makes recital debuts at London’s Barbican and Melbourne’s Recital Centre; appears in Berlin, Vienna, Florence, Madrid, Oslo, Moscow, and other European hotspots; and returns to Philadelphia, Baltimore, and – for the fourth consecutive year – the mainstage of New York’s Carnegie Hall. He also gives duo recitals with his former teacher, pianist Sergei Babayan, in Princeton and Sarasota, and looks forward to returning to the Tanglewood, Verbier, Baden-Baden, and Salzburg festivals.

Rachmaninoff was the focus of Trifonov’s 2015/16 season, when he played complete concerto cycles at the New York Philharmonic’s Rachmaninoff Festival and with London’s Philharmonia Orchestra, besides showcasing the composer’s concertos in debuts with the Berlin Staatskapelle and Royal Stockholm Philharmonic, where he headlined the Nobel Prize Concert; in his subscription debut with the Philadelphia Orchestra; on an Asian tour with the Czech Philharmonic; and with the Orchestre National de Lyon and Munich Philharmonic. Prokofiev was the vehicle for his debut with the Montreal Symphony, on its North American tour, and for dates with the Orchestre National de France and the London Symphony Orchestra under Alan Gilbert. He also performed Chopin with the San Francisco Symphony and Michael Tilson Thomas and Tchaikovsky with the La Scala Orchestra. Trifonov made his Los Angeles recital debut and embarked on an extensive European recital tour with stops in Vienna, Berlin, Paris, Rome, and Amsterdam. He undertook residencies in Lugano, Switzerland, and at London’s Wigmore Hall, where he collaborated with Sergei Babayan and violinist Gidon Kremer, whom he rejoined for concertos at the Cologne Philharmonic.

In the 2012/13 season Trifonov made debuts with the New York Philharmonic, Chicago Symphony, Boston Symphony, Cleveland Orchestra, Philadelphia Orchestra, Rome’s Orchestra dell’Accademia Nazionale di Santa

Cecilia, London’s Royal Philharmonic, and at London’s BBC Proms.

The 2013/14 season saw the release of Trifonov: The Carnegie Recital, the pianist’s first recording as an exclusive Deutsche Grammophon artist; captured live at his soldout 2013 Carnegie Hall recital debut, the album scored both an ECHO Klassik Award and a Grammy nomination. Besides the similarly Grammy-nominated Rachmaninoff Variations, recorded with the Philadelphia Orchestra and Yannick Nézet-Séguin, his discography also features a Chopin album for Decca and a recording of Tchaikovsky’s First Piano Concerto with Gergiev and the Mariinsky Orchestra on the ensemble’s own label.

It was during the 2010/11 season that Trifonov won medals at three of the music world’s most prestigious competitions, taking Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize and Grand Prix – an additional honor bestowed on the best overall competitor in any category – in Moscow’s Tchaikovsky Competition. In 2013 he was also awarded the Franco Abbiati Prize for Best Instrumental Soloist by Italy’s foremost music critics.

Born in Nizhny Novgorod in 1991, Trifonov began his musical training at the age of five, and went on to attend Moscow’s Gnessin School of Music as a student of Tatiana Zelikman, before pursuing his piano studies with Sergei Babayan at the Cleveland Institute of Music. He has also studied composition, and continues to write for piano, chamber ensemble, and orchestra.

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VISITING ORCHESTRAS

CHINA PHILHARMONIC ORCHESTRA

Monday DECEMBER 5, 2016 8pm

CHINA PHILHARMONIC ORCHESTRA Long Yu, conductor Serena Wang, piano

Qigang CHEN Enchantements oubliés BEETHOVEN Piano Concerto No. 1 in C major, Op. 15

Serena Wang

INT E RM ISS ION

DVORˇÁK

Symphony No. 9 in E minor, Op. 95, “From the New World” > Adagio; Allegro molto > Largo > Molto vivace > Allegro con fuoco

> Allegro con brio > Largo > Rondo: Allegro

Media sponsor: ETTV Moritaka Kina is chief piano technician for the Los Angeles Philharmonic Association.

Programs and artists subject to change.

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PERFORMANCES MAGAZINE

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ABOUT THE PROGRAM

Notes by Aaron Grad

ENCHANTEMENTS OUBLIÉS Qigang Chen

> Composed: 2004 > Length: c. 20 minutes > Orchestration: timpani, percussion, piano, celesta, harp, and strings

Coming of age during China’s Cultural Revolution, Qigang Chen went through three years of “ideological re-education,” but he emerged determined as ever to study Western classical music. He was among the first class of students admitted to the Central Conservatory in Beijing when it reopened in 1977, and his top marks upon graduating in 1983 earned him a scholarship to study abroad. He moved in 1984 to Paris, and for the next four years he took private lessons with Olivier Messiaen, who once said of Chen, “His compositions display real inventiveness, very great talent, and a total assimilation of Chinese thinking to European musical concepts.” Messiaen did more than provide a link to the French sound world of Debussy and Ravel that had long fascinated Chen; he was, Chen acknowledged, “the first person to tell me you have to be true to yourself. This is fundamental for an artist, but few of us are brave enough to face the truth. It took me many years to discover who I really am.”

The orchestral work Enchantements

oubliés (Forgotten Enchantments), commissioned by the Orchestre National de France in 2004, also relates to Chen’s process of self-discovery. In the liner notes for a recent recording on the Naxos label, Chen explained, “Refined beauty often shows too many traces of deliberate planning and, on close inspection, signs of deception and falseness. The most powerful beauty is of course the least processed: that is, nature. … In writing this piece, I wanted to set myself free of the usual technical constraints and let the music lead me to wherever it seemed willing to go by itself – and I would simply record the journey of this natural force by notating it.”

Enchantements oubliés takes the form of a fanciful tone poem, moving freely through evocative episodes. Intimate solo passages and lyrical melodies impart a nostalgic mood, but there are also moments of considerable vigor and humor. Many of the themes are built on pentatonic modes, reflecting a characteristic sound from traditional Chinese music.

PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15 Ludwig van Beethoven

> Composed: 1795; 1800 > Length: c. 35 minutes > Orchestration: flute, 2 oboes, 2 clarinets, 2 bassoons, 2 trumpets, 2 horns, timpani, strings, and solo piano

When the 21-year-old Beethoven left his hometown of Bonn for Vienna, his patron sent him with this blessing: “May you receive Mozart’s spirit from the hands of Haydn.” Like his hero Mozart (whose own life in Vienna had ended just a year earlier), Beethoven initially

COMPOSER PROFILE

QIGANG CHEN Born: 1951, Shanghai, China One of China’s leading composers, Qigang Chen shares his work and residence between Beijing and Paris, and something of his artistic style as well, blending traditional Chinese elements into idiomatic orchestral writing. His passion for music survived three years of ideological reeducation during the Cultural Revolution. He won first prize in a national composition competition, which allowed him to study in France, where he was Messiaen’s last student. He composed the music for the film The Flowers of War, directed by the Zhang Yimou, with soloists including Joshua Bell, and he was Director of Music for 2008 Beijing Olympics Opening Ceremony.

Further listening: Er Huang (2009) Chun-Chieh Yen, piano Taiwan Philharmonic, Shao-Chia Lu (Naxos) The Flowers of War (2012) Joshua Bell, violin; Xiaduo Chen, soprano; others China Philharmonic Orchestra, Yi Zhang (Sony)

made his mark as a composer-performer, establishing himself as the ranking keyboard virtuoso in the capital. His early compositions showcased his performing talents, with 21 of his first 27 published works involving piano, culminating with the Piano Concerto No. 1.

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Despite its numbering, the Piano Concerto in C major was not Beethoven’s first. After an early attempt that failed to reach fruition, his first real concerto was the one in B-flat (now known as No. 2), initiated in 1788 and completed in 1795. The C-major concerto followed later that year, and Beethoven introduced it that December at a concert in Vienna presented by Haydn. It was also likely this same concerto, in its new revised version, that appeared on Beethoven’s breakout concert in 1800 at the Burgtheater, the same venue where Mozart made history with his piano concertos in the 1780s. After undertaking that revision, Beethoven sent the C-major concerto to his publisher, followed a few months later by its older B-flat sibling, which is how their catalog sequence came to be reversed.

One sign of Beethoven’s distinctive voice, even in this early work, is the prevalence in the first movement of a unifying motive, recognizable by its rhythmic pattern of

long-short-short-long. This approach points the way toward some of Beethoven’s most memorable orchestral constructions, like the Fifth Symphony’s pervasive “fate” motive or the unflinching Allegretto from the Seventh Symphony.

The central Largo opens with a slow variant of that same long-short-short-long rhythm in the accompaniment, establishing continuity across the movements – another Beethoven hallmark. The orchestration excludes the brighter tones of flute, oboes, trumpets, and timpani, and instead features prominent clarinet lines to play off the sweet, melodious phrases from the piano.

The tempo marking of Allegro scherzando indicates a joking, playful aspect to the fast finale. The rondo structure incorporates colorful antics (including mischievous detours to minor-key harmonies) between returns of the perky main theme.

SYMPHONY NO. 9 IN E MINOR, OP. 95, “FROM THE NEW WORLD” Antonín Dvorˇák

> Composed: 1893 > Length: c. 40 minutes > Orchestration: 2 flutes (2nd = piccolo), 2 oboes (2nd = English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, cymbals, triangle, and strings

In 1892, when Dvorˇák agreed to direct the National Conservatory in New York, he understood that his position involved more than running a music school. He wrote to a Czech friend, “The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short a national style of music! … This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so.”

Dvorˇák recognized two main sources that could provide the indigenous flavor for an “American” school of composition: Native American and African-American traditions.

His understanding of Indian culture was indi-

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rect, gleaned from his reading of Longfellow’s epic poem The Song of Hiawatha (1855) and from “Native” melodies that appeared in heavily edited songbooks published by Eurocentric scholars. Dvorˇák did have the benefit of more direct contact with African-American music through a student at the conservatory, Harry Burleigh, a singer and composer who had learned spirituals from his grandfather, a freed slave. Burleigh sang the spirituals to Dvorˇák, who saw in those melodies a particularly rich wellspring for American concert music.

Dvorˇák noted essential similarities between Indian and African-American musical traditions, qualities he recognized in Scottish

COMPOSER PROFILE

LUDWIG VAN BEETHOVEN Born: 1770, Bonn, Germany Died: 1827, Vienna, Austria One of the greatest composers in the Western musical tradition, Ludwig van Beethoven revolutionized virtually every form and genre of music in which he composed. His “Eroica” Symphony transformed that genre; his 32 piano sonatas enabled the development of piano music from the genial pieces of the late 18th century to the colossal masterworks of Liszt and Schumann; and his opera Fidelio embodied the virtues of liberty and equality that transformed Europe during his life.

Further listening: Fidelio (1805-1814) Soloists; Philharmonia Chorus and Orchestra, Otto Klemperer (EMI) Symphonies No. 5 and No. 7 (1808; 1813) Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel (DG)

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tunes as well. The shared trait among these styles – and folk music from around the world, to a varying extent – was the use of the pentatonic mode, as opposed to the major and minor scales of European art music. (An easy way to hear the contrast is on a piano: the black keys form a pentatonic mode, while the white keys form a major scale.)

Dvorˇák let those folk influences filter through the symphony he composed in New York. The work debuted at Carnegie Hall on December 16, 1893, with the New York Philharmonic conducted by Anton Seidl. At the time, Dvorˇák numbered the symphony as his fifth, having disavowed several early works.

It was actually his ninth and final symphony, and modern practice reflects that numbering. The subtitle, “From the New World,” was Dvorˇák’s own.

Despite the subtitle, the symphony’s first movement is as much from the “Old World” as from the New. The main theme, a leaping motive sounded by the horns at the start of the Allegro molto section, becomes a building block for adventurous exploration, appearing in this movement and later in the symphony.

This musical treatment owes more to Brahms (who mentored Dvorˇák) and Beethoven than

American folk music. A contrasting majorkey theme, first heard in the flute, introduces a more pastoral flavor.

The Largo second movement reflects the spirituals Dvorˇák learned from his AfricanAmerican student, and it provides the English horn with its most endearing solo passage in the orchestral repertoire. Later, with the addition of lyrics by William Arms Fisher, this quasi-spiritual theme became the song “Goin’ Home.”

The third movement fulfills the traditional function of a symphonic scherzo, in the mold of Beethoven and Mendelssohn, while also tying the work together with quotations from the two preceding movements. According to Dvorˇák, a wedding scene from The Song of Hiawatha served as inspiration for this festive music.

The finale, like the opening movement, blends “Old World” themes and construction with glints of modal “New World” material, including sophisticated juxtapositions of the symphony’s earlier highlights. As the Czech composer duly acknowledged, “I should never have written the symphony ‘just so’ if I hadn’t seen America.”

Notes provided by Columbia Artists Management. © 2016 Aaron Grad

COMPOSER PROFILE

ANTONÍN DVORˇÁK Born: 1841, Nelahozeves, Bohemia Died: 1904, Prague, Bohemia As a Czech musician in a Germanocentric world, Dvorˇák struggled at first for recognition and even a living. Ultimately he became an international celebrity. Known for orchestral and chamber music, he also composed songs, choral pieces, and operas.

Further listening: Piano Quartets (1875; 1889) Domus (Hyperion) Stabat mater (1877) Soloists, Atlanta Symphony Orchestra and Chorus, Robert Shaw (Telarc)

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ABOUT THE ARTISTS

LONG YU Preeminent Chinese conductor, with an established international reputation, Long Yu is currently Artistic Director of the Beijing Music Festival and the China Philharmonic Orchestra, Music Director of the Shanghai and Guangzhou symphony orchestras, the codirector of the MISA Shanghai Summer Music Festival, and the principal guest conductor of the Hong Kong Philharmonic Orchestra.

Long Yu frequently conducts leading orchestras and opera companies around the world, including the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Montreal Symphony Orchestra, Washington National Symphony, Cincinnati Symphony Orchestra, Orchestre de Paris, Bamberg Symphony Orchestra, Hamburg State Opera, RundfunkSinfonieorchester Berlin, Rundfunk Sinfonie Orchester Leipzig, NDR Sinfonieorchester, Munich Philharmonic Orchestra, Sydney Symphony Orchestra, BBC Symphony Orchestra, Tokyo Philharmonic, and Singapore Symphony Orchestra. In 2008, for the first time in history, the China Philharmonic Orchestra performed under the baton of maestro Long Yu at the Vatican in the Paul VI Auditorium. The concert was attended by the Holy Father Pope Benedict XIV and marked a giant step in bringing Eastern and Western cultures closer together.

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Long Yu’s career has included both artistic and administrative appointments. In 1992, he was appointed Principal Conductor of the Central Opera Theater in Beijing and was involved in the planning of the Chinese New Year’s concert series later that year; he served as its conductor for three consecutive years.

He created opera productions for the Urban Council of Hong Kong for five successive years. In 1998, he led the creation of the Beijing Music Festival and has been its Artistic Director ever since. Under his leadership the Beijing Music Festival is regarded as one of the world’s most important music festivals.

In 2005, with the provincial government’s support, he built up the Canton International Summer Music Academy and became its Chairman for the following three years. He also established the MISA Shanghai Summer Music Festival in 2010 and, later that year, the Canton Asian Music Festival.

Born in 1964 into a music family in Shanghai, Long Yu received his early musical education from his grandfather, Ding Shande, a composer of great renown, and went on to study at the Shanghai Conservatory and the Hochschule der Kunst in Berlin. He was the recipient of the 2002 Arts Patronage Award of the Montblanc Cultural Foundation. He has also been awarded the Chevalier dans L’Ordre des Arts et des Lettres in 2003, and the title of L’onorificenza di commendatore

by Italy’s President Berlusconi in 2005 for

his outstanding contributions in the field of music and culture. In 2010, Long Yu was made an Honorary Academician from the Central Conservatory of Beijing for his great dedication to cultural exchanging and music development in China. In December 2010, he was awarded Person of the Year in the Arts Field in China. In 2013, Long Yu was awarded the national level China Arts Award.

In December 2014, he was awarded France’s highest honor of merit, Chevalier de la Légion d’Honneur. In 2015, Long Yu was named Morally and Artistically Excellent Artist by state authority. He was also honored with the Global Citizen Award from the Atlantic Council, and given the Sanford Medal by Yale University’s College of Music in 2015. In April 2016, Long Yu was elected as a Foreign Honorary Member of the American Academy of Arts and Sciences. In June 2016, he was an award recipient of the Order of Merit of the Federal Republic of Germany. Long Yu is currently Vice-President of the Chinese Musicians Association.

SERENA WANG In June 2015, 10-year-old piano prodigy Serena Wang successfully performed Beethoven’s Piano Concerto No. 1 with the Shanghai Symphony Orchestra under the

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baton of 80-year-old internationally celebrated conductor Zubin Mehta, who praised Serena highly and was astonished by her musical talent. In August 2015, Serena was invited to play Beethoven’s Choral Fantasy in the General Assembly of the United Nations with the Shanghai Symphony Orchestra and celebrated Chinese conductor Long Yu in a musical celebration marking 70 years since both the ending of World War Two and the establishment of the UN. In December 2016 she appears as soloist on the third American tour of the China Philharmonic and Long Yu. Born in October 2004, Serena Wang started her piano lessons with Sumi Nagasama when she was four. After eight months, she was awarded first prize in the San Mateo County Fair Piano Competition. In February 2010, five-year-old Serena became the youngest prizewinner for her outstanding performance in the Bach Piano Competition held by the University of California at Berkley. In the same year, she obtained first prize in the Piano Competition of the North California Chinese Music Teachers’ Society, and she was invited to play in the prize presentation ceremony.

In July 2010, Serena took part in the Second National Youth’s Piano Competition at Gulangyu Island in Xiamen. Her lively performance, not only won the gold prize in the Children’s Group, but also gained praise from

judges and experts. On the invitation of the Chinese Musicians’ Society, she has been taught by renowned piano educator Prof. Dan Zhaoyi since September 2010.

Serena was invited to participate in the piano performance in the first Youth’s Spring Festival Gala, held by Chengdu Television in February 2011. She played in the Childhood on Black and White Keys concert specially held in Hangzhou and Chongqing by Prof. Dan’s students to celebrate International Children’s Day at the end of May 2011.

Serena was much honored to appear in a book entitled Dan Zhaoyi, a Piano Educator Who Taught World Champions and in national tour concerts of his awarded students in November 2011. She played in the music hall of the Grand National Theatre and collaborated with the Shenzhen Symphony Orchestra, which was an important milestone on her musical path.

CHINA PHILHARMONIC ORCHESTRA The China Philharmonic Orchestra (CPO) was established in 2000 and has experienced exponential growth and development while becoming China’s top orchestra as well as a leading figure in Asia with an international reputation. Achieving impressive accolades and worldwide attention in its sixteen sea-

ABOUT THE ARTISTS

sons, the CPO was named among the ten most inspiring orchestras by Gramophone online in the spring of 2009.

The CPO proudly and actively discovers innovative methods and platforms to promote classical music to a wider audience and in the last sixteen years has presented over 3,000 compositions with more than 1,000 performances to millions of audience members, many featured as world and Chinese premieres.

The China Philharmonic Orchestra’s domestic and international tours have accumulated more than one million kilometers, an equivalent of circling the world 20 times and only in the past two seasons have the China Philharmonic Orchestra toured the Silk Road and the Maritime Silk Road countries, as well as making its Russian debut last July.

This third U.S. tour of the CPO is part of the “2016 Tour of the Americas,” with prestigious concerts at Jackson Hall, Davis, CA; Davies Symphony Hall, San Francisco; Walt Disney Concert Hall; Memorial Hall, UNC Chapel Hill, NC; Strathmore Hall, North Bethesda, MD; Tilles Center Concert Hall, Greenvale, NY; and David Geffen Hall, NYC. The orchestra will also make appearances in Canada and the Republic of Cuba.

The U.S. tour of the China Philharmonic Orchestra is sponsored by the China Poly Group and Dalian Han Style International Culture Development Co. Ltd.

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ABOUT THE ARTISTS

CHINA PHILHARMONIC ORCHESTRA Long Yu, Artistic Director & Chief Conductor Xia Xiaotang, Principal Conductor Huang Yi, Assistant Conductor Chen Yun, Assistant Artistic Director Zou Ye, Composer in Residence FIRST VIOLINS

VIOLAS

BASSES

BASSOONS

PERCUSSION

Chen Yun Concertmaster

Zhang Anxiang Principal

Zhang Xiaodi Principal

Li Lansong Principal

Liu Ying Timpani Principal

Wu Yang Concertmaster

Mao Xinguang Assistant Principal

Zhai Feng Assistant Principal

Ma Ping Chief of Percussion Section

Zeng Cheng Assoc. Concertmaster

Cao Fei Assistant Principal

Liu Rui Assistant Concertmaster

Wen Chengjun Sun Yin Wu Di Wu Rui Zhang Jianli Li Jize Li Ming Li Yao Duan Ruonan Zhao Ling

Wang Hua Wang Mudong Song Lisha Zhang Tianshu Zhang Shishuai Li Lijun Li Penggui Han Xing

Luo Shoujun Ren Biao Yang Bo, Intern

Wang Haitao He Wei Song Xiaochen Zhang Han Li Wei Li Henan, Intern Chen Su Chen Youxiang Luo Lin Jiang Shuai Zhao Chan Xu Haibo Jia Mei Cheng Baobao

SECOND VIOLINS Jian Bei Principal Yan Ke Assistant Principal Wang Xin Wang Kun Shi Dan Liu Yuqi Bi Ahuan Tong Fei Song Wenhao Zhang Yuqing Zhang Bo Yang Zhaoci Chen Li Jiang Lu Mo Qi Cui Xiaolei

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CELLOS Zhao Yunpeng Principal Ma Xinhua Guest Principal Guan Zhengyue Assistant Principal Ma Juelun Ye Wan Liu Yudong Wu Xia Zhang Bo Zhang Ji Yang Changying Chen Huachao Zhou Runqing Zheng Dawei Hou Xinwei Guo Xiaoheng

FLUTES Ni Yizhen Principal Cheng Xiaohua Principal

HORNS Jia Hui Principal Man Yi Guest Principal Zhao Qi Assistant Principal Wang Guan Zhang Ji Jiang Feng Tang Bing Zhi Qiang

Wang Shu Cao Lei

TRUMPETS

OBOES

Chen Guang Guest Principal

Zhang Zhengdi Principal Yuan Xiaogang Principal Huang Lili Xie Hongliang

CLARINETS Fan Wei Principal Colin Liu Assistant Principal Yuan Yuan Guest Assistant Principal Li Hanqi Yang Yilin

Lu Xiaolin Principal Li Deqin Principal Xiao Xiaohu Guest Associate Principal Liu Haitao Huang Zhao Han Yanting

TROMBONES

Wang Yue Wu Yongshuo Sha Mi

HARP Guo Yue

PIANO Chen Min

DIRECTOR OF ORCHESTRA PERSONNEL Zhang Zhengdi

DEPUTY DIRECTOR OF ORCHESTRA PERSONNEL Ye Ping

LIBRARIAN Yan Ming

STAGE MANAGER Zhang Duojia

STAGE PERSONNEL Ye Ping Yang Bin Zou Jin Shi Wenhai

Liu Shuchang Principal Li Xiaonan Raymond Lam

TUBA Sun Shuai

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LOS ANGELES PHILHARMONIC

DUDAMEL CONDUCTS HAYDN LOS ANGELES PHILHARMONIC Gustavo Dudamel, conductor Alberto Arvelo, video artist / director James F. Ingalls, lighting designer Rachele Gilmore, soprano Joshua Guerrero, tenor Johannes Kammler, baritone Los Angeles Master Chorale Grant Gershon, artistic director

HAYDN

Thursday DECEMBER 8, 2016 8pm Friday DECEMBER 9 8pm INSIDE THE MUSIC Saturday DECEMBER 10 2pm Sunday DECEMBER 11 2pm

The Creation (with video installation, except Sunday)

Part I The Representation of Chaos In the beginning God created the Heaven, and the earth (Raphael, Uriel, chorus) Now vanish before the holy beams (Uriel, chorus) And God made the firmament (Raphael) The marv’lous work beholds amaz’d (Gabriel) And God said: Let the waters under the heaven (Raphael) Rolling in foaming billows (Raphael) And God said: Let all the earth bring forth grass (Gabriel) With verdure clad the fields appear (Gabriel) And the Heav’nly host proclaimed the third day (Uriel) Awake the harp (chorus) And God said: Let there be lights in the firmament of heaven (Uriel) In splendor bright is rising now the sun (Uriel) The heavens are telling the glory of God (trio, chorus)

Miguel Guerrero, VFX artist Nascuy Linares, video media manager Jason Thompson, video engineer Gabriela Camejo, video art coordinator Jorge Chacín Paredes, video art concept Solange Mendoza, costume designer Daniel Souto, camera / drone operator David Mazzarri, Gunnar Murzi, Camilo Pineda, post-production assistants Jesus Guevara, production assistant

INT E RM ISS ION Part II And God said: Let the waters bring forth abundantly (Gabriel) On mighty pens uplifted soars the eagle aloft (Gabriel) And God created great whales (Raphael) And the angels struck their immortal harps (Raphael) Most beautiful appear (trio); The Lord is great (trio, chorus) And God said: Let the earth bring forth the living creature (Raphael) Straight opening her fertile womb (Raphael) Now heav’n in fullest glory shone (Raphael) And God created man in his own image (Uriel) In native worth and honor clad (Uriel) And God saw ev’rything that he had made (Raphael) Achieved is the glorious work (chorus, trio) Part III In rosy mantle appears (Uriel) By thee with bliss, O bounteous Lord (Eve, Adam, chorus) Our duty we performed now (Adam, Eve) Graceful consort! (Adam, Eve) O happy pair (Uriel) Sing the Lord, ye voices all! (trio, chorus)

Inside the Music is supported in part by grants from the Michael J. Connell Foundation and the National Endowment for the Arts.

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Media sponsor (12/8): Classical KUSC Programs and artists subject to change.

GUSTAVO DUDAMEL Music & Artistic Director

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ABOUT THE PROGRAM

Notes by John Mangum

THE CREATION Joseph Haydn

> Composed: 1797 > Length: c. 105 minutes > Orchestration: 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, harpsichord, timpani, and strings, with solo soprano, solo tenor, solo bass, and chorus (SATB) > First LA Phil performance: April 14, 1960, Georg Solti conducting, with soprano Claire Watson, tenor Leopold Simoneau, bass-baritone Donald Gramm, and the Roger Wagner Chorale

COMPOSER PROFILE

JOSEPH HAYDN Born: 1732, Rohrau, Austria Died: 1809, Vienna, Austria

Haydn was a deeply religious man, and The Creation is his personal statement of faith. He was a life-long Catholic, having received his early musical education as a chorister at St. Stephen’s, Vienna’s main cathedral. According to his biographer Georg August Greisinger, who interviewed Haydn on several occasions, “In general, his devotion was not of the gloomy, always suffering sort, but rather cheerful and reconciled, and in this character, moreover, he wrote all his church music.”

There are few works of sacred music more cheerful than The Creation. It is a profound statement of an optimistic and assured faith, and of a belief in music’s ability to edify, uplift, and inspire the listener.

By the time he composed The Creation in 1797, Haydn was also a celebrity. He moved in Europe’s leading intellectual and social circles, and he was as famous in Paris and London as he was at home in Vienna. He read widely, and his library’s shelves were stocked with tomes by the leading thinkers of his day, especially those of the German Enlightenment.

Haydn had little difficulty reconciling the Enlightenment’s religion of reason with his faith. During the second half of the 18th century, science had yet to seriously challenge the authority of the Bible’s account of the creation of the world. Fossils were thought to be remnants of the Flood, and natural scientists believed that species did not change, which made a theory of evolution impossible.

The very existence of the order and reason that the Enlightenment espoused supported the Biblical account of a rational creation.

When Haydn received the text for The Creation during his second visit to London

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in 1794-95, it immediately clicked with his religious and intellectual sensibilities. The vivid, pictorial nature of the text, with its seas “rolling in foaming billows,” its rising sun “in splendor bright,” its birds with their “cooing calls,” and its menagerie of tawny lions, flexible tigers, nimble stags, and sprightly steeds, certainly fired his imagination. The trajectory of the narrative, nicely summed up in the archangel Uriel’s opening aria – “disorder yields to order” – resonated with his Enlightenment-flavored religious convictions.

The rumor that the text had been intended for the great Handel himself only increased Haydn’s interest. George Frideric Handel (1685-1759) was synonymous with the oratorio in 18th-century England, and, with Messiah, home of the “Hallelujah” chorus, among his credits, he’s still one of the form’s best-known exponents. During his first London visit, in 1791-92, Haydn attended the annual Handel commemoration in Westminster Abbey. There, he heard over a thousand performers sing two of Handel’s most famous oratorios, Messiah and Israel in Egypt. Interestingly, it was Israel, with its massive choruses and delightful orchestral effects (including musical depictions of buzzing flies, jumping frogs, and a thunderous hailstorm), that impressed Haydn more.

When the impresario Johann Peter Salomon, who had arranged Haydn’s London visits, handed him a text that had been among Handel’s effects at his death, Haydn took the treasure back with him to Vienna and started planning the work that would be the culmination of his long career.

Few composers come close to Haydn in terms of both the quantity and the quality of their production, and of its historical importance. In a lifetime that ran from the high Baroque, across the whole Classical era, and up to the dawn of Romanticism, Haydn not only lived through a period of enormous cultural change, he helped impel it. Writing prolifically in all genres, he virtually created the string quartet and did much to establish the symphony.

Further listening: Six String Quartets, Op. 33 (1781) Kodály Quartet (Naxos) Symphony No. 101, “Clock” (1793-1794) Academy of St. Martin in the Fields, Sir Neville Marriner (Philips)

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The author of the text – some name him as Newburgh Hamilton, one of Handel’s collaborators, because of the structure of the text – combines Biblical passages from Genesis and the Psalms with bits from John Milton’s Paradise Lost. Haydn set the libretto in a German version prepared by his Viennese patron and collaborator, Baron Gottfried van Swieten. The full score, prepared and published

by Haydn in 1800, contained both the German and the English, making it the first major work ever printed with a bi-lingual text.

The Creation is in three parts. The six days of creation effectively subdivide the first two parts, with days one through four comprising Part I and days five and six contained in Part II. The events of each day unfold in a combination of recitative (a form of declamatory, speech-like singing that is free in rhythm) and aria (lengthier, formal musical numbers), and each day ends with a chorus. Part III focuses on Adam and Eve’s joy in the earthly paradise of the garden of Eden.

Part I begins with one of Haydn’s most gripping strokes of genius, a depiction of the chaos that reigned before the birth of the world. “The Overture,” in the words of the German composer Carl Friedrich Zelter, who reviewed the work in an 1802 music journal, “bespeaks a master of the first rank and is, in our opinion, the greatest section of the work: the crown on a royal head.” With its opening unison, the musical picture of the vast empty spaces that prefigured the world, “The Representation of Chaos” offers surprise after surprise in its details. Fragmented themes, shocking dissonances, and unexpected instrumental flourishes conjure a vision of a tumultuous universe, with the elements tossed about in space, rushing past or colliding violently – just what one would expect from chaos. Few composers ventured into such adventurous harmonic territory until the era of Liszt and Wagner after the middle of the 19th century, making Haydn’s chaos all the more unsettling for audiences used to the classical discipline and melodic charm of his other works.

After a brief recitative setting the scene for the first day, Haydn calls on the chorus for a stunning dramatic stroke: at the moment of the creation of light, the orchestra and chorus unleash their full power with a radiant C-major chord. This is the only instance in the oratorio that Haydn uses the chorus before the end of one of the days, a touch that underlines the cosmic power of the moment.

What follows is musical invention on the highest level, with Haydn reveling in the nature imagery and religious conviction of the text. The aria “Rolling in foaming billows” opens with a tumultuous depiction of stormy seas before shifting into a more pastoral mode, with gently flowing first violins and long-breathed solo horns capturing the “softly purling” brook. In the recitative “In splendor bright is rising now the sun,” Haydn gives us one of the great musical sunrises, with flutes and first violins moving upward, note by note, and the other instruments adding everincreasing “splendor” to the texture. Another vividly pictorial recitative comes in Part II, when animals spring from the earth’s “fertile womb” and Haydn crafts a little orchestral introduction for each one, from the “tawny lion” (a roar from the bassoons, contrabassoon, and strings) down to the worm, who gets a low note from the cellos and basses in a moment that unites Haydn’s love of nature with his broad and boisterous sense of humor.

In the arias, Haydn draws on the 18thcentury operatic and folk music traditions to differentiate the archangels Gabriel, Raphael, and Uriel, who sing in Parts I and II, from Adam and Eve, who appear in Part III. The archangels’ arias are in the elevated style found in late 18th-century opera, while Adam and Eve’s duets have a more pronounced folk character. Though his stage works are seldom performed today, Haydn was a seasoned opera composer, having written – in his role as Kapellmeister (a position akin to Music Director) to the Princes Esterházy – several that found success with audiences around Europe. Raphael’s turbulent “Rolling in foaming billows” owes much to the rage arias common

to the operas of the day, and his majestic aria in Part II, “Now heav’n in fullest glory shone,” is a good example of the majestic brand of aria reserved for the operatic king- or warriorhero. Uriel’s “In native worth and honor clad” is a different type of heroic aria, for the most part deeply reflective, with only a whiff of the battlefield at its beginning.

The choruses are where Haydn’s debt to Handel is most apparent. The magnificent fugue (a passage in which different voices enter in succession, imitating one another, often with a stirring cumulative effect ideally suited to sacred music) at the heart of “Awake the harp,” bookended by music of exuberant, joyous energy, reveals as much – the “Hallelujah” chorus from Messiah was probably still resounding in Haydn’s head from that 1791 Westminster Abbey commemoration. The final chorus is another such moment, with its anthem-like opening followed by a monumental double fugue. A double fugue is simply a fugue with two melodic subjects, in this case one for the words “The Lord is great, His praise shall last for aye!” and another, a moment later, to which Haydn sets “Amen,” with the two combining in an inspiring affirmation of the composer’s faith.

For Haydn, The Creation was a summation of his religious convictions as well as his life’s work as a composer. Every one of his scores ended with the inscription “Laus Deo” (God be praised) or “Soli Deo gloria” (For the glory of God alone), and never was it more fitting than at the end of The Creation. And even in our world, two centuries later, The Creation still speaks eloquently to believer and non-believer alike with its lively arias and rousing choruses, and this, in the end, was what Haydn hoped his music would do. Responding to fan mail in 1802, he explained that “a secret voice whispered to me: ‘There are in this world so few happy and contented people; sorrow and grief follow them everywhere; perhaps your labor will become a source in which the man bowed down by care, or burdened with business matters, will for a while find peace and rest.’ ”

John Mangum is President and Artistic Director of the Orange County Philharmonic Society.

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For a biography of conductor GUSTAVO DUDAMEL, please see page 8.

ALBERTO ARVELO Alberto Arvelo has developed an international cinematographic body of work that has been recognized for the profound and human burden of his characters and the visual power of his films. His most recent film, The Liberator (2014), which was premiered at the Toronto Film Festival and was part of the Best Foreign Film Short List for the 2015 Academy Awards, stars Édgar Ramírez, María Valverde, Danny Huston, Iwan Roen, and Gary Lewis.

His film A House with a View of the Sea (2001) was an official selection of the Cannes Film Festival and received 18 international awards.

Arvelo initiated an original film movement known as Cine Átomo (Atom Cinema), focused on creating real opportunities for young Latin American directors. The concept stems from the idea of producing uncommon, reflective, and humane movies with minimal and essential crew and production components. Based on a Cervantes short story, the first movie produced using the mechanics of this movement was Habana Havana (2004), directed by Arvelo.

The film received a dozen international recognitions.

In 2015 Arvelo directed the stage and video artwork of the multimedia performance of Mendelssohn’s Midsummer Night’s Dream at the Hollywood Bowl, conducted by Gustavo Dudamel and starring Bryce Dallas Howard.

For the Los Angeles Philharmonic festival America and Americas in 2010, Arvelo directed the stage portion of the multimedia Cantata Criolla, starring Helen Hunt, Erich Wildpret, and Édgar Ramírez.

Arvelo’s awarded Cyrano Fernández (2007) is an adaptation of Cyrano de Bergerac, Edmond Rostand’s classic play. Arvelo’s film preserves the essence of the love triangle,

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depicting it in the complex and breathtaking environment of a slum in Caracas. Cyrano Fernández was premiered at the AFI Festival of Los Angeles.

His acclaimed documentary To Play and to Fight (2006), which premiered at the AFI Festival, dives into the lives of several children in the Venezuelan Youth Orchestra System, empowered by renowned classical music figures such as Plácido Domingo, Claudio Abbado, and Sir Simon Rattle.

Born in Venezuela, Alberto Arvelo now lives in Los Angeles with his wife and two sons.

JAMES F. INGALLS James F. Ingalls returns to the LA Phil, where he has designed Cantata Criolla, The Gospel According to the Other Mary, Oedipus Rex/Symphony of Psalms, The Tristan Project, and El Niño.

His other work in Los Angeles includes Druid Theatre’s The Beauty Queen of Leeane, The Price and A Parallelogram (Mark Taper Forum), Master Chorale’s Lagrime di San Pietro, Carmen de Lavellade’s As I Remember It (Wallis Annenberg Center), and Tribu, choreographed by Melanie Rios Glaser (REDCAT).

Recent designs for dance include Art Songs (LINES Ballet/San Francisco), Layla and Majnun (Mark Morris Dance Group), George Balanchine’s The Nutcracker (Pacific Northwest Ballet/Seattle), and Twyla Tharp’s 50th Anniversary Tour.

Recent design for opera includes Iolanta and Persephone (Opera Lyon) and the world premiere of Kaija Saariaho’s Only the Sound Remains (Dutch National Opera), directed by Peter Sellars.

He often collaborates with The Wooden Floor dancers in Santa Ana, California.

RACHELE GILMORE Rachele Gilmore has established herself as one of America’s most sought after coloratura sopranos, and continues to thrill audiences around the globe combining what Opera News describes as a “silvery soprano...with an effortlessness that thrills her audience.” A regular performer in America, Europe, and Asia, Gilmore is consistently praised for being “the vocal standout” and a dynamic actress; “displaying more talent and charm than any one person should be allowed to possess.”

Rachele Gilmore’s 2016/2017 season features performances of Gretel in Hansel und Gretel with the Lyric Opera of Kansas City, Marie in La fille du regiment with Austin Opera, and Olympia in Les Contes d’Hoffmann with Hawaii Opera. She also appears in concert with the Los Angeles Philharmonic for performances of Haydn’s Creation and with the Indianapolis Symphony Orchestra for a performance of Mozart’s Exsultate, jubilate and three songs by Duparc.

The 2015/2016 season included performances of Blondchen in Die Entführung aus dem Serail with the Théâtre Champs-Élysées, and returns to Boston Lyric Opera as Sophie in Werther and the Glimmerglass Festival as Ninetta in La gazza ladra.

The 2014/2015 season featured a reprisal of the role of Alice in Unsuk Chin’s Alice in Wonderland with the Los Angeles Philharmonic and the BBC Symphony Orchestra.

Additionally, she debuted with Opera Omaha as Gilda in Rigoletto and with NCPA Beijing as Sophie in Der Rosenkavalier, and closed the season as Blondchen in Die Entführung aus dem Serail in a debut with Festival d’Aixen-Provence.

In 2009, Gilmore made a “show-stopping” [Classical Source] debut with the Metropolitan Opera, in the role of Olympia in Les contes d’Hoffmann. Gilmore began the 2009/2010 season as Zerbinetta in Ariadne auf Naxos with Indianapolis Opera, and performed this role later in the season for Boston Lyric Opera.

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In February of 2010, Gilmore made her house and role debut with Knoxville Opera in the title role of Lucia di Lammermoor. In the spring, she sang the title role in the groundbreaking Swiss premiere of Unsuk Chin’s Alice in Wonderland with Grand Théâtre de Genève.

Rachele is a native of Atlanta, Georgia, and received her Bachelor of Music degree from Indiana University and continued with graduate studies at Boston University. She was a member of the young artist programs of Glimmerglass Opera, Florida Grand Opera, and Aspen Music Festival’s Opera Center, and was a winner in Plácido Domingo’s Operalia World Opera Competition in Paris.

JOSHUA GUERRERO Proclaimed a “gifted young tenor” by The New York Times, Joshua Guerrero recently returned to LA Opera in his role debut as Macduff in Macbeth – with Plácido Domingo as Macbeth and James Conlon conducting – a role in which he will debut at the Zurich Opera with Gianandrea Noseda conducting.

Guerrero makes his London debut at the English National Opera as the Duke of Mantova in Jonathan Miller’s famous production of Rigoletto. In concert, he will tour Europe with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela, singing Beethoven’s Symphony No. 9, a work in which he will also debut with the Baltimore Symphony and Marin Alsop.

He performs Haydn’s Creation with Dudamel and the Los Angeles Philharmonic in these concerts.

Last season, Guerrero sang Greenhorn in Jake Heggie’s Moby Dick at LA Opera. He made his European operatic debut as Gabriele Adorno in Simon Boccanegra at Opéra National de Bordeaux and then was seen as Nemorino in L’elisir d’amore at Teatro de la Maestranza in Seville. He made his Santa Fe Opera debut as Roméo in Roméo et Juliette on short notice, with “heroic, beautiful sound with spot-on

intonation” (Washington Post). In concert, Guerrero was seen with Gustavo Dudamel in Beethoven’s Symphony No. 9 with both the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra. In the summer of 2015, Guerrero appeared at a special gala honoring Plácido Domingo at the Salzburg Festival.

Guerrero made his role debut as Count Almaviva in LA Opera’s new production of John Corigliano’s Ghosts of Versailles under James Conlon, which was recently released on commercial recording. He also returned to the Aspen Music Festival for his role debut as Roméo in Roméo et Juliette with George Manahan conducting. He traveled to Caracas to sing Beethoven’s Symphony No. 9 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra, and performed Verdi’s Requiem with the Santa Fe Symphony. He made his role debut as Rodolfo in La bohème with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra in Caracas.

A graduate of the University of California at Los Angeles, he has performed Don Ottavio in Don Giovanni and the title role of Orpheus in the Underworld for Opera UCLA, and the “Britten Art Song Prelude” at the Colburn School.

He previously appeared as the Chevalier in Opera UCLA’s production of Dialogues of the Carmelites. He has been a featured tenor soloist in Palm Springs Opera Guild’s annual Opera in the Park concert and studied in Austria with Vladimir Chernov. Guerrero was the second prize-winner at Plácido Domingo’s Operalia Competition in 2014 and the recipient of the 2016 Richard Tucker Career Grant from the Richard Tucker Music Foundation.

JOHANNES KAMMLER Samling Artist and Britten-Pears Young Artist Johannes Kammler is an internationally sought-after baritone in opera, song, and oratorio. He has given concerts as a soloist with the Berlin Philharmonic Orchestra and the London Symphony Orchestra, as well as the Orquesta

Sinfónica Simón Bolívar de Venezuela under conductors such as Sir Simon Rattle, Gustavo Dudamel, Sir Mark Elder, and Marin Alsop, performing in significant concert halls and opera venues in London, Berlin, Baden-Baden, Moscow, and Caracas.

Johannes has also had notable performances with Monteverdi’s L’Orfeo with the Royal Opera in the Roundhouse London, with Puccini’s Manon Lescaut at the Easter Festival in Baden-Baden, and with Britten’s War Requiem in the Royal Festival Hall London.

A particularly remarkable event was the German Federal President’s official concert for and in the presence of His Holiness Pope Benedict XVI with Bach’s Christmas Oratorio in the Sistine Chapel in the Vatican State. The concert was broadcast worldwide and recorded on CD and DVD with the label Ars Musici.

In August 2015 Johannes made his debut as Marcello in Puccini’s La bohème at the Verbier Festival. Further engagements include recitals at such festivals like Oxford Lieder with Roger Vognoles, and performances of Haydn’s Creation under Gustavo Dudamel at Walt Disney Concert Hall with the Los Angeles Philharmonic, as well as under Thomas Hengelbrock with NDR Symphony Orchestra in Hamburg.

He will sing Ruggiero in Halévy’s La Juive and John Sorel in Menotti’s The Consul at the Bavarian State Opera.

The finalist of the international song competition DAS LIED in Berlin 2015 did his undergraduate studies in Freiburg, Germany and in Toronto, Canada. Johannes did his postgraduate studies at the Guildhall School of Music and Drama in London.

Johannes is regularly enhancing his education by participating in masterclasses with such artists as Prof Edith Wiens, Wolfgang Holzmair, Imogen Cooper, Emma Kirkby, and Graham Johnson. Johannes Kammler, born in Augsburg, started his musical career with the famous Augsburger Domsingknaben.

Since the 2015/2016 season Johannes participates in the Opera Studio at the Bavarian State Opera in Munich and sings under such conductors as Kirill Petrenko, Bertrand de Billy, Oksana Lyniv, Andrea Battistoni, Asher Fisch, Marco Armiliato, and Constantin Trinks.

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LOS ANGELES MASTER CHORALE The Los Angeles Master Chorale is the country’s largest independent professional chorus and one of Southern California’s most vibrant cultural treasures. Hailed for its powerful performances, technical precision, and artistic daring, the Master Chorale is led by Artistic Director Grant Gershon. It is a founding resident company of The Music Center and the choir-in-residence at Walt Disney Concert Hall. Chorister positions are highly sought-after and the professional choir is a diverse and vocally dynamic group showcasing the many voices of L.A. Presenting its own concert series each season, the Master Chorale performs choral music from the earliest writings to contemporary compositions, striking a balance between innovation and tradition. To date, the choir has commissioned 50 and premiered 99 new works, of which 69 were world premieres.

It has been awarded three ASCAP/Chorus America Awards for Adventurous Programming as well as Chorus America’s prestigious Margaret Hillis Award for Choral Excellence.

The Los Angeles Master Chorale has performed in more than 500 concerts with the Los Angeles Philharmonic at both Walt Disney Concert Hall and the Hollywood Bowl, and has toured with the orchestra to Europe and New York City. Performances in the orchestra’s 2016/17 season include John Adams’ El Niño, conducted by Gershon in December, and Janácˇek’s Glagolitic Mass with Gustavo Dudamel in May. The Master Chorale has also appeared at the Ojai Music Festival, the Great Performers series at Lincoln Center, the Ravinia Festival, and the Overture Center in Madison, Wisconsin.

Praised for its definitive performances, the choir is also committed to recording the choral repertoire. Its esteemed discography includes seven recordings under Gershon, the most recent being the national anthems/ the little match girl passion by David Lang on Cantaloupe Records. Albums released under former Music Director Paul Salamunovich on RCM include the Grammy-nominated Lauridsen-Lux Aeterna, a recording that helped to secure that work’s place as a modern masterpiece. The Master Chorale is also featured with Gershon on the soundtracks

of many major motion pictures and is heard beyond the concert hall via broadcasts on Southern California’s Classical KUSC. The Los Angeles Master Chorale serves more than 30,000 audience members of all ages annually and provides education outreach to some 9,000 students each year.

Education programs include Voices Within, encouraging young people to write their own songs and oratorios, as well as the High School Choir Festival, which brings teenagers from around the Southland to perform in Walt Disney Concert Hall.

LOS ANGELES MASTER CHORALE Grant Gershon, Kiki & David Gindler Artistic Director SOPRANO

ALTO

TENOR

BASS

Tamara Bevard Christina Bristow Karen Hogle Brown Rachelle Fox Harriet Fraser Ayana Haviv Deborah Mayhan Caroline McKenzie Zanaida Robles Anna Schubert Holly Sedillos Courtney Taylor Rebecca Tomlinson Elyse Willis Sunjoo Yeo Andrea Zomorodian

Garineh Avakian Rose Beattie Leanna Brand Aleta Braxton Amy Fogerson Michele Hemmings Leslie Inman Sarah Lynch Margaurite Mathis-Clark Alice Kirwan Murray Laura Smith Roethe Jessie Shulman Niké St. Clair Kimberly Switzer Tracy Van Fleet

Bradley Chapman Adam Faruqi Arnold Livingston Geis Timothy Gonzales Steven Harms Jon Lee Keenan Shawn Kirchner Bryan Lane Charles Lane Michael Lichtenauer Sal Malaki Matthew Miles George Sterne Todd Strange Nate Widelitz

Michael Bannett Joseph Bazyouros Reid Bruton David Castillo Gregory Geiger Dylan Gentile Abdiel Gonzalez David Dong-Geun Kim David Kress Scott Lehmkuhl Edward Levy Brett McDermid Steve Pence Jim Raycroft Vincent Robles Mark Edward Smith

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Jenny Wong assistant conductor Lisa Edwards rehearsal pianist

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, Dylan Gentile, AGMA Delegate.

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LOS ANGELES PHILHARMONIC

HANDEL’S MESSIAH

Thursday DECEMBER 15, 2016 8pm

LOS ANGELES PHILHARMONIC

Saturday DECEMBER 17 8pm

Bernard Labadie, conductor Karina Gauvin, soprano Ann Hallenberg, mezzo-soprano Allan Clayton, tenor Matthew Brook, bass-baritone La Chapelle de Québec

HANDEL

Messiah

Part I Sinfony Comfort ye (tenor) Ev’ry valley (tenor) And the glory of the Lord Thus saith the Lord (bass) But who may abide (alto) And He shall purify (chorus) Behold, a virgin shall conceive (alto) O thou that tellest (alto) For behold, darkness shall cover (bass) The people that walked in darkness (bass) For unto us a child is born (chorus) Pifa There were shepherds abiding in the field (soprano) And lo, the angel of the Lord (soprano) And the angel said unto them (soprano) And suddenly there was with the angel (soprano) Glory to God (chorus) Rejoice greatly (soprano) Then shall the eyes of the blind (alto) He shall feed His flock (alto, soprano) His yoke is easy (chorus)

INT E RM ISS ION

Part II Behold the Lamb of God (chorus) He was despised (alto) Surely, He hath borne our griefs (chorus) And with His stripes (chorus) All we like sheep (chorus) All they that see Him (tenor) He trusted in God (chorus) Thy rebuke hath broken His heart (tenor) Behold, and see (tenor) He was cut off out of the land of the living (tenor) But thou didst not leave (tenor) Lift up your heads (chorus) How beautiful are the feet of them (soprano) Why do the nations (bass) Let us break their bonds asunder (chorus) He that dwelleth in heaven (tenor) Thou shalt break them (tenor) Hallelujah (chorus) Part III I know that my Redeemer liveth (soprano) Since by man came death (chorus) Behold, I tell you a mystery (bass) The trumpet shall sound (bass) Worthy is the Lamb (chorus) Amen (chorus)

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

GUSTAVO DUDAMEL Music & Artistic Director

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ABOUT THE PROGRAM

Notes by John Mangum

MESSIAH

George Frideric Handel > Composed: 1741 > Length: c. 100 minutes > Orchestration: 2 oboes, 2 bassoons, 2 trumpets, timpani, harpsichord, organ, and strings, with soprano, alto, tenor, and bass soloists, and chorus > First LA Phil performance: December 19, 1937, conducted by Richard Lert, with soprano Wynne Davis, contralto Elizabeth Klein, tenor Russell Horton, bass Sten Englund, and the Los Angeles Oratorio Society

In the 18th century, the measure of success for every composer was opera. Handel spent his journeyman years in Hamburg and Italy, and his success as a composer of Italian operas – the Italians hailed his Agrippina with cries of “Viva il caro Sassone” (Long live the beloved Saxon) – brought him to London, where his opera Rinaldo premiered in 1711. For the next three decades, he composed more than 30 operas for various theaters there, but by the mid-1730s, the audience for his operas was shrinking and London’s operatic scene was characterized by intrigue and competition. Handel’s operatic seasons were increasingly unprofitable and fraught with strife; at the same time, the public demonstrated a keen interest in his Englishlanguage oratorios. These works combined sacred subjects with the techniques of dramatic composition Handel had mastered during his long career as an operatic composer, and many of them included the kind of elaborate choral writing characteristic of the composer’s sacred and occasional output.

Handel took a last stab at opera with Deidamia, which opened in January 1741 at the Lincoln’s Inn Fields Theatre, where Handel was mounting his 1740/41 season. Deidamia held the stage for only three performances; the one on February 10 was the last performance of a Handel opera under his direction.

Aware of Deidamia’s disappointing reception, one of Handel’s old collaborators, Charles Jennens, tried to whet the composer’s appetite for a new project. Jennens had already written the libretto for the oratorio Saul and the text for the third part of L’allegro, il penseroso, ed il moderato; in a letter dated July 10, 1741, he wrote, “Handel says he will do nothing

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next Winter, but I hope I shall perswade him to set another Scripture Collection I have made for him, & perform it for his own Benefit in Passion Week. I hope he will lay out his whole Genius & Skill upon it, that the Composition may excel all his former Compositions, as the Subject excels every other Subject. The Subject is Messiah.”

So we have Handel, in the summer of 1741, facing an uncertain future in London and contemplating taking a winter off, with Jennens’ scripture collection kicking around his house on Brook Street. An invitation from Ireland to participate in a charitable season of oratorio concerts “for the relief of prisoners in several gaols, and for the support of Mercer’s Hospital in Stephen’s Street, and of the charitable infirmary on the Inns Quay” couldn’t have come at a more opportune time, and Handel decided to spend the 1741/42 season in Dublin. He composed Messiah in August and September, while still in London. The modest forces employed indicate that Handel intended the work to travel. (Handel’s oratorios for London, Saul for example, typically display more lavish orchestration.) Handel most likely did not work closely with Jennens during composition; in fact, the writer was surprised to learn the composer was planning a Dublin premiere.

“I heard with great pleasure at my arrival in Town, that Handel had set the Oratorio of Messiah,” Jennens wrote in a letter dated December 2, “but it was some Mortification to hear that instead of performing it here he was gone into Ireland with it.”

Handel started his Dublin season on December 23 with a performance of L’allegro at the Great Music Hall in Fishamble Street, the site of

COMPOSER PROFILE

GEORGE FRIDERIC HANDEL Born: February 23, 1685, Halle (Germany) Died: April 14, 1759, London Georg Friedrich Händel was on his way to becoming a church composer when a visit to Berlin ca. 1702 gave him his first taste of opera. He spent the next few years in Europe’s operatic centers acquiring the skills upon which his reputation as the greatest dramatic composer of his age would rest. He settled in London in 1711 and composed more than 30 operas over the ensuing three decades. In his last years, he began to cultivate the Englishlanguage oratorio, a genre that dramatized sacred subjects and one Handel virtually invented. His legacy also includes a vast amount of instrumental music and vocal works in many other genres.

Further listening: Alcina (opera, 1735) (excerpts) Karina Gauvin, Tafelmusik, Jeanne Lamon (Analekta) Solomon (oratorio, 1749) Andreas Scholl, Gabrieli Consort and Players, Paul McCreesh (Archiv)

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all of his Dublin concerts. The premiere of Messiah on April 13, 1742, marked the culmination of his time there. It was a resounding success.

The Dublin Journal reported that at the open rehearsal, the work “was performed so well, that it gave universal Satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that ever was heard…” and heaped similar praise on the premiere: “Words are wanting to express the exquisite Delight it afforded the admiring crouded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick, and moving Words, conspired to transport and charm the ravished Heart and Ear.” The work has since established itself as the most popular of its kind, affirming the genius of Handel’s pursuit of English-language oratorio. He never wrote another opera after Deidamia, but Handel followed Messiah with fifteen further English-language oratorios.

We have Messiah to thank for paving the way for such disparate works as Haydn’s Creation, Mendelssohn’s Elijah, Elgar’s Dream of Gerontius, and John Adams’ El Niño.

Handel’s Messiah is in three parts. Part I describes the advent and birth of Christ, with the chorus “For unto us” demarcating the transition from one to the other. Part II details the life of Christ, his resurrection, his ascension to heaven, the preaching of the gospel by his apostles, and a vision of his ultimate victory.

Part III celebrates the redemption of humankind – its eventual resurrection and receipt of eternal life – brought about by Christ’s death.

The work opens with a “Sinfony,” Handel’s first use of the operatic French overture form (dotted grave introduction followed by a contrapuntal allegro moderato) in one of his oratorios. The work’s richest accompanied recitative follows, with a vocal line whose heightened expression and use of repetition takes the number into arioso territory. The vigor of the ensuing aria, “Ev’ry valley,” with its word-painting for “the crooked straight, and the rough places plain,” sets the tone for the first half of Part I, as Jennens lays out a series of prophetic texts anticipating the

coming of Christ and Handel matches them with music of great variety, contrast, and inventiveness. Throughout Part I, the music seems to be moving toward D major, from the D-minor alto aria “But who may abide” through the D-major alto aria and chorus “O thou that tellest,” to the chorus “Glory to God,” where the trumpets enter for the first time to reinforce D major.

In Part II, Handel wanders away from D major in a sequence of numbers depicting the suffering of Christ on earth. For example, one of Messiah’s most moving numbers, the alto aria “He was despised,” is in E-flat major, as far away as Handel could get from D major. The key choice allows for a deeply humane portrayal of Christ – the warmth and nobility of the strings in the opening ritornello is certainly Handel at his most eloquent – while simultaneously underscoring the distance the “man of sorrows” depicted in the aria has to travel to reach the triumphant D major of the “Hallelujah” chorus’ celebration of Christ enthroned alongside God that closes Part II. The custom of standing during the chorus dates from the first London performance of Messiah, which took place on March 23, 1743. The 18th-century Scottish essayist and poet James Beattie the origins of the tradition in a 1780 letter: “When Handel’s ‘Messiah’ was first performed, the audience was exceedingly struck and affected by the music in general; but when that chorus struck up, ‘For the Lord God Omnipotent reigneth,’ they were so transported they all, together with the king (who happened to be present), started up, and remained standing till the chorus ended: and hence it became the fashion in England for the audience to stand while that part of the music is performing.”

Part III opens with one of the most astoundingly conceived arias in Handel’s output.

Throughout Messiah, Handel comes up with original musical solutions to the problems posed to an 18th-century composer by Biblical texts. Where 18th-century poetry typically presents one, constant affect or emotion, the Bible’s ancient Hebrew verses delight in contrast, and Handel had to rethink musical forms

rooted in 18th-century poetry to set Messiah’s Biblical texts. In the case of “I know that my redeemer liveth,” Handel takes three contrasting ideas – “I know that my redeemer liveth,” “And tho’ worms destroy this body,” and “For now is Christ risen” – and crafts a sort of rondo form, with “I know that my redeemer liveth” functioning as the main theme, and the sections beginning with “And tho’ worms destroy this body” and “For now is Christ risen” acting as contrasting material. But the whole is constructed so artfully, with such expressive unity, that Handel’s formal innovation is (probably properly) overlooked, his art transcending his craft.

“I know that my redeemer liveth” again places us far afield from D major (the aria is in E major), but Handel soon brings back D major in “The trumpet shall sound,” an aria that could have come straight from the opera house. Its three-part, A-B-A structure (in this case, dal segno rather than da capo) and its obbligato trumpet are exactly what an opera audience would expect for a triumph aria.

Messiah closes with a resplendent chorus that brings together all of the musical and dramatic threads running through the work. It is the grandest chorus Handel ever wrote, with an opening combining solemnity and celebration followed by a fugal “Amen” of overwhelming power. It marks the culmination of a work that has become an icon of western culture – even if you know nothing else about classical music, you know the “Hallelujah” chorus. Edward Synge, the Bishop of Elphin and one of the leading Irish ideologues of the 18th century, captured this in his summation of the work: “As Mr. Handel in his oratorio’s greatly excells all other Composers I am acquainted with, So in the famous one, called The Messiah he seems to have excell’d himself. The whole is beyond any thing I had a notion of till I Read and heard it. It Seems to be a Species of Musick different from any other, and this is particularly remarkable of it. That tho’ the Composition is very Masterly & artificial, yet the Harmony is So great and open, as to please all who have Ears & will hear, learned & unlearn’d.”

John Mangum is President and Artistic Director of the Orange County Philharmonic Society.

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ABOUT THE ARTISTS

BERNARD LABADIE Bernard Labadie has established himself worldwide as one of the leading conductors of the Baroque and Classical repertoire, a reputation that is closely tied into his work with Les Violons du Roy and La Chapelle de Québec, both of which he founded and continues to lead as music director. With these two ensembles he regularly tours Canada, the U.S., and Europe, in major venues and festivals such as Carnegie Hall, Avery Fisher Hall, Walt Disney Concert Hall, Kennedy Center, The Barbican, The Concertgebouw, and the Salzburg Festival, among others.

Ever since his triumphant debut with the Minnesota Orchestra in 1999, Labadie has become a regular presence on the podiums of the major North American orchestras, including the Atlanta Symphony Orchestra, the Boston Symphony, the Chicago Symphony Orchestra, the Cleveland Orchestra, the Colorado Symphony, the Detroit Symphony Orchestra, the Handel & Haydn Society, the Houston Symphony, the Los Angeles Philharmonic, the New York Philharmonic, the Orchestre Symphonique de Montréal, the Philadelphia Orchestra, the St. Louis Symphony, the San Francisco Symphony, and the Toronto Symphony Orchestra, among others.

International engagements in past seasons have brought Labadie to conduct the Bavarian Radio Symphony Orchestra, the Orchestre National de France, the Academy of Ancient Music, the Orchestra of the Age of Enlightenment, the BBC Royal Scottish National Orchestra, the Melbourne Symphony Orchestra, the Orchestra of the Collegium Vocale Ghent, the Royal Concertgebouw Orchestra, the Royal Northern Sinfonia, the Swedish Chamber Orchestra, the WDR Sinfonieorchester (Cologne), and the Zurich Chamber Orchestra.

On the opera podium, Maestro Labadie has served tenures as artistic director of L’Opéra de Québec and L’Opéra de Montréal.

He made his Metropolitan Opera debut during the 2009/10 season with Mozart’s

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Die Zauberflöte, a work that he also led at the Cincinnati Opera in 2011 and with which he will make his long-awaited debut with the Candian Opera Company in 2017. Other operatic highlights include Handel’s Orlando with Glimmerglass Opera, Mozart’s Così fan tutte at the Mostly Mozart Festival, and Mozart’s Lucio Silla with Santa Fe Opera.

Recently he performed Handel’s Theodora and Handel’s Samson in concert form to huge critical acclaim.

Bernard Labadie’s extensive discography includes many critically acclaimed recordings on the Dorian, ATMA, and Virgin Classics labels, including Handel’s Apollo e Dafne and a collaborative recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. His other recordings include C.P.E. Bach’s complete cello concertos with Truls Mørk and Les Violons du Roy; J.S. Bach’s complete piano concertos with Alexandre Tharaud, both on Virgin Classics; and Haydn’s piano concertos with Marc-André Hamelin as soloist, released by Hyperion in April 2013.

KARINA GAUVIN Recognized for her work in the Baroque repertoire, Canadian soprano Karina Gauvin sings Bach, Mahler, Britten, and the music of the 20th and 21st centuries with equal success. The prestigious distinctions she has received include the title of “Soloist of the Year” awarded by the Communauté internationale des radios publiques de langue française, first prize in the CBC Radio competition for young performers, and the Virginia Parker Prize and Maggie Teyte Memorial Prize in London.

She has sung with the greatest symphony orchestras, including the Orchestre Symphonique de Montréal, the San Francisco Symphony, the Chicago Symphony, the New York Philharmonic, and the Rotterdam Phil-

harmonic, the Orchestre Philharmonique de Radio France, and the Chamber Orchestra of Europe, as well as Baroque orchestras such as Les Talens Lyriques, the Venice Baroque Orchestra, Accademia Bizantina, Il Complesso Barocco, the Akademie für Alte Musik Berlin, the Tafelmusik Baroque Orchestra, Il Pomo d’Oro, Concentus Musicus Wien, and Les Violons du Roy. She has performed under the direction of Charles Dutoit, Michael Tilson Thomas, Bernard Labadie, Christophe Rousset, Alan Curtis, Sir Roger Norrington, Kent Nagano, Semyon Bychkov, Helmuth Rilling, and Yannick Nézet-Séguin. In addition, she has given recitals with pianists Marc-André Hamelin, Angela Hewitt, Michael McMahon, and Roger Vignoles.

Among her recent projects was a European tour and an Erato recording of Niobe (Steffani) with countertenor Philippe Jaroussky, and again with Jaroussky a recording of Handel’s Partenope. She has sung Seleuce in Handel’s Tolomeo with Alan Curtis, with whom she also recorded Handel operas on the Archiv/DG, Virgin, and Naïve labels, among others. She performed in Tito Manlio (Vivaldi) in Brussels and at the Barbican in London, in Ezio (Handel) in Paris and Vienna, in Giulio Cesare (Handel) in Paris and Vienna, as well as in Juditha Triumphans (Vivaldi) with Andrea Marcon at the Concertgebouw in Amsterdam.

Karina Gauvin’s extensive discography – over 40 titles – has won numerous awards, including a Chamber Music America Award for her Fête Galante disc with pianist Marc-André Hamelin, and several Opus Prizes. In 2009, she recorded Britten’s Les Illuminations with Les Violons du Roy under the direction of Jean-Marie Zeitouni. Set for release by Sony in autumn 2016 is Don Giovanni (Donna Elvira) recorded last year with Musica Aeterna/ Teodor Currentzis.

In the 2016/17 season Karina Gauvin returns to Madrid’s Teatro Real to sing Vitellia in Mozart’s Clemenza di Tito and to the Boston Early Music Festival for a new production of Campra’s Carnaval de Venis. Concerts include Messiah with the Los Angeles Philharmonic, the title role in Handel’s Rodelinda at Theâtre des Champs-Élysées, and Fauré’s Requiem with Stephane Denève.

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ANN HALLENBERG The Swedish mezzo-soprano Ann Hallenberg regularly appears in opera houses and festivals such as Teatro alla Scala Milan, Teatro la Fenice Venice, Teatro Carlo Felice Genoa, Teatro Real Madrid, Theater an der Wien, Opernhaus Zürich, Opéra National Paris, Théâtre des Champs-Élysées Paris, Opéra de Lyon, Opéra du Rhin Strasbourg, Opéra de Lille, Opéra de Bordeaux, Opéra de Dijon, Opéra de Monaco, Théâtre de La Monnaie Brussels, Netherlands Opera Amsterdam, Vlaamse Opera Antwerp, Bayerische Staatsoper München, Staatsoper Berlin, Semperoper Dresden, Norwegian National Opera, Royal Swedish Opera, Salzburg Festival, Edinburgh Festival, and the Drottningholm Festival in Stockholm.

She is highly sought after as a concert singer and she frequently appears in concert halls throughout Europe and North America.

Her repertoire includes a large number of leading roles in operas by Rossini, Mozart, Gluck, Handel, Vivaldi, Monteverdi, Purcell, Bizet, and Massenet. Equally at home on the concert platform she has built an unusually vast concert repertoire that spans music from the early 17th-century works of Monteverdi and Cavalli, through music by Mozart, Beethoven, Berlioz, Mahler, Martin, Chausson, and Waxman, up to contemporary works of Daniel Börtz.

In 2015 her schedule included Irene in Handel’s Tamerlano at Théâtre de La Monnaie Brussels and at the Dutch National Opera, Bach’s St. John Passion in Amsterdam with the Royal Concertgebouw Orchestra, Mozart’s Davidde penitente in Leipzig with the Gewandhaus Orchestra, arias by Handel in Warsaw with Il Complesso Barocco, arias by Handel, Porpora, and Orlandini in Göttingen, Venice, and Santander with Il Pomo d’Oro, Tirinto in Handel’s Imeneo at the Handel Festival Halle with Europa Galante, Beethoven’s Symphony No. 9 in Graz with Österreichisch-Ungarische Haydn Philharmonie, arias by Porpora, Broschi, Giacomelli, and Leo in Spain and Mexico with Les Talens Lyriques, arias by Bizet,

Saint-Saëns, and Mozart in Antwerp, and a CD recording of arias by Mayr, Zingarelli, and Sarti with Stefano Aresi/Stile Galante, as well as a recording of Creusa in Gluck’s Demofonte with Alan Curtis/Il Complesso Barocco.

ALLAN CLAYTON Tenor Allan Clayton is established as one of the most exciting and sought after singers of his generation. A consummate actor and deeply sensitive musician, he has made a huge impact on the international operatic and concert scene.

Allan takes the lead role in Brett Dean’s Hamlet, which will have its world premiere at Glyndebourne Festival Opera in 2017 as part of the nationwide celebrations of the 400th anniversary of Shakespeare’s death. At the end of 2016 he will be part of the world premiere of Gerald Barry’s Alice’s Adventures Under Ground in Los Angeles and then the European premiere at the Barbican Centre in London with Britten Sinfonia, conducted by Thomas Adès. During March 2017, Allan will sing the role of David in Die Meistersinger von Nürnberg at the Royal Opera House, Covent Garden.

He made his debut at the Komische Oper, Berlin in 2014 with Castor in Castor et Pollux and Tamino in Die Zäuberflöte. and his debut at the Teatro Real, Madrid in Handel’s Alcina in 2015. For English National Opera he has sung Cassio in Otello, Castor in Castor et Pollux, and Lysander in A Midsummer Night’s Dream. He was an integral part of George Benjamin’s award-winning opera Written on Skin at the Netherlands Opera, the Théâtre du Capitôle Toulouse, the Royal Opera House, Wiener Festwochen, and the Bayerische Staatsoper, following the world premiere of the work at the 2012 Festival d’Aix-en-Provence.

Allan also has a busy and varied concert career. He appears regularly at the BBC Proms, where he has sung the title role in Oedipus Rex with the BBC Symphony Orchestra conducted

by Sakari Oramo and performed in Vaughan Williams’ Pastoral Symphony with the BBC

Scottish Symphony Orchestra. Most recently he has sung Elgar’s The Dream of Gerontius in Salzburg, the St. Matthew Passion in London with the Bach Choir, and Beethoven’s Missa Solemnis with the Hallé and Sir Mark Elder.

During the 2016/17 season, Allan will sing Missa Solemnis at the Royal Festival Hall with the London Philharmonic Orchestra conducted by Elder, Handel’s Messiah with Violons du Roy and with the Los Angeles Philharmonic, and The Dream of Gerontius with Britten Sinfonia.

A consummate recitalist, Allan has given lieder recitals at the Cheltenham, Perth, and Aldeburgh Festivals, and at London’s Wigmore Hall. He has been fortunate to work with many outstanding pianists, including Paul Lewis, Graham Johnson, Malcolm Martineau, Roger Vignoles, Julius Drake, James Baillieu, Simon Lepper, and Joseph Middleton, in repertoire such as Schubert’s Winterreise and Die schöne Müllerin, Vaughan Williams’ On Wenlock Edge, and songs by Strauss, Wolf, Britten, Duparc, and Tippett, among others.

Allan Clayton studied at St. John’s College, Cambridge and at the Royal Academy of Music in London. An Associate of the Royal Academy of Music and former BBC New Generation Artist from 2007-2009, his awards also include The Queen’s Commendation for Excellence and an inaugural Sir Elton John Scholarship at the RAM. Visit allanclayton.com.

MATTHEW BROOK Matthew Brook has appeared as a soloist throughout Europe, Australia, North and South America, and the Far East. He has worked with many of the world’s great conductors, including Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset, and Sir Mark Elder, and with orchestras and ensembles including the Philharmonia, the London Symphony Orchestra, the Royal Philharmonic Orchestra, the St. Petersburg

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Philharmonic, the Freiburger Barockorchester, the BBC National Orchestra of Wales, the Orchestra of the Age of Enlightenment, the Chamber Orchestra of Europe, the Scottish Chamber Orchestra, the English Baroque Soloists, the City of London Sinfonia, Collegium Vocale Ghent, the Gabrieli Consort, Les Talens Lyriques, the Sixteen, and the Orchestre National de Lille. He has performed at festivals such as Edinburgh, Cheltenham, Utrecht, the BBC Proms, Ambronay, La Chaise Dieu, Innsbruck, Bermuda, and the Three Choirs Festival.

Matthew’s operatic roles include Polyphemus (Acis and Galatea), Aeneas (Dido and Aeneas), Papageno (The Magic Flute), Figaro (The Marriage of Figaro), Leporello (Don Giovanni), Ned Keene (Peter Grimes), Vicar (Albert Herring), Noye (Noye’s Fludde), John Bunyan and Lord Hategood (The Pilgrim’s Progress), Melchior (Amahl and the Night Visitors), Young Sam (A Quiet Place), Jupiter (Castor et Pollux), Starek and Mayor (Jenu° fa), Antenor and Calkas (Troilus and Cressida), Zuniga (Carmen), and Seneca (L’incoronazione di Poppea). He took part in a European tour with the English Baroque Soloists and Gardiner singing the roles of Don Alfonso and Bartolo in venues including the Royal Opera House, Covent Garden; Salle Pleyel, Paris; Teatro Real (Madrid); and Giuseppe Verdi Opera House, Pisa.

Matthew’s recordings include Trial by Fire (Counsel) and Sullivan’s Ivanhoe (Friar Tuck) with the BBC National Orchestra of Wales (Chandos); a Gramophone Awardwinning Messiah, plus Acis and Galatea, Bach’s St. Matthew Passion and B-minor

Mass, and Handel’s Esther, all with the Dunedin Consort (Linn Records); and Il Re di Scozia in Ariodante with Il Complesso Barocco and Alan Curtis (EMI/Virgin).

Recent and future highlights include Argenio (Imeneo) at the Göttingen International Handel Festival, Fauré’s Requiem with the Orchestre de Chambre de Paris, Monteverdi’s Vespers with the Dunedin Consort, Mozart’s Requiem with the Fryderyk Chopin Institute in Warsaw, Tippett’s A Child of Our Time with the Hallé Orchestra, Zoroastro (Orlando) with the English Concert, Handel’s Messiah with the Danish National Symphony Orchestra and with the Los Angeles Philharmonic, Il Re di Scozia (Ariodante) with the Staatstheater Stuttgart and on tour with the English Concert, Bach’s Lutheran Masses with the Academy of Ancient Music, and performances of Bach’s B-minor Mass and The Dream of Gerontius with the Cincinnati Symphony Orchestra.

LA CHAPELLE DE QUÉBEC

La Chapelle de Québec, founded by Bernard Labadie in 1985, is a nationally-based cham-

ber choir of professional singers recruited mainly in Québec City, but also throughout Québec and Canada. It assembles for two or three concerts each season to join Les Violons du Roy in major works from the repertory for choir and orchestra, especially from the 18th century. Its performances of cantatas, oratorios, and masses by Bach, Handel, Mozart, and Haydn have been acclaimed throughout Canada and the United States, in particular thanks to many broadcasts by Radio-Canada, the CBC, and NPR in the United States.

La Chapelle de Québec has performed regularly on tour with Les Violons du Roy, in particular in Handel’s Messiah and Bach’s St. Matthew Passion in Toronto, in an all-Vivaldi program in France, and in Mozart’s Requiem in Toronto and the United States. The choir is often asked to appear with Bernard Labadie in the concerts he conducts with U.S. orchestras, including the Los Angeles Philharmonic, with which it performed Handel’s Messiah in 2004 and Bach’s Magnificat in 2006. In December 2009, La Chapelle de Québec and Les Violons du Roy, directed by Bernard Labadie, presented Handel’s Messiah and Bach’s Christmas Oratorio at Carnegie Hall in New York and at Walt Disney Concert Hall in Los Angeles. The choir and the orchestra returned to Carnegie Hall to present Bach’s St. John Passion in March 2012, and Purcell’s Dido and Aeneas in April 2015. The concerts received remarkably positive reviews, in particular from The New York Times and the Los Angeles Times.

La Chapelle de Québec won a Juno Award for its recording of Mozart’s Requiem, released by Dorian in 2002.

LA CHAPELLE DE QUÉBEC SOPRANO

ALTO

TENOR

BASS

Lesley Emma Bouza Cynthia Gates Marie Magistry Stephanie Manias Claire Pascot Tracy Smith-Bessette Carole Thérien Teresa Van der Hoeven Devon Wastle

Marie-Annick Béliveau Charlotte Cumberbirch Richard Allan Cunningham Marie-Josée Goyette Simon Honeyman Claudia Lemcke Marie-Andrée Mathieu Rachèle Pelletier-Tremblay Meagan Sandi Zanting

Claude Bélanger Marcel de Hêtre Richard Duguay Aldéo Jean Corey Knight David Menzies Bud Roach Arthur Tanguay-Labrosse

Robert Huard Emanuel Lebel Bernard Levasseur David Roth Jordan Stumpfl Yves St-Amant Josh Whelan

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LOS ANGELES PHILHARMONIC

ADAMS @70: EL NIÑO

Friday DECEMBER 16, 2016 8pm

LOS ANGELES PHILHARMONIC

Sunday DECEMBER 18 2pm

Grant Gershon, conductor Julia Bullock, soprano Jennifer Johnson Cano, mezzo-soprano Davóne Tines, bass-baritone Daniel Bubeck, Brian Cummings, Nathan Medley, countertenors Los Angeles Master Chorale Grant Gershon, artistic director Los Angeles Children’s Chorus Anne Tomlinson, artistic director Mark Grey, sound designer

John ADAMS El Niño

(with video by Peter Sellars, Friday only) Part I I Sing of a Maiden (countertenors, chorus) Hail, Mary, Gracious! (soprano, countertenors) La anunciación (mezzo-soprano) For With God No Thing Shall Be Impossible (chorus) The Babe Leaped in Her Womb (countertenors, chorus) Magnificat (soprano, countertenors, chorus) Now She Was Sixteen Years Old (soprano, baritone, countertenors) Joseph’s Dream (baritone, countertenors) Shake the Heavens (soprano, mezzo-soprano, baritone, countertenors, chorus) Se habla de Gabriel (soprano, mezzo-soprano) Now I, Joseph, Was Walking About (baritone) The Christmas Star (soprano, mezzo-soprano, countertenors, chorus)

INT E RM ISS ION Part II Pues mi Dios ha nacido (mezzo-soprano, chorus) When Herod Heard (baritone, countertenors) Woe unto Them that Call Evil Good (baritone, chorus) And the Star Went Before Them (soprano, mezzo-soprano, baritone) The Three Kings (soprano, countertenors) And When They Were Departed (chorus) Dawn Air (baritone) And He Slew All the Children (chorus) Memorial de Tlatelolco (soprano, chorus) In the Day of the Great Slaughter (chorus) Pues está tiritando (mezzo-soprano, baritone, chorus) Jesus and the Dragons (soprano, countertenors) A Palm Tree / Una Palmera (mezzo-soprano, baritone, countertenors, children’s chorus)

Rolex is the Official Timepiece of the Los Angeles Philharmonic.

Programs and artists subject to change.

By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner.

GUSTAVO DUDAMEL Music & Artistic Director

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Notes by John Henken

EL NIÑO John Adams

> Composed: 2000 > Length: c. 120 minutes > Orchestration: 2 flutes (= piccolo), 2 oboes (2nd = English horn), 2 clarinets (2nd = bass clarinet), 2 bassoons (2nd = contrabassoon), 3 horns, 3 trombones, glockenspiel, triangles, gong, almglocken, guiro, maracas, crotales, high cowbells, temple block, tam-tam, chimes, claves, 2 temple bowls, 2 guitars, harp, piano (= celesta), sampler, strings, with mixed chorus, children’s chorus, three countertenors, and soprano, mezzo-soprano, and baritone soloists

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JOHN ADAMS Born: 1947, Worcester, Massachusetts

> First LA Phil performance: March 13, 2003

Probably the best-known oratorio is Handel’s Messiah, although it is not typical of the genre, or even of Handel’s other oratorios. Adams says that he had wanted to write a Messiah of his own, a work confronting not only the Nativity of Christ but also the miracle of birth generally.

“The piece is my way of trying to understand what is meant by a miracle. When I recently reread some of the New Testament gospels I was struck as never before by the fact that most of the narratives are little more than long sequences of miracles,” Adams said at the time of the premiere. “I don’t understand why the story of Jesus must be told in this manner, but I accept as a matter of faith that it must be so. The Nativity is the first of these miracles, and El Niño is a meditation on these events. In fact, my original working title was How Could This Happen? This phrase, taken from the Antiphon for Christmas Eve, also must surely have been uttered by me at the births of my own son and daughter.”

In California and much of Latin America, we also connect the term El Niño with meterological events, the heavy, often devastating storms of winter. This is not at all an inappropriate image for the oratorio, Adams says.

“The association with storms and violent weather is right. As [17th-century Mexican poet] Sor Juana says, a miracle is not without its alarming force. Christ was referred to as the ‘Wind,’ a tempest that blows away all that comes in its path and transforms it. Herod knows this. We all know it when a child comes into the world.”

In a talk given at the Centro Cultural de México in Paris, Adams elaborated on the

COMPOSER PROFILE

basic elements of El Niño: “The narrative structure of my piece follows very carefully the Biblical version in the manner of Messiah. Narrative passages alternate with arias and choruses that meditate or reflect on the principal themes. Among those could be mentioned are the mystery of the Conception and the miracle of the Nativity (and I should say, not only the birth of Christ, but also that of all children). Other themes: the suspicion and jealousy of Joseph, the pregnancy of Mary (and of all women), the paranoia of Herod (and of all tyrants), and the theme of exile.”

In a marked departure from the Messiah model, these themes are expressed through a great range of non-Biblical writing. Interwoven with the basic narrative line is contemplative and celebratory commentary. In a piece about birth, Adams wanted to include women’s words, and Sellars drew his attention to Latin American poetry.

The Latin American texts include poems

by Sor Juana Inés de la Cruz (1648/51?-1695), Rosario Castellanos (1925-1974), Gabriela Mistral (1899-1957), Rubén Darío (1867-1916), and Vicente Huidobro (1893-1948). The Biblical texts include familiar Old Testament prophecies and New Testament Nativity accounts – some of them also set by Handel in Messiah – as well as writings from the Apocrypha, non-canonical texts from the early Christian era. There are anonymous verses from the medieval Wakefield Mystery Plays, a passage from a Christmas sermon by Martin Luther, and the hymn “O quam preciosa” by Hildegard von Bingen.

One of Minimalism’s shaping spirits, John Adams is a composer of distinctive stylistic élan. He made an early decision to break with the modernist aesthetic prevailing in post-war Europe and U.S. academia, launching a vigorous exploration of Minimalism infused with American vernacular influences. Adams’ later music expands these elements with long-limbed polyphony, chromaticism, and his “earbox” technique of modal transposition. He won the Grawemeyer Award in 1995 for his Violin Concerto and was named Composer of the Year in 1997 by Musical America. Adams is also an active and esteemed conductor. He has won three Grammy awards for Best Contemporary Composition, and a Pulitzer Prize for On the Transmigration of Souls.

Further listening: The Gospel According to the Other Mary (2012) O’Connor, Mumford, Thomas; LA Master Chorale, LA Phil, Gustavo Dudamel (DG) Chamber Symphony (1991) London Sinfonietta, Adams (Nonesuch)

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Since Adams has cited Messiah as an inspiration, many commentators have picked that up. It is easy to identify Baroque connections in Minimalism generally (insistent motor energy, ostinatos, motivic repetition) and in Adams’ music particularly (Nixon in China is an opera Rameau surely could appreciate).

But many of the elements that El Niño is said to share with Messiah – that fact that the soloists are not tied exclusively to specific roles, for example – are also common to other oratorios from many eras and in many styles.

As Michael Steinberg points out in his liner notes for the recording of El Niño, the work’s most significant connection to Handel and Messiah may not be in superficial details such as common texts, but in the way the texts are treated.

“El Niño is deeply Handelian in two senses: in the simplicity and directness with which the words convey their message of belief, and in the joy the composer takes in setting English words to music. El Niño is, among many things, that rare object, a vocal composition in which you can actually hear all the words.”

Part I begins with “I Sing of a Maiden,” an anonymous English carol set by many composers. Adams sets it as a polyphonic chorus, and anticipatory gathering of voices that sets the stage for the appearance of Mary.

She receives the Annunciation from the angel Gabriel (sung by a trio of countertenors), in words from one of the Wakefield Mystery Plays. Mary here is sung by the soprano soloist, but this dialog leads directly into the first of the great poetic reflections that cover the work with canopies of contemplation. This is Rosario Castellanos’ poem “La anunciación,” now sung by the mezzo soloist. Four poems

by Castellanos – the novelist and poet who was Mexico’s ambassador to Israel, where she died in freak household accident – are central to both the shape and the spirit of El Niño.

“The principal voice of this piece – we could say the heart of the piece – is that of Rosario Castellanos,” Adams says. “I am embarrassed to confess that before beginning work on this piece I had never heard the name of Rosario Castellanos. And I suspect that 95% of North Americans likewise do not know her name. But that situation doubtless will change during the coming years as the astonishing gift of these Mexican poets comes to be recognized.”

The soprano soloist, the countertenors, and chorus return for Mary’s visit to her cousin Elisabeth and the Magnificat, Mary’s great paean of joy and acceptance. Adams sets the Magnificat as a rather serious dramatic statement, emphasizing commitment with roiling undercurrents in the orchestra.

After this the focus turns to Joseph and his bitter suspicion and self-pity, with texts drawn mainly from the apocryphal Gospel of James. In this sequence is the most overtly Handelian of all the individual numbers, “Shake the Heavens,” on a prophecy from Haggai that Handel also used in Messiah. There is much violent shaking in the orchestra and fiercely shuddering writing for the baritone soloist.

Following this comes the birth, first in the two voices of Mary – soprano and mezzo – singing another Castellanos poem, “Se habla de Gabriel” (Speaking of Gabriel – this titular Gabriel was Castellanos’ son, not the annuciatory angel). As a coda, Joseph sings with amazed wonder of the sudden stillness at the miraculous moment.

The first part ends with an ensemble finale.

The soloists sing an urgent setting, at once exultant and ominous, of “The Christmas Star,” a poem by Gabriela Mistral (pseudonym for Lucila Godoy y Alcayaga), the Chilean poet who won the Nobel Prize for Literature in 1945, the first Latin American writer to do so.

To this the chorus adds a flowing chant setting of Hildegard’s 12th century hymn “O quam preciosa,” an expressively apt counterpoint both musically and textually.

If Part I has obvious connections to Handel and the Christmas portion of Messiah, Part II suggests Berlioz’ “sacred trilogy,” L’enfance du Christ (The Childhood of Christ). The emphasis on Herod and the slaughter of the innocents and the flight into Egypt, textual expansion of the Biblical narrative, structural grouping into dramatic scenes, and vividly colored orchestration are common to both works.

Part II opens with “Pues mi Dios ha nacido a penar” (Because my Lord was born to suffer), a text by the celebrated Mexican Baroque poet Sor Juana Inés de la Cruz. In prefiguring Christ’s suffering, the poem also sets up Herod’s murderous duplicity, and Adams sets this as a gracefully drooping, responsive lullaby for mezzo and chorus, with an almost antic violin obbligato.

Adams uses Bible verses, from Isaiah and Matthew, to introduce Herod and the three kings. “The Three Kings,” a gentle poem by the Nicaraguan writer Rubén Darío, allows each of the three countertenors an individual voice.

This sequence closes with an evocatively leaping love song for the baritone, “Dawn Air,” by the Chilean writer Vicente Huidobro.

The slaughter of the innocents is briefly and bluntly described in a curt chorus, which leads directly into “Memorial de Tlatelolco,” the largest single number in El Niño. The text is another poem by Castellanos, a deeply disturbed and disturbing lament. In 1968, student protests in Tlatelolco Square in Mexico City were met with a massive military response. Officials admitted to 32 deaths, but the real number — estimated in the hundreds by journalists – was buried in the ensuing cover-up. Adams’ setting has all the slow, intense eloquence of his previous Castellanos pieces in El Niño, but with a hard edge, honed with anger as much as sorrow. The chorus joins the solo soprano towards the end of the number, with the insistence “We remember… we must remember.”

Another percussively punctuated choral chant frames this lament. Adams then draws upon another responsive poem by Sor Juana, “Pues está tiritando” (Since Love Is Shivering), for a response to the horror. Here conviction grows with strength and climactic purpose.

Then, as a gentle benediction, come two apocryphal tales set as travel encounters on the road to Egypt. In the first, the soprano and countertenors tell us about the child Jesus staring down dragons. In the second, the mezzo, baritone and countertenors relate the story of Jesus bidding a palm tree bend down so that Mary might gather its fruit.

Into this final tale, Adams inserts the final Castellanos poem, “Una palmera” (A Palm Tree), set for children’s chorus and guitars. Here is perhaps the only musical echo of Latin America, in a lilting, sweetly harmonized song. Near the end of L’enfance du Christ, Berlioz inserts a bit of domestic chamber music for flutes and harp, “a naïve and gentle kind of music” in a texture very much like this chorus.

This monumental work ends quietly, with the children’s voices and guitar. In tender wonder, the last, lingering word of this textually rich piece is “poem.”

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ABOUT THE ARTISTS

GRANT GERSHON Hailed for his adventurous and bold artistic leadership and for eliciting technically precise and expressive performances from musicians, Grant Gershon is currently in his 16th season as the Kiki & David Gindler Artistic Director of the Los Angeles Master Chorale. The Los Angeles Times has said the Master Chorale “has become the most exciting chorus in the country under Grant Gershon,” a reflection on both his programming and performances.

During his tenure Gershon has led more than 200 Master Chorale performances at Walt Disney Concert Hall. A fervent champion of new music, he has led world-premiere performances of major works by John Adams, Esa-Pekka Salonen, David Lang, Louis Andriessen, Christopher Rouse, Steve Reich, Morten Lauridsen, Ricky Ian Gordon, Gabriela Lena Frank, Shawn Kirchner, and Chinary Ung, among many others.

Gershon is the Resident Conductor of LA Opera. He made his acclaimed debut with the company with La Traviata in 2008 and has subsequently conducted Il Postino, Madame Butterfly, Carmen, and Florencia en el Amazonas. In New York, Gershon has appeared at Carnegie Hall and at the historic Trinity Wall Street, as well as on the Great Performers series at Lincoln Center and the Making Music series at Zankel Hall. Other major appearances include performances at the Ravinia, Aspen, Edinburgh, Helsinki, Salzburg, and Vienna festivals, the South American premiere of LA Opera’s production of Il Postino in Chile, and with the Baltimore Symphony and the Coro e Orchestra del Teatro Regio di Torino in Turin, Italy. He has worked closely with numerous conductors, including Claudio Abbado, Pierre Boulez, James Conlon, Gustavo Dudamel, Lorin Maazel, Zubin Mehta, Simon Rattle, and his mentor, Esa-Pekka Salonen.

His discography includes two Grammynominated recordings: Sweeney Todd (New York Philharmonic Special Editions) and Ligeti’s Grand Macabre (Sony Classical); six

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commercial CDs with the Master Chorale; and two live performance albums, the Master Chorale’s 50th Season Celebration recording and Festival of Carols, the choir’s first holiday album in nearly 20 years. He has also led the Master Chorale in performances for several major motion picture soundtracks.

Gershon was named Outstanding Alumnus of the USC Thornton School of Music in 2002 and is a member of the Board of Councilors for the Thornton School and the Board of Directors of Chorus America.

JULIA BULLOCK Soprano Julia Bullock has been hailed as an “impressive, fast-rising soprano… poised for a significant career” (The New York Times). Equally at home with opera and concert repertoire, she has captivated audiences with her versatile artistry and commanding stage presence. This season, Bullock appears as Clara in Porgy and Bess with the Sydney Symphony Orchestra conducted by David Robertson, Anne Trulove in The Rake’s Progress at Aixen-Provence, and Kitty Oppenheimer in the BBC Symphony’s production and recording of John Adams’ Dr. Atomic, conducted by John Adams. She also performs twice this year with the Los Angeles Philharmonic: this week in John Adams’ El Niño, and this past summer in the role of “A Girl” in West Side Story at the Hollywood Bowl, conducted by Gustavo Dudamel. Bullock will be featured in a recital program with tenor Ian Bostridge presented by the LA Phil, entitled Night and Dreams: A Schubert & Beckett Recital, directed by Yuval Sharon. Her busy season also includes the premiere of a work by Jonathan Berger with Chamber Music Society of Lincoln Center, a continued collaboration with the International Contemporary Ensemble (ICE) on “Perle Noir: Meditations for Joséphine,” in performances at Mostly Mozart and Da Camera, a concert presented by the Resonant Bodies Festival (a New York-based

contemporary music festival that celebrates new vocal works), and a performance of Villa Lobos’ Bachianas Brasileiras No. 5 with the Baltimore Symphony, conducted by Marin Alsop.

She has appeared as soloist with orchestras including the London Symphony Orchestra with Simon Rattle, the New World Symphony with Christian Reif, and the Orchestra of St. Luke’s. In summer 2015, Bullock made her debut with the New York Philharmonic, performing Bernstein’s West Side Story Concert Suite No. 1 with Alan Gilbert in New York City parks, at Bravo!

Vail, and in Santa Barbara. She made her San Francisco Symphony debut in West Side Story in Concert, conducted by Michael Tilson Thomas; an album of the concert was released on the orchestra’s label in 2014. The San Francisco Chronicle wrote: “The evening’s most remarkable showstopper, Julia Bullock, appeared out of nowhere to deliver a full-voiced stunningly paced account of ‘Somewhere’ – for just a moment, it seemed as though nothing Bernstein ever wrote was quite as magical as that one song.”

She sang the lead role in the Berlin Philharmonic’s Orchestra Academy performance of Saariaho’s La Passion de Simone, directed by Peter Sellars, which she reprised at the Ojai Festival in 2016. She performed the title role in Purcell’s The Indian Queen at the Perm Opera House, Teatro Real, the Bolshoi, and the English National Opera, and she has toured South America as Pamina in Peter Brook’s awardwinning A Magic Flute. Other opera roles include Susanna in Le nozze di Figaro, Monica in The Medium, and the title roles in Cendrillon, The Cunning Little Vixen, and L’Enfant et les Sortilèges.

Julia Bullock’s contextually-driven recital and educational outreach programs have taken her across the United States to venues including the Metropolitan Museum of Art, the Kennedy Center, Carnegie Hall Neighborhood Concerts, the National Museum of Women in the Arts, San Francisco Performances, University of Florida Performing Arts, and the Levine School of Music. She has sung numerous times with the New York Festival of Song, and in art song young artist programs at Caramoor and Songfest. She has also participated in master classes with José

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van Dam, Jessye Norman, Eric Owens, and Dawn Upshaw.

Bullock’s accolades include a 2016 Sphinx Foundation Medal of Excellence, a 2015 Leonore Annenberg Arts Fellowship, the 2015 Richard F. Gold Grant from the Shoshana Foundation, Lincoln Center’s 2015 Martin E. Segal Award, First Prize at the 2014 Naumburg International Vocal Competition, and First Prize at the 2012 Young Concert Artists International Auditions. She holds the Lindemann Vocal Chair of Young Concert Artists.

Her management is also supported by the Barbara Forester Austin Fund for Art Song.

From 2003 to 2005, Bullock participated in the Artists-in-Training program with the Opera Theater of St. Louis. She holds degrees from the Eastman School of Music and the Bard Graduate Vocal Arts Program, and she graduated with an Artist’s Diploma from the Juilliard School in 2015.

Originally from St. Louis, Missouri, Julia Bullock integrates her musical life with community activism. She has organized and participated in benefit concerts in support of the FSH Society, the Music and Medicine Initiative for New York’s Weill Medical Center, and the Shropshire Music Foundation, a nonprofit that serves war-affected children and adolescents through music education and performance programs in Kosovo, Northern Ireland, and Uganda.

Visit juliabullock.com.

JENNIFER JOHNSON CANO Jennifer Johnson Cano is a naturally gifted singer noted for her commanding stage presence and profound artistry, with a warm, velvety timbre that has garnered critical acclaim. Cano joined the Lindemann Young Artist Development Program at the Metropolitan Opera after winning the Metropolitan Opera National Council Auditions in 2008, and made her Met debut during the 2009/2010 season. As First Prize-winner of the 2009 Young Concert

Artist International Auditions, she has given stunning recital debuts with husband and pianist Christopher Cano in New York at Carnegie Hall’s Weill Recital Hall, in Washington, DC, at the Kennedy Center, and in Boston at the Isabella Stewart Gardner Museum. Among her honors is a 2011 Sara Tucker Study Grant, a 2012 Richard Tucker Career Grant, and the 2014 George London Award.

Cano has given over 100 performances at Metropolitan Opera, with recent roles including Bersi, Emilia, Hansel, Meg Page, Mercedes, Nicklausse, Wellgunde, and Waltraute. Other operatic appearances included Orphée in Orphée et Eurydice with Des Moines Metro Opera, Donna Elvira in Don Giovanni with Boston Lyric Opera and Arizona Opera, Marguerite in Berlioz’s La damnation de Faust with the Tucson Symphony, The Sharp-Eared Fox in Janácˇek’s Cunning Little Vixen with the Cleveland Orchestra, and Diana in La Calisto with Cincinnati Opera. She has worked with an impressive array of conductors, such as James Levine, Franz Welser-Möst, Manfred Honeck, Marin Alsop, Gary Thor Wedow, and Sir Andrew Davis.

This season, Cano bows as Carmen with Boston Lyric Opera, as the Priestess in Aida with the Metropolitan Opera, and as Wellgunde in the concert version of Wagner’s Das Rheingold with the New York Philharmonic in one of Alan Gilbert’s closing conducting engagements in his tenure with the orchestra. Other orchestral engagements include Beethoven’s Missa Solemnis with Juanjo Mena, and Beethoven’s Ninth Symphony with Markus Stenz, with the Cincinnati Symphony Orchestra; Bruckner’s Te Deum with Christopher Warren-Green and the Charlotte Symphony; and Bach’s Cantata No. 34 with the Cleveland Orchestra and vocal ensemble Seraphic Fire, conducted by Franz Welser-Möst.

Cano also makes her European debut on a tour of John Adams’ El Niño with appearances in London and Paris with the London Symphony Orchestra conducted by Adams, as well as the Radio Filharmonisch Orkest with Markus Stenz in Amsterdam, and finally with the Los Angeles Philharmonic under Grant Gershon.

A dedicated recitalist and chamber musician, she performs at Mt. Gretna Playhouse with Christopher Cano in a program including songs and arias by composers Hugo Wolf,

Enrique Granados, Antonín Dvorˇák, and Jonathan Dove, and she appears in Philadelphia and Pittsburgh with Nathan Hughes (oboe), Rafael Figueroa (cello), and Ken Noda (piano).

At Bravo! Vail Music Festival, Cano performed Manuel de Falla’s Three-Cornered Hat with the New York Philharmonic.

In addition to her continued relationship with the Metropolitan Opera, the New York Philharmonic, and the Cleveland Orchestra, Jennifer Johnson Cano has appeared with such esteemed orchestras as the Los Angeles Philharmonic, the Atlanta, San Francisco, Pittsburgh, Baltimore, and Utah symphonies, and the Orchestra of St. Luke’s. She toured with Musicians from Marlboro singing Respighi’s Il Tramonto and Cuckson’s Der gayst funem shturem, recorded live for the Marlboro Recording Society. A live recording of Mahler’s Das Lied von der Erde featured conductor George Manahan, tenor Paul Groves, and St. Luke’s Chamber Ensemble in a rare arrangement by Arnold Schoenberg and Rainer Riehn. At the invitation of Mrs. Carol Armstrong, Jennifer Johnson Cano was particularly honored to sing the Anderson/ Weill September Song at the private funeral for American icon and astronaut Neil Armstrong. In 2014, she released her debut recital recording, Unaffected: Live from the Savannah Voice Festival, recorded completely live and unedited.

Cano is a native of St. Louis, Missouri and made her professional operatic debut with the Opera Theater of St. Louis. She earned her degrees from Webster University and Rice University.

Visit jenniferjohnsoncano.net.

DAVÓNE TINES Davóne Tines, deemed a “…singer of immense power and fervor…” by the Los Angeles Times and a “...charismatic, full-voiced bass-baritone...”

by The New York Times, is building an international career commanding a broad

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→ ABOUT THE ARTISTS

spectrum of opera and concert performance.

The 2015/2016 season offered breakout performances on both sides of the Atlantic: the Dutch National Opera presented his company debut starring opposite French countertenor Philippe Jaroussky in the premiere of Kaija Saariaho’s Only the Sound Remains directed

by Peter Sellars, and the Los Angeles Times exalted Davóne Tines as “the find of the season” for performances of Caroline Shaw’s By & By with the Calder Quartet and Kaija Saariaho’s Sombre with members of ICE at the Ojai Music Festival.

Performances of the present season include John Adams’ El Niño under the composer’s baton with the London Symphony Orchestra in London and on tour in France, as well as with Grant Gershon conducting the Los Angeles Philharmonic, Bruckner’s Te Deum with Christopher Warren-Green and the Charlotte Symphony, and the Paris premiere of Kaija Saariaho’s True Fire with the Orchestre National de France. On the opera stage, Davóne Tines makes his debuts at Lisbon’s Teatro Nacional de São Carlos in a new production of Oedipus Rex led by Music Director Joana Carneiro and at the Finnish National Opera reprising the roles he created at the Dutch National Opera in Saariaho’s Only the Sound Remains.

Highlights of the recent past include the world premiere of Matthew Aucoin’s opera Crossing, directed by multi-Tony Awardwinning director Diane Paulus, for which The Wall Street Journal called him a “glowing bass-baritone” and the Stylus Music Journal said he “...brought the house down with his eloquent and painful singing” in the leading role of Freddie Stowers. Davóne Tines also premiered the one-man chamber opera American Gothic, for which Details applauded his “...lush voice” and stated that “each section of the work benefits from Tines’ heartbreakingly rendered supplications...”

Tines has performed with the Boston Pops in Symphony Hall and at Tanglewood, where he was a Tanglewood Music Center Fellow.

He has given performances of La bohème at the Royal Opera House Oman, La fanciulla del West with the Castleton Festival and on tour in Spain, as well as Otello, all under the baton of Lorin Maazel.

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DANIEL BUBECK

BRIAN CUMMINGS

Daniel Bubeck has earned an international reputation on both the opera and concert stages in repertoire ranging from Bach and Handel to John Adams. He has performed with the Théâtre Musical de Paris-Châtelet, English National Opera, Spoleto and Adelaide festivals, London Philharmonic, Tokyo Symphony, the radio orchestras of Berlin and The Netherlands, Moscow Philharmonic, Royal Flemish Philharmonic, Estonian National Philharmonic, Concerto Köln, Vancouver Symphony, Los Angeles Philharmonic, and the Boston Symphony, working with Gustavo Dudamel, Esa-Pekka Salonen, Vladimir Jurowski, Kent Nagano, David Robertson, Robert Spano, Christopher Hogwood, and Nicholas McGegan. Career highlights include the premieres and subsequent performances of John Adams’ El Niño and The Gospel According to the Other Mary.

Bubeck is a noted Handelian, singing the roles of Cesare, Rinaldo, Solomon, Medoro (Orlando), Arsamene (Serse), David (Saul), Guido (Flavio), Armindo (Partenope), Tauride (Arianna in Creta), Didymus (Theodora), and in Israel in Egypt and Messiah. He can heard on recordings of Adams’ The Gospel According to the Other Mary (Deutsche Grammophon) and El Niño (Nonesuch CD /Art Haus Musik DVD), Vivaldi cantatas with Musica Sequenza (Deutsche Harmonia Mundi, Sony Music), and on the soundtrack of the Warner Brothers thriller I Am Legend.

Recent performances include Britten’s A Midsummer Night’s Dream with Hawaii Opera Theater, Stradella’s San Giovanni Battista in Chicago, and Bach’s Johannes Passion with the American Classical Orchestra. He can be heard in upcoming performances of Adams’ El Niño and Gospel in Russia, France, Germany, and the U.S., including Carnegie Hall. A native of Wilmington, Delaware, Dr. Bubeck holds degrees in voice from Indiana University, Peabody Conservatory, and the University of Delaware.

Brian Cummings sang the premiere of John Adams’ The Gospel According to the Other Mary in 2012 with the Los Angeles Philharmonic under Gustavo Dudamel. He made his professional debut in the premiere of John Adams’ El Niño in Paris and has appeared in performances of this piece throughout the world, including Carnegie Hall, English National Opera, the London Philharmonic, BBC Symphony, Moscow Philharmonic, Estonian National Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, the Adelaide Festival, the Tokyo Symphony, and most recently at the Spoleto Festival USA. He has worked under such conductors as Esa-Pekka Salonen, Vladimir Jurowski, Robert Spano, David Robertson, John Adams, Tõnu Kaljuste, and Kent Nagano.

He recently appeared in the title role of Handel’s Giulio Cesare with Opera Fuoco under David Stern. Cummings collaborates regularly with director Timothy Nelson, having sung the roles of David in Charpentier’s David et Jonathas, Hamor in Handel’s Jephtha, and Iarbo/Corebo in Cavalli’s Didone. He has also appeared as a soloist at the Washington and Bloomington early music festivals. He has sung with Paul Hillier in Theatre of Voices and the Pro Arte Singers and can be heard on their recordings for harmonia mundi, as well as the recording and DVD of El Niño.

In France, he sings with ensembles such as Les Arts Florissants, Opera Fuoco, Ensemble Entheos, and Les Muses Galantes. Cummings currently resides in Paris, where he studies with Guillemette Laurens. He studied Early Music at Indiana University, working with Paul Elliott, Paul Hillier, and Nigel North. Forthcoming engagements include John Adams’ Gospel According to the Other Mary with the Netherlands Radio Orchestra in Strasbourg and Cologne.

PERFORMANCES MAGAZINE

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NATHAN MEDLEY Nathan Medley has emerged in recent years as one of the leading younger-generation countertenors, with notable success internationally in concert and opera. He has sung at some of the major stages of the world, including the English National Opera and Barbican Centre in London; La Salle Pleyel in Paris; Palais de Musique, Strasbourg; Amsterdam’s Concertgebouw; the Lucerne Festival; Avery Fisher Hall in New York; and Walt Disney Concert Hall in Los Angeles.

Recent performances have brought him to the Boston Early Music Festival (as Ottone in Monteverdi’s L’incoronazione di Poppea), the Netherlands Radio Philharmonic, the Los Angeles Philharmonic, Chicago’s Ravinia Festival, Opera Omaha, Pacific MusicWorks, Mercury Baroque, Seraphic Fire, Indianapolis Baroque Orchestra, Cincinnati Collegium, Miami Bach Society, and Dayton Bach Society.

He is a member of Echoing Air, an ensemble focused on music of the Baroque and modern eras composed for countertenor.

He made his professional debut in 2012 in John Adams’ The Gospel According to the Other Mary with the Los Angeles Philharmonic conducted by Gustavo Dudamel, which was recorded on the Deutsche Grammophon label. He returned to Los Angeles in 2013 for Peter Sellers’ staged performances of The Gospel, which toured to Switzerland and New York City, and again in 2015 under the baton of John Adams, performing Olga Neuwirth’s theatrical song/play, Hommage á Klaus Nomi.

His opera credits include Ottone in Handel’s Agrippina (Opera Omaha), Speranza in Monteverdi’s Orfeo (Boston Early Music Festival), Athamus in Semele (Pacific Music Works, Seattle), Oberon in A Midsummer Night’s Dream, Dema in Cavalli’s L’Egisto, La Peinture in Charpentier’s Les Arts Florissants, Acteon in Charpentier’s Acteon, and Ottone in Monteverdi’s L’incoronazione di Poppea, where critics in Cleveland praised him for an

interpretation “sung with Baroque perfection.” In May 2016 he premiered a new piece

by John Harbison for countertenor and viola da gamba consort in Chicago with Second City Musick.

For a biography of the LOS ANGELES MASTER CHORALE, please see page P18.

life of the choir; Sing Opera!, documenting the production of the LACC-commissioned family opera Keepers of the Night; and Sing China!, chronicling its groundbreaking tour to China prior to the Beijing Olympics. LACC has performed with John Mayer on NBC’s The Tonight Show and was featured on PBS’s Great Performances, BBC Radio, and Public Radio International’s nationally syndicated show From the Top, among other credits. For more information, please visit www.lachildrenschorus.org.

LOS ANGELES CHILDREN’S CHORUS Los Angeles Children’s Chorus, widely recognized for its agile bel canto sound and artistic excellence, has been lauded as “hauntingly beautiful” (Los Angeles Times), “astonishingly polished” (Performances Magazine), “extraordinary in its abilities” (Culture Spot LA), and “one of the world’s foremost children’s choirs” (Pasadena Star News). Founded in 1986 and led by Artistic Director Anne Tomlinson since 1996, LACC is celebrating its 31st season. It performs with such leading organizations as LA Opera, Los Angeles Philharmonic, Hollywood Bowl Orchestra, Los Angeles Master Chorale, Los Angeles Chamber Orchestra, Pasadena Symphony and POPS, Calder Quartet, Jacaranda, and MUSE/IQUE. The chorus serves more than 400 children ages 6 to 18 from 50 communities across Los Angeles in six choirs – Concert Choir, Chamber Singers, Young Men’s Ensemble, Intermediate Choir, Apprentice Choir, and Preparatory Choir – and a First Experiences in Singing program and First Experiences in Choral Singing Ensemble for 6-9-year-olds. LACC, recipient of Chorus America’s 2014 Margaret Hillis Award for Choral Excellence, the nation’s highest choral honor, has toured North and South America, Africa, China, Cuba, Australia, and Europe. The chorus appears on the Los Angeles Master Chorale’s critically acclaimed Decca recording A Good Understanding, and Plácido Domingo’s Deutsche Grammophon recording Amore Infinito (“Infinite Love”).

The subject of a trilogy of documentaries by Academy Award-winning filmmaker Freida Mock, LACC is featured in the Academy Award-nominated Sing!, about a year in the

PETER SELLARS Peter Sellars has gained international renown for his groundbreaking and transformative interpretations of artistic masterpieces and for collaborative projects with an extraordinary range of creative artists. He has staged operas at the Dutch National Opera, English National Opera, Lyric Opera of Chicago, Opéra National de Paris, Salzburg Festival, and San Francisco Opera, among others.

Sellars has collaborated on the creation of many works with composer John Adams, including Nixon in China, The Death of Klinghoffer, El Niño, Doctor Atomic, A Flowering Tree, and The Gospel According to the Other Mary.

Upcoming projects in 2017 include productions of La Clemenza di Tito at the Salzburg Festival and the premiere of John Adams’ new opera Girls of the Golden West at the San Francisco Opera.

Sellars is a Distinguished Professor in the Department of World Arts and Cultures at UCLA and a resident curator of the Telluride Film Festival, and he was a Mentor for the Rolex Arts Initiative. He is the recipient of a MacArthur Fellowship, the Erasmus Prize for contributions to European culture, and the Gish Prize, and he is a member of the American Academy of Arts and Sciences. In 2014 he was awarded the prestigious Polar Music Prize and named Artist of the Year by Musical America.

PERFORMANCES MAGAZINE

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VIDEO PRODUCTION AND COMMISSIONING CREDITS CAST Mary Martha Carrillo Joseph Pete Galindo Baby Angel Melody Chavez

Dancers Daniela Graca Nora Kimball Michael Schumacher

Shepherds Omar Gomez Alex Miramontes Musicians William Branch Robert Tovar

Wise People Yreina Cervantez Francisco Hernandez Gloria Alvarez

DIRECTOR Peter Sellars

DIRECTOR OF PHOTOGRAPHY Ed Lachman

EDITOR Bill Murphy

EXECUTIVE PRODUCER Diane J. Malecki

The world premiere of El Niño took place at the Théâtre du Châtelet (Paris) on December 15, 2000. El Niño was co-commissioned by the Théâtre du Châtelet, San Francisco Symphony, Lincoln Center for the Performing Arts, Barbican Centre, and the BBC.

LOS ANGELES MASTER CHORALE Grant Gershon, Kiki & David Gindler Artistic Director SOPRANO

ALTO

TENOR

BASS

Tamara Bevard Christina Bristow Karen Hogle Brown Claire Fedoruk Rachelle Fox Harriet Fraser Ayana Haviv Marie Hodgson Deborah Mayhan Zanaida Robles Anna Schubert Holly Sedillos Courtney Taylor Suzanne Waters Elyse Willis Sunjoo Yeo

Garineh Avakian Rose Beattie Monika Bruckner Amy Fogerson Michele Hemmings Leslie Inman Sarah Lynch Adriana Manfredi Alice Kirwan Murray Laura Smith Roethe Jessie Shulman Niké St. Clair Nancy Sulahian Kimberly Switzer Tracy Van Fleet

Matthew Brown Daniel Chaney Bradley Chapman Adam Faruqi Steven Harms Jon Lee Keenan Charlie Kim Shawn Kirchner Bryan Lane Charles Lane Michael Lichtenauer Joseph Lopez Matthew Miles George Sterne Nate Widelitz

Michael Bannett Joseph Bazyouros Mark Beasom Michael Blanchard Reid Bruton David Castillo Gregory Geiger Dylan Gentile William Goldman Abdiel Gonzalez Luc Kleiner Edward Levy Brett McDermid Steve Pence Vincent Robles Mark Edward Smith

Jenny Wong assistant conductor Lisa Edwards rehearsal pianist

The singers of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, Dylan Gentile, AGMA Delegate.

LOS ANGELES CHILDREN’S CHORUS Anne Tomlinson, Artistic Director Zahrah Abdi Grant Anderson Katherine Beggs Emily Bernstein Marie Bland Violet Bretz Gisele Chu Lucinda Clark Mateo Coleman Sophie David Anika Erickson Jack Fagan Daniela Flores

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Angela Fraioli Jamie Gallo Enzo Grappone Kristin Haegelin Lilah Hernandez Gabriel Huisken Cameron Ito Clara Kakuk Julia Knoerr Sinclaire Ledahl SarahElizabeth Lee Sophia Lew Kriselle Llamas

Rachel Loh Adriana Maljanian Tina McDaniel Rachelle Nuño Billie O’Connell Reese Owen Zellie Owen Katie Pieschala Katherine Polyzoides Drew Quishenberry Kiera Quishenberry Allison Rayer Ian Rispin

Gabrielle Roberts Sophia Sawoski Brandon Takahashi Nicole Tanouye Veronica Tsuchida Lauryn Weetly Sarah Wong Rory Xanders Eddie Zhou

PERFORMANCES MAGAZINE

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”

“JESSICA CHASTAIN IS MAGNIFICENT! A TOUR-DE-FORCE, OSCAR-WORTHY PERFORMANCE” ®

SCOTT MANTZ ACCESS HOLLYWOOD

“EXPLOSIVE!” PETE HAMMOND DEADLINE

“JESSICA CHASTAIN IS SENSATIONAL . .SHE BURNS UP THE SCREEN” PETE HAMMOND DEADLINE

F O R

Y O U R

C O N S I D E R AT I O N

B E S T

A C T R E S S

© 2016 EUROPACORP – FRANCE 2 CINEMA

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INTERNATIONAL CURTAIN CALL 2017 Deluxe Opera & Music Tours VIENNA WAGNER RING PLUS (April 28 – May 11, 2017)

DER RING DES NIBELUNGEN: Bechtolf- Peter Schneider Production Lang (Brünnhilde); Fujimura (Fricka); Nylund (Sieglinde); Meier (Waltraute); Terfel (Wotan); Dean-Smith (Siegmund); Vinke (Siegfried); Schmeckenbecher (Alberich); Ablinger-Sperrhacke (Mime).

PLUS TOSCA (Kaufmann; Gheorghiu); EUGENE ONEGIN (Bezsmertna; Maltman, Breslik); LADY MACBETH OF MZENSK (Westbroek; Bankl, Jovanovich).

5-Star Deluxe Hotel Grand

PRAGUE & VIENNA (June 10 – 23, 2017)

PRAGUE: CARMEN; ROMEO & JULIET; LOHENGRIN; and LA CENERENTOLA. VIENNA: RIGOLETTO (Garifullina; Kang, Frontali); ELEKTRA (Stemme, Meier); DON CARLO (Stoyanova;Vargas,Domingo, Furlanetto); L'ELISIR D'AMORE (Nafornita; Villazon, Terfel); PELLEAS ET MELISANDE. 5-Star Hotels Palace - Prague And Hotel Grand– Vienna

PARIS - AVIGNON/ORANGE & AIX-EN-PROVENCE (July 3 – 16, 2017)

PARIS: CARMEN (Rachvelishvili, Car; Hymel, Abdrazakov); LA CENERENTOLA (Lervolino; De Léon, Arduini, Muraro, Tagliavini); LA SYLPHIDE Ballet.

ORANGE: RIGOLETTO (Sierra; Albelo, Nucci); BRYN TERFEL RECITAL. AIX-EN-PROVENCE: DON GIOVANNI (Buratto, Leonard; Sly, Pierro, Breslik); THE RAKE'S PROGRESS (Bullock; Appleby); Cavalli's ERISMENA (Aspromonte).

5-Star Hotel Scribe– Paris 4-Star Hotel La Magnaneraie– Avignon Leading Aix Hotel– TBA

ITALY SUMMER FESTIVALS MILAN & VERONA + *VENICE EXTENSION (July 5-15; * July 15-19, 2017))

MILAN: La Scala: LA BOHEME (Perez, Lombardi; Sartori; Piazzola); and The SWAN LAKE BALLET. VERONA: AIDA; NABUCCO; MADAMA BUTTERFLY; and RIGOLETTO. *VENICE EXTENSION– La Fenice: LA TRAVIATA (Nuccio; Pretti, Grassi).

5-Star Hotel Westin Palace– Milan 5-Star Hotel Due Torre– Verona 5-Star Hotel Starwood Danieli– Venice

-Orchestra Tickets to Performances– –Selected Gourmet Meals & Wine– –Special Sightseeing and Excursions– LIMITED SPACE AVAILABLE Contact International Curtain Call 3313 Patricia Avenue Los Angeles, CA 90064 Ph: (310) 204-4934; (800) 669-9070 E-Mail: Icctours1@aol.com www.IccOperaTours.com

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CORPORATE, FOUNDATION, AND GOVERNMENT GIFTS We are honored to recognize corporate, foundation, and government donors who generously support the mission of the Los Angeles Philharmonic Association: to perform, present, and promote music in its many varied forms at the highest level of excellence to a large and diverse audience. We are deeply grateful for the following contributions to the Los Angeles Philharmonic and the Hollywood Bowl received between October 2015 and October 2016.

$1,000,000 AND ABOVE Andy & Bill Concerts, LLP

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

American Airlines, Inc. Margaret A. Cargill Foundation

$250,000 TO $499,999 Acura BMW of North America Colburn Foundation The Walt and Lilly Disney Foundation The Getty Foundation Max H. Gluck Foundation

Legacy Foundation MUFG Union Bank, N.A. Rolex Watch USA, Inc. Rose Hills Foundation Transit Systems Unlimited Inc. Viking Cruises

$100,000 TO $249,999 Amgen Foundation Michael J. Connell Foundation The Walt Disney Company The Eisner Foundation Ann and Gordon Getty Foundation William Randolph Hearst Foundation Heineken USA Incorporated

JPMorgan Chase Foundation Los Angeles County Arts Commission National Endowment for the Arts Pasadena Showcase House for the Arts Rosenthal Family Foundation Toyota Motor Sales U.S.A., Inc. Winc

$50,000 TO $99,999 The Rosalinde and Arthur Gilbert Foundation Hubert’s Lemonade The José Iturbi Foundation Kaiser Permanente

The Norman and Sadie Lee Foundation Target Corporation Virginia B. Toulmin Foundation

$25,000 TO $49,999 Anonymous The Herb Alpert Foundation Ameriprise Financial Coca Cola Enterprises Cooper Tire & Rubber Edison International Joseph & Bessie Feinberg Foundation The Green Foundation Harman Family Foundation

Merrill Lynch and Co., Inc. Microsoft Corporation Barbro Osher Pro Suecia Foundation The Jay and Rose Phillips Family Foundation of California Michael and Irene Ross Endowment Fund of the Jewish Community Foundation of Los Angeles

$10,000 TO $24,999 Beauty For Life Foundation The Capital Group Companies Charitable Foundation Julia Stearns Dockweiler Charitable Foundation Ella Fitzgerald Charitable Foundation Fairchild-Martindale Foundation

League of American Orchestras’ Getty Education and Community Investment Grants Program Kenneth T. & Eileen L. Norris Foundation Sony Pictures Entertainment, Inc. The Specialty Family Foundation Dwight Stuart Youth Fund

PERFORMANCES MAGAZINE

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We

are foodies. We come from every corner and our accents are as varied as the spices and flavors we explore. But our adventurous palates are cut from the same tablecloth. This is what we share.

Front Porch This is what we celebrate. Together. retirement

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We’re an equal opportunity housing provider.

All communities are licensed by the State of California.

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ANNUAL DONORS The LA Phil is pleased to recognize and thank donors to our Annual Fund. The following list includes donors who have contributed $2,000 or more to the Annual Fund and Special Events between October 2015 and October 2016.

The LA Phil gratefully acknowledges Al Mann’s leadership gift of $10 million to make possible the Alfred E. Mann Los Angeles Philharmonic Association Administrative Building.

$1,000,000 AND ABOVE Lloyd E. Rigler - Lawrence E. Deutsch Foundation

$500,000 TO $999,999 Music Center Foundation

$200,000 TO $499,999 Anonymous The Blue Ribbon Ms. Mari L. Danihel Dunard Fund USA Kiki and David I. Gindler

The Ralph M. Parsons Foundation Diane and M. David Paul Mr. and Mrs. Robert E. G. Ronus James and Laura Rosenwald/Orinoco Foundation Wells Fargo Foundation

$100,000 TO $199,999 Anonymous (2) Lynn A. Booth Mark Houston Dalzell Jane B. and Michael D. Eisner Mr. Lawrence N. Field Ms. Erika J. Glazer Lenore S. and Bernard A. Greenberg Joan and John F. Hotchkis Monique and Jonathan Kagan

Kenneth Kamins and Judith Selbst Kamins Terri and Jerry M. Kohl Mr. Kevin MacCarthy and Ms. Lauren Lexton Michele and Dudley Rauch Eva and Marc Stern Christian and Sutton Stracke Alyce and Warren B. Williamson Margo and Irwin Winkler Ms. Marilyn Ziering

$50,000 TO $99,999 Anonymous (2) Anonymous in memory of Dr. Suzanne Gemmell Mr. Gregory A. Adams Amgen Foundation The Annenberg Foundation Ms. Wallis Annenberg Margaret and David N. Barry, III Judith and Thomas L. Beckmen David Bohnett Foundation Linda and Maynard Brittan The Eli and Edythe Broad Foundation Esther S. M. Chui Chao Kevin G. Clifford Dan Clivner and Steven Cochran Nancy and Donald de Brier Mr. John P. Densmore Elizabeth and Kenneth M. Doran Margaret and Jerrold L. Eberhardt Louise and Brad Edgerton/ Edgerton Foundation Retha Evans and Douglas Diener Mr. Nathan D. Frankel Alexandra S. Glickman and Gayle Whittemore Mr. Philip Hettema Ms. Teena Hostovich and Mr. Doug Martinet Mr. and Mrs. James L. Hunter Tylie Jones Kaiser Permanente Sarah Ketterer Family Foundation 52

Darioush and Shahpar Khaledi John R. and Sharon Koch Light Sheila and Ronald Litzinger Mr. and Mrs. John V. Mallory Barbara and Buzz McCoy Mr. and Mrs. David Meline Jenny Miller-Goff Maureen and Stanley Moore Y & S Nazarian Family Foundation Peninsula Committee William C. Powers Sandy and Barry D. Pressman Barbara and Jay Rasulo Mr. and Mrs. Christopher Rising Jennifer and Evan Rosenfeld Rosenthal Family Foundation Mr. Lee C. Samson Nancy S. and Barry Sanders David and Linda Shaheen Eric Small Ronald and Valerie Sugar Linda May and Jack Suzar Ticketmaster Corporation Sue Tsao Judith and Dr. John Uphold Tee Vo and Chester Wang John and Marilyn Wells Family Foundation Ellen and Arnold Zetcher

PERFORMANCES MAGAZINE

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Holiday Plans?

Hanukkah and Christmas are just around the corner, and to start planning your special gatherings, Gelson’s has prepared holiday meals that are every bit as delicious as home cooked.

We carry Hanukkah meals (Beef Brisket, Rotisserie Chicken, or Kosher Salmon) and Christmas meals (reduced Sodium Turkey Dinners, complete holiday Turkey Dinners, Spiral Glazed Ham Dinners and the ever popular Boneless Rib Roast).

Whether you are looking for a holiday dinner, a delectable platter from our catering menu or the perfect side offerings to complement your holiday table—Gelsons knowledgeable chefs offer an array of dishes.

Visit Gelsons.com and celebrate healthy living ideas from our own staff dietitian Jessica Siegel, MPH, RD. From our Kitchen and family to yours— all the best holiday wishes and memories.

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→ ANNUAL DONORS $25,000 TO $49,999

Prices shown are subject to availability.

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Anonymous (2) Mr. Robert J. Abernethy John Adams and Deborah O’Grady Dr. Benjamin and Debra Ansell Judy and Leigh Bardugo Dr. William Benbassat Robert and Joan Blackman Family Foundation Mr. and Mrs. Stephen A. Block Mr. Ronald W. Burkle Business and Professional Committee California Community Foundation The Capital Group Companies Charitable Foundation Chevron Products Company James and Paula Coburn Foundation Mr. Richard W. Colburn Mr. and Mrs. Jonathan Cookler The Walt Disney Company Geoff Emery Mrs. Danielle Erem The Feintech Family Ms. Nancy Ferguson Foothill Philharmonic Committee Joan Friedman, Ph.D. and Robert N. Braun, M.D. Mr. and Mrs. Josh Friedman Liz and Peter Goulds Marnie and Dan Gruen Mr. and Mrs. Jerry Grundhofer Mr. and Mrs. Pierre Habis Vicken and Susan J. Haleblian Dwight Hare and Stephanie Bergsma Gerry Hinkley and Allen Briskin Mr. and Mrs. William H. Hurt International Committee Bernice and Wendell Jeffrey Gary Kading Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Terri and Michael Kaplan Paul and Susanne Kester Vicki King Mr. and Mrs. Kenneth N. Klee Renee and Meyer Luskin Mr. and Mrs. Roger H. Lustberg Theresa Macellaro / The Macellaro Law Firm Manatt, Phelps & Phillips, LLP Barbara Marshall Janis B. McEldowney Kelly Sutherlin McLeod and Steven B. McLeod Lisa and Willem Mesdag David and Margaret Mgrublian Mr. Jack Miller Shelby Notkin Mr. and Mrs. Peter O’Malley Ms. Linda L. Pierce Mr. and Mrs. R. Joseph Plascencia Ms. Carol Price Linda and Tony Rubin Wendy and Ken Ruby Tom Safran Evy and Fred Scholder Family Ken & Carol Schultz Foundation Mr. and Mrs. Gerry Schwartz SEI Institutional Group Elliott Sernel and Larry Falconio Randy and Susan Snyder Mr. Jeff Soref and Mr. Paul Lombardi Marilyn and Eugene Stein

Mrs. Faith F. Strong Mr. Jon Vein and Mrs. Ellen Goldsmith-Vein Jan and Meredith Voboril Sheila and Walter Weisman Mr. and Mrs. John Williams Mr. and Mrs. Farrok Yazdi Mary Hayley and Selim K. Zilkha

$15,000 TO $24,999 Anonymous (4) ABC Entertainment Drew and Susan Adams Honorable and Mrs. Richard Adler The Aversano Family Trust Lorrie and Dan Baldwin The Honorable Frank and Kathy Baxter Miles and Joni Benickes Mr. Mark Benjamin Barbara Bernstein and Stephen R. Bernstein Laurel and Eric Bernt Samuel Biggs and Erin Rose Mr. and Mrs. Norris J. Bishton, Jr. John and Annette Brende Mr. and Mrs. Steven Bristing Mrs. Linda L. Brown Ms. Nancy Carson Tod E. Carson Par and Sharon Chadha Pei-yuan Chia and Katherine Shen Chivaroli and Associates Audrey Davis and Peter Dan Levin Ron de Salvo Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Mr. and Mrs. David Delrahim Malsi Doyle and Michael Forman Dr. and Mrs. William M. Duxler Ms. Robin Eisenman and Mr. Maurice LaMarche Jen and Ted Fentin Daniel and Maryann Fong Lillian and Steve Frank Mr. Arthur J. Gallagher Jo Ann and Julian Ganz, Jr. Dr. Hilary Garland Mr. and Mrs. Abner D. Goldstine Good Works Foundation and Laura Donnelley Leslie A. Goodman Lori and Robert Goodman The Gorfaine/Schwartz Agency Mr. and Mrs. Daniel M. Gottlieb Diane and Peter H. Gray Tricia and Richard Grey Renée and Paul Haas Laurie and Chris Harbert Mr. and Mrs. Irwin Helford and Family Bud and Barbara Hellman Dr. Diane J. Henderson Carol and Warner Henry Susan and Tom Hertz Yvonne Hessler Marion and Tod Hindin Liz Levitt Hirsch Elizabeth Hofert-Dailey Trust Hollywood Bowl Patroness Committee Mr. and Mrs. Robert A. Kasirer Gerald L. Katell Sandi and Kevin Kayse Anne and Michael Keating Cary Kleinman Elaine Kohn and Berndt Lohr-Schmidt

PERFORMANCES MAGAZINE

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Van Gogh’s Bedroom On loan from the Art Institute of Chicago

December 9, 2016–March 6, 2017 at the

www.nortonsimon.org Vincent van Gogh, The Bedroom, 1889, The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection.

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→ ANNUAL DONORS

THE COMMUNITY ARTS THEATER SOCIETY (CATS) PRESENTS

Lyrics by Tim Rice Music by Andrew Lloyd Webber November 18, 19, 22, 25, 26, 30 December 2, 3 At 7:30 November 20, 27, December 4 At 1:30 At Big Bear’s own State-of-the-art Performing Arts Center 39707 Big Bear Blvd., Big Bear Lake (909) 866-4970

Larry and Lisa Kohorn Carol Krause Ms. Zorina Kroop Bob and Pamela Krupka Tom and Sandy Lallas Charlotte and Thomas Lane Phyllis and Ken Lemberger The Hyman Levine Family Foundation: L’DOR V’DOR Allyn and Jeffrey L. Levine Morelle and Dr. Norman D. Levine Ms. Agnes Lew Marie and Edward Lewis Anita Lorber Los Angeles Philharmonic Affiliates The Luppe & Paula Luppen Family Foundation Raulee Marcus Liliane Quon McCain Ashley McCarthy and Bret Barker Dwayne and Eileen McKenzie Sharyl and Rafael Mendez, M.D. Dr. Richard N. Merkin Marcy Miller Joel and Joanne Mogy Ms. Susan Morad at Worldwide Integrated Resources, Inc. Deena and Edward Nahmias Dick and Chris Newman / C & R Newman Family Foundation Mary Jayne Parker and Beckie Yon Parsons Corporation Catherine Partridge Gregory Pickert Michelle Rohe Robyn and Steven Ross Katy and Michael S. Saei The SahanDaywi Foundation Ron and Melissa Sanders Carla Sands Dr. and Mrs. Heinrich Schelbert Elizabeth and Justus Schlichting Mr. and Mrs. Arnold Seidel Dr. Donald Seligman and Dr. Jon Zimmermann Mr. and Mrs. Pierce T. Selwood Mr. James J. Sepe Marc Seltzer and Christina Snyder Mr. and Mrs. Richard Sondheimer Stein Family Fund - Judie Stein Lisa and Wayne Stelmar Mr. James C. Stewart Tracey and Stanley Tatkin Mr. Avedis Tavitian Teshinksy Family Foundation Mr. and Mrs. Thomas E. Unterman Noralisa Villarreal and John Matthew Trott Warner Bros.

Mindy and David Weiner Westside Committee Mr. John Wileman Dr. Libby F. Wilson Robbi J. Work Mrs. Lillian Zacky Karl and Dian Zeile

$10,000 TO $14,999 Anonymous (7) Nancy and Leslie Abell Sara and Robert Adler Nancy and Michael Alder Julie Andrews

www.bigbeartheater.org Karen Sargent Rachels, Producer Directed and Staged by Michael Reno

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Andy & Bill Concerts, LLP Art and Pat Antin Mr. Mustapha Baha Karen and Jonathan Bass Susan Baumgarten Newton and Rochelle Becker Charitable Trust Phyllis and Sandy Beim Mr. Scott H. Bice Joyce and Stanley Black and Family Brass Ring Foundation Kevin and Claudia Bright Marla Campagna Lyn and Frank Campbell Joseph and Mara Carieri The Cloobeck Family Collingwood Foundation Jay and Nadege Conger Mr. and Mrs. Richard W. Cook Mr. and Mrs. Robert Cook Don and Zoe Cosgrove Kelvin L. Davis Lynette and Michael C. Davis Dr. and Mrs. Aurelio de la Vega Dr. and Mrs. Paul Eisenberg Mary and Robert Estrin Randi Levine Fett Mr. Tommy Finkelstein and Mr. Dan Chang Mr. and Mrs. Robert C. Forst Drs. Harold and Gloria Frankl Ms. Valerie Franklin Ms. Kimberly Friedman Mr. Gary Galiher Mr. and Mrs. James P. Gauer The Gillis Family Paige and David Glickman Cindy and Richard Goldman Mr. and Mrs. Louis L. Gonda Julia and Ken Gouw Ms. Lynn Gretkowski Felix and Beverly Grossman Foundation Mr. and Mrs. Paul Guerin Mr. William Hair Vicken and Susan J. Haleblian Carolyn and Bernard Hamilton Denise and Robert Hayman Dr. and Mrs. Alan M. Heilpern Mr. Raymond W. Holdsworth Dr. Louise Horvitz and Carrie Fishman Ms. Kristi Jackson and Mr. William Newby Robin and Gary Jacobs Dr. William B. Jones Marvin Jubas Stephen A. Kanter, M.D. Mr. and Mrs. Kenneth Karmin Ms. Nancy Katayama Mr. and Mrs. Stephen Keller Estate of Dale E. Kern Carla Kirkeby and John Lee Mr. and Mrs. Stephen A. Kolodny KPMG LLP Sandra Krause and William Fitzgerald Ellie and Mark Lainer Lauder Foundation Mr. and Mrs. B. Allen Lay David Lee Mr. and Mrs. Michael J. Lesser Lauren B. Leichtman and Arthur E. Levine Dr. Stuart Levine Lydia and Charles Levy Mr. and Mrs. Simon K.C. Li

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AFFILIATES 3182101 The Foothill Committee enjoyed a successful fundraiser in May when the Frank Potenza Arts in LA Jazz Quartet brought their upbeat music Print Ad to the Committee at the historic Padua 4.625x7.375 Hills Theater. Nestled into the foothills, this sunset evening was capped off with wine, 4c hors d’oeuvres, and conversation. It was a terrific and memorable event.

The Committee’s year may have ended, but in July, out-going president Sue Keavney arranged for a night at the Hollywood Bowl, starting with a boxed picnic dinner at the Volunteer Cottage and followed by a stunning Gershwin and Ravel concert. Fifty-six members and guests boarded a bus, rode in, dined, and then headed up to an exciting night of music.

Gustavo Dudamel and Yuja Wang would’ve raised the roof if there had been one. It was a perfect evening.

In September, the Committee met at Upland Hills Country Club, where members were delighted to hear the Encore Saxophone Quartet play and then readily answer numerous questions. The Committee was surprised that the saxophone had such a wide and diverse range. In November, the Committee enjoyed listening to opera singers Lindsay Feldmeth Westra Classical music. Stunning gardens. Ever-changing exhibits and and Nandani Maria Sinha. In January, LA special places for curious kids. They’re all right here in Los Angeles, Phil oboist Anne Marie Gabriele will kick and many are presented in full or in part by Wells Fargo. If you off 2017. The Committee is fortunate that haven’t seen or heard them, you’re in for a treat. If you have, enjoy Jan Corey and Paula Pitzer continue to find them again soon. Some experiences cannot be repeated often engaging and musical talent.

In October, the Music Mobile van rolled enough. That’s why Wells Fargo supports the arts in Los Angeles. into all the Claremont schools and three in Pomona. During these three weeks, Committee members introduced third graders to the orchestra and then followed up with hands-on time that included a wide array © 2016 Wells Fargo Bank, N.A. of instruments. The smiles on the children’s All rights reserved. ECG-3182101 faces were uplifting, their interest was encouraging, and there is nothing quite like standing next to a third grader who has just clashed a pair of cymbals. This 3182101 Arts in LA Print Ad.indd 1 9/8/16 is a commendable Affiliate program that continues to spread music education.

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Lynn Miller Foothill Committee President

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Maria and Matthew Lichtenberg Mr. Steven L. Llanusa and Dr. Glenn Miya Ginny Mancini Mr. Michael Martinet Matt Construction Corporation Jonathan and Delia Matz Kathleen Maurer Foundation Dr. Robert Mendez Mr. and Mrs. Dana Messina Mr. and Mrs. Michael Milken Stephen D. Miller Mr. Weston F. Milliken Ms. Kari Nakama Mr. and Mrs. Dan Napier NBC Universal Michelle Newberry Christine M. Ofiesh Mr. David Orenstein and Mr. Dixon Lu Mr. Jeff Polak and Mrs. Lauren Reisman Polak Loren Pannier Lyle and Lisi Poncher Rita and Norton Reamer Hon. Vicki Reynolds and Mr. Murray Pepper Mr. and Mrs. Scott H. Richland Robert Gore Rifkind Foundation Murphy and Ed Romano and Family Lois Rosen Dr. and Mrs. Bernard Salick Mr. and Mrs. Esa-Pekka Salonen Mr. and Mrs. Richard Sandler Santa Monica-Westside Philharmonic Committee Dr. Warren and Katherine Schlinger Mr. Dino Schofield Samantha and Marc Sedaka Neil Selman and Cynthia Chapman Dr. Chester Semel Walter H. Shepard and Arthur A. Scangas Gloria Sherwood Patricia and Stanley Silver Grady and Shelley Smith Virginia Sogomonian and Rich Weiss Angelina and Mark Speare Mr. Lev Spiro and Ms. Melissa Rosenberg Suzanne and Joseph Sposato Drs. Ellen and James Strauss Mrs. Faith F. Strong and the 2010 Faith Charitable Trust Mr. Brandon Sugimoto Mr. Ed and Peggy Summers Priscilla and Curtis S. Tamkin Elinor and Rubin Turner Charles and Miriam Vogel Mr. and Mrs. Terry Volk Mr. Nate Walker Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Ms. Lynn A. Williams Mr. and Mrs. Gary Winnick Bobbi and Walter Zifkin Richard S. Ziman Susan Zolla, In Memory of Edward M. Zolla David Zuckerman and Ellie Kanner-Zuckerman

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Mr. and Mrs. Roy A. Battocchio Nathalie Blossom and Howard Levy Barbara and George Byrne Chicago Title Company Committee of Professional Women Jennifer and Royce Diener Tim and Neda Disney Julie and Stan Dorobek Gail and James Ellis Mr. C. Randolph Fishburn and Mr. Andrew Sands Dr. E. Peter and Thea Gabor Dr. and Mrs. Bruce Gainsley Rachel Gerstein Leslie and Cliff Gilbert-Lurie Mr. James Gleason Henry J. Gonzalez, M.D. Mr. George A. Graham, Jr. Mr. Jeff Green Ms. Paula M. Grigsby Cornelia Haag-Molkenteller, M.D. Mr. and Mrs. David Haddad Hancock Park Associates Mr. and Mrs. Daniel Paul Horwitz Dr. and Mrs. Mel Hoshiko Mr. and Mrs. Theodore W. Jackson JPMorgan Chase & Co. Marty and Cari Kavinoky Mr. Gary Kirkpatrick Michael and Patricia Klowden Dr. Ralph A. Korpman Mr. and Mrs. Stanley Kramer Katherine Lance Rick and Jan Lesser Mr. and Mrs. Norman A. Levin Susan Disney Lord and Scott Lord Los Angeles Lakers Mr. and Mrs. Alfred E. Mann Mr. Yoshikazu Maruyama Mrs. Lydia McCroskey Mr. Sheldon and Dr. Linda Mehr Mr. and Mrs. Rick Merrill Haydee and Carlos A. Mollura Mr. Jose Luis Nazar Ms. Rozann Newman Nicholas Nikolov and Valeria Rico-Nikolov Mr. and Mrs. Joseph P. Perna Joyce and David Primes Mr. Jeffrey Rayden Mr. Robert G. Rifkind Mr. and Mrs. William Ruch Mr. and Mrs. Paul Rutter Dr. and Mrs. Lee B. Silver Thomson Technicolor David H. Vena Mr. Beryl Weiner

$5,500 TO $7,499 Anonymous (5) Mrs. Lisette Ackerberg Admarketing, Inc. Lynn K. Altman Ms. Judith A. Avery Ms. Mary L. Babbitt Maria and Bill Bell Michael and Hedvah Berg Mr. and Mrs. Adam Berger Mr. Barry W. Berkett Mr. Kenneth Blakeley Mr. Ronald H. Bloom

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Martha and Avrum Bluming Roz and Peter Bonerz Joan N. Borinstein Mr. and Mrs. Hal Borthwick Gabriel and Deborah Brener Drs. Maryam and Iman Brivanlou Terry and Fran Buchanan Mr. and Mrs. Tom R. Camp CBS Entertainment Ms. Julia Ogita Chang Arthur and Katheryn Chinski Chubb Ms. Miriam Clarke Mr. and Mrs. Ronald Clements Bruce M. Cohen, Esq. Corwin Theatres Corporation Mr. and Mrs. Michael Coulson Mr. and Mrs. Leo David Mr. Cary Davidson Ms. Mary Denove The Randee and Ken Devlin Foundation Mr. David A. Drummond Anna Sanders Eigler Mr. and Mrs. Richard Ellis Dr. James Eshom Mr. Thomas Ford The Franke Family Trust Steven & Gail Friedman Gary and Cindy Frischling Ms. Bonnie Corwin Fuller Dr. and Mrs. David Fung Mr. and Mrs. Steven Galson Mr. and Mrs. Herbert Glaser Robert Glicksteen Harriett and Richard E. Gold Lee Graff Foundation Mr. Manuel Graiwer and Ms. Lucrecia Tulic Mr. and Mrs. Paul E. Griffin III Mr. William Hague Ms. Marian L. Hall Mr. and Mrs. John Hancock Mr. Les Harrison Dr. and Mrs. Samuel B. Haveson Mr. Willis Hayes Mr. Rex Heinke and Judge Margaret Nagle Myrna and Uri Herscher Family Foundation Ms. Karen Hillenburg Tina and Ivan Hindshaw Janice and Laurence Hoffmann Roberta and Burt Horwitch Mr. Jonathan Hung Dr. and Mrs. Mark H. Hyman Mr. Andrei Iancu Mr. and Mrs. Jeremy Ireland Dr. and Mrs. Adel F. Jabour Mr. and Mrs. Richard Jacobs Mr. and Mrs. Paul A. James Michele and James Jackoway Mr. and Mrs. Tim C. Johnson Jones Day Mr. and Mrs. Steaven K. Jones, Jr. Eileen and Ken Kaplan Marilee and Fred Karlsen Dr. and Mrs. Robert M. Karns Patricia Keating and Bruce Hayes Mr. Kent Keller Richard Kelton Kem Productions, Inc. Richard Kendall and Lisa See Dr. and Mrs. Robert Koblin

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Ms. Phyllis Kupferstein and Mr. Donald O. Farkas Mr. and Mrs. Jack D. Lantz Mr. George Lee Anita and Saul Levine Dr. and Mrs. Rendel L. Levonian Mr. David Licata Ms. Joanne Lindquist Ellen and Mark Lipson Shelly and Dennis Lowe Mr. and Mrs. Gregory MacGregor Mr. Gary Malouf Mona and Frank Mapel Mr. and Mrs. Ronald Manzani Milli M. Martinez and Don Wilson Pamela Mass Leslie and Ray Mathiasen Dr. and Mrs. Gene Matzkin Mr. and Mrs. Thomas E. McCarthy Marlane Meyer Ms. Barbara J. Miller O’Malley and Ann Miller Moore McLennan, LLP Mr. Brian R. Morrow Mr. and Mrs. Angelo R. Mozilo Ms. Lillian Mueller Mr. and Mrs. Jeff Nathan Mrs. Cynthia Nelson Mr. and Mrs. Randy Newman Dr. Robert Noreen Irene and Edward Ojdana Mr. Rupert Perry, CBE Glenn Pittson Robert J. Posek, M.D. Sally and Frank Raab Mr. and Mrs. Alan C. Rakov Marcia and Roger Rashman Mr. and Mrs. Frederic Rheinstein Ms. Elizabeth Davis Rogers Dr. James M. Rosser Ms. Rita Rothman David and Lori Rousso Mr. and Mrs. Bill H. Rowland Ms. Marcella Ruble Dr. Michael Rudolph Thomas C. Sadler and Dr. Eila C. Skinner Ms. Yoriko Saneyoshi and Ms. Kay Harrington Mr. and Mrs. Rene Santaella Mr. Alexander Sawchuk Dr. John L. Sherman Mr. Kevin Shields Mr. and Mrs. William E. B. Siart Mr. Adam Sidy Mr. Douglas H. Smith Curtis W. Spencer III, M.D. Mr. and Mrs. Mark Stern Mr. Ward Sylvester Mr. Kenenth Szalai Mr. and Mrs. Randall Tamura Keith and Cecelia Terasaki Linda and Sorrell Trope Warren B. and Nancy L. Tucker Billie and Richard Udko Joan Velazquez and Joel Kozberg Felise Wachtel Christopher V. Walker Fredda and Bruce Wasserman Bob and Dorothy Webb Western Health Mr. Robert E. Willett

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→ ANNUAL DONORS Karen and Richard Wolfen Mr. and Mrs. Richard Wynne Mr. Kevin Yoder Mr. Nabih Youssef

ORIGAMI ARCHITECTURE GREETING CARDS

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$3,500 TO $5,499 Anonymous (8) Arnon and Camille Adar Ms. Olga S. Alderson Missy and Dennis Alfieri Ms. Adrienne Alpert Mr. David Alpert Ms. Janice Altemus Mr. and Mrs. Daniel E. Altman Mr. Ronald Altoon Dr. Philip Anthony Sandra Aronberg, M.D. and Charles Aronberg, M.D. Mr. Thomas S. Ballantyne Pamela and Jeffrey Balton Mr. James Barker Greg Basser and Kiera O’Neill Mr. and Mrs. Ronald N. Baumgarten Mr. and Mrs. Barry Beitler Matthew Benjamin Ms. Gail K. Bernstein Mr. Ira Bilson and Mrs. Alberta Stahl Helen and Peter S. Bing Mr. and Mrs. Richard Birnholz Dr. Andrew C. Blaine and Dr. Leigh Lindsey Mary Anne and Bradford B. Blaine Laura and Edward Blatchford Mr. William Bloomfield Jr. Anita and Joel Boxer Joyce Brandman/Saul Brandman Foundation Mrs. Marie Brazil Ms. Lynne Brickner Abbott Brown Debra Burdorf Mr. and Mrs. Richard Camp Ann and Tony Cannon Fany Carter, Ph.D. Raphaelle and Philip Cassens Mr. Eric Chien Mr. Morgan Chu Jan R. Cloyde Mrs. Peggy C. Cole Ms. Ina Coleman Mr. Dale Conrad Corwin Family Foundation Mr. and Mrs. Bruce Corwin Arline and Michael Covell Dr. Carey Cullinane Mr. Lawrence Damon and Mr. Ricardo Torres Mr. Howard M. Davine Ms. Cynthia Davis Ann Deal Ms. Rosette Delug Mike and Anne DeMartini Mr. and Mrs. Kevin D. DeMeritt Mr. and Mrs. Delano Dinelly Ms. Annmarie Eldering and Ms. Anne Vandenabelle Mr. Marvin Elkin Mrs. Charles F. Elkins Mr. David Elliott Dr. Cedric Emery Mr. Burkhard Englert and Ms. Eunheui Kim Robin L. Farkas Ms. Lisa Field

Marianna J. Fisher and David Fisher Mr. and Mrs. Michael M. Flynn Mr. Jay G. Foonberg Burt and Nanette Forester Mrs. Diane Forester Mr. and Mrs. Michael Freeland Linda and James Freund Ms. Noriko Fujinami Dr. and Mrs. Stephen A. Geller Dr. Suzanne Gemmell Mr. and Mrs. Ronald Gertz Mr. and Mrs. Harlan Gibbs Dr. and Mrs. Gary Gitnick Tina Warsaw Gittelson Given & Co. Mr. Manny Gleicher Glendale Philharmonic Committee Dr. and Mrs. Steven Goldberg Mr. Gregg Goldman and Mr. Anthony DeFrancesco Dr. Patricia Goldring Steven C. Gordon Family Foundation Mr. and Mrs. Daniel Gore Dr. Ellen Smith Graff Nancy and Barry Greenfield Mr. Gary M. Gugelchuk Mr. and Mrs. Rod Hagenbuch Mr. Robert T. Harkins Mr. Thomas J. Hartman and Ms. Deanna A. Elwell Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Robert Heenan Mr. and Mrs. Joe Hernandez Andrew Hewitt Dr. and Mrs. Hank Hilty Mr. Richard L. Holme Katinka and Gene Holt Mr. Benjamin Hops Ms. Marcia H. Howard Mr. Arthur Huberman and Ms. Debra S. Kanoff Mr. Richard S. Jacinto Jones Marketing Services Pegah Kamrava Mr. and Mrs. David S. Karton Dr. and Mrs. David Kawanishi Ms. Jean Keatley Kidney Disease Medical Group Richard and Lauren King Remembering Lynn Wheeler Kinikin The Konheim Family Ms. Elaine F. Kramer Mrs. Joan Kroll Carole and Norm La Caze Lamb & Kawakami LLP Mr. and Mrs. Christopher C. Larkin James D. Laur Carl Lauryssen, M.D. Mr. Tom Leanse Levene, Neale, Bender, Yoo & Brill LLP Mr. Donald S. Levin Ms. Suzann Levine Peachy Levy Allison and Thomas S. Levyn Mr. Stuart Liner Kristine and David Losito Mr. Louis Lucido Crystal and Elwood Lui Mr. and Mrs. Robert Lyddon Mara and Allan Marks Clara and Bret Martin

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The Best Show In Town!

Ms. Sandy Disner Ms. Donna Doan Mr. and Mrs. Gerald Du Manoir Ms. Ethel J. Dudzik Mr. Jon Dunham Mr. Paul Dupree and Mr. David Peterson Mr. Stanley J. Dzieminski Veronica and Robert Egelston Dr. David Eisenberg Mr. Eric“...unique, Ek classy, entertaining...a living histor Encore Mr. John Endicott Georgianna Erskine Mr. David Esqueda Mr. Cameron H. Faber Vana and Robert Farina A and PLAY KATHRINE BATES • DIRECTED Jon PeggyBY Feder PRODUCED BY DAVID HUNT STAF Dr. and Mrs. Milton Feinberg ORIGINAL Janice Feldman, JANUS et ciePRODUCTION DIRECTED BY BEVE Ms. Renee Felice-Smith Everyone’s talking about it: Murder & Madness at Mr. and Mrs. Bruce Ferber Mr. Guy Ferland rd coCarolyn reDr. Dr. Walter k for aand BacFierson ar! Fierson e y t” u A The -o ll se Ms. Melanie Salata Fitch “ th 5 1 Mr. and Mrs. Robert T. Flesh w Jain Fletcher Ms. Susan Fragnoli and Mr. David Sands Pauline and Gordon Freshman Ms. Alisa J. Freundlich Mr. Jerry Friedman Sharon and Mark Friedman Ms. Joan Franzen Mrs. Brenda L. Galloway Announcing 17 Performance Dates for Jan Mr. and Mrs. George Garvey Mr. Tim Gault Ms. JaneFollow Gavens actors through “The Manor” and witne A. R. Gendein, M.D.this spectacular landmark where they act inside Ms. Glynis Gerber are magical at Greystone. Incredible Evenings Susan and David Gersh Mrs. Ramon I. GersonLooking for a terrific and unique holid Give your loved ones tickets to “The Manor” for a gi Jason Gilbert Ms. Malinda Gilchrist weekdays @ 6 pm: Jan. 5-6, 11-13, 18 Mr. and Mrs. James H. Gisbrecht Mr. and Mrs. Gregg J. Gittler @ 1 pm: Jan. 8, 14, 21-2 weekends Mr. Jerome J. Glaser TICKETS $65 Mr. Paul M. Glenney Marcia K. Goin, M.D. Mr. Gary Goldberg and Dr. Diana Meehan For reservations call (310) Mr. and Mrs.TICKETS Ronald Goldberg GO ON SALE NOVEMBER 11th! MAK Mr. Eugene Gordon Mr. and Mrs.Greystone J.B. Graner Park • 905 Loma Vista Drive • Be Dr. Stuart and Adrienne Green Above Sunset Blvd. • Free Park Ms. Whitney Green Mr. and Mrs. Carl C. Gregory Mr. and Mrs. Michael J. Grobstein Mr. Alan Grosbard and Ms. Karen Bobo Mr. and Mrs. Charles Gustafson Ms. Judith Hall Ms. Daytra Hansel Mr. Harold Harrigian Mr. Lewis K. Hashimoto DeAnne and Byron Hayes Mr. and Mrs. Kenneth Hearn Ms. Nita Heimbaugh Gail and Murray E. Heltzer Mr. James Herzfeld Mr. Clair Higgins Mr. Bob Hirsch Ms. Judy Hohman Mrs. Katherine M. Horgan

The Best Show In

GREYSTONE GREYSTO “...unique, classy, entertaining...a living history”— L.A. Times

“T HE M ANOR ”

A PLAY BY KATHRINE BATES • DIRECTED BY FLORA PLUMB PRODUCED BY DAVID HUNT STAFFORD

ORIGINAL PRODUCTION DIRECTED BY BEVERLY OLEVIN

Everyone’s talking about it: Murder & Madness at Greystone Mansion! record Back for aut” year!

-o 15th “sell

A Theatre 40 Production www.theatre40.org

Announcing 17 Performance Dates for January 2017!

Follow actors through “The Manor” and witness the true events inside this spectacular landmark where they actually took place.

Evenings are magical at Greystone. Incredible views of the city.

Looking for a terrific and unique holiday gift?

Give your loved ones tickets to “The Manor” for a gift they’ll never forget.

weekdays @ 6 pm: Jan. 5-6, 11-13, 18-20, 25-27 weekends @ 1 pm: Jan. 8, 14, 21-22, 28-29 TICKETS $65

For reservations call (310) 364-3606 TICKETS GO ON SALE NOVEMBER 11th! MAKE YOUR PLANS NOW!

Greystone Park • 905 Loma Vista Drive • Beverly Hills 90210 Above Sunset Blvd. • Free Parking

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Ms. Julia Huang Frances and Loretta Hung Foundation Illig Construction Company Dr. and Mrs. Robert M. Itami Mr. Gregory Jackson Mr. and Mrs. Leonard Jaffe Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mrs. Michelle Joanou Ms. Marcia Jones and Mr. George Arias Mr. William Jordan Kristofer Jorstad Mr. Ken Kahan Kathleen L. Kane Mr. and Mrs. James Kang Karen and Don Karl Kayne, Anderson & Rudnick Mr. Stephen Keck Mr. John Kern Laura King and Charles Nagurka Ms. Madeleine A. Kleiner Mrs. Elizabeth Koen Ms. Nancy Koller Dr. Stanley G. Korenman and Ms. Ann Pollack Mrs. Rosalie Kornblau Ms. Sharon Krischer KTN Enterprises, Inc. Dr. and Mrs. Kihong Kwon Mrs. Estelyn La Hive Mrs. Grace E. Latt Ms. Constance Lawton and Mr. Jim Yoder Cynthia Lee, M.D. Mr. Randall Lee and Ms. Stella M. Jeong Dr. Bob Leibowitz The Honorable Lisa Lench Mr. and Mrs. Edward B. Levine Lolly Levy Mr. and Mrs. Alvin P. Lewis Mr. Greg Lipstone Mr. Lewis Lipstone and Mrs. Shirley Lipstone Ms. Arline Lloyd Ms. Bonnie Lockrem and Mr. Steven Ravaglioli Mr. and Mrs. Steve Loeb Long Beach Auxiliary Ms. Cindy M. Lopez Los Angeles Philharmonic Committee Mr. and Mrs. Ronald Low Ms. Marion Lowry Mr. and Mrs. Boutie Lucas Dr. and Mrs. Franklin W. Lusby Susan and John MacLaurin Ms. Wendie D. Malick Mr. Peter M. Malis Carol and Doug Mancino Mr. and Mrs. John G. Maniatakis Dorrie and Paul Markovits Mr. and Mrs. William Marks Vilma S. Martinez, Esq. Mrs. Suzanne Marx Dr. and Mrs. Allen W. Mathies Vivian Matsushige Mr. Pascale McCracken Ms. Irene Mecchi Dr. Yolanda Mendoza Mirta Mesbah Mr. Jorge Mestman Mr. and Mrs. Bruce A. Meyer Ms. Michelle Michaels Mr. Andrew and Rosemarie Millstein Mr. Henry Minami Mr. Marc Mitchell

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→ ANNUAL DONORS Chazz Palminteri

Win Broadway • An UNFORGETTABLE Theatrical Experience • 2 prime orchestra seats to A BRONX TALE: THE MUSICAL • Dinner with creator, Chazz Palminteri, at his own restaurant • 2 R/T DELTA Business Class Airfares to NY City and Hotel

Spend an evening in Manhattan with your host, Mr. Chazz Palminteri.

See Broadway’s newest sensation, A Bronx Tale: The New Musical, then dine at Ristorante Italiano (Chazz’s own restaurant) with Chazz as he explains how this show started as a one-person play in an L.A. theatre, and now has blossomed into a great big Broadway musical!

LIMITED TIME OFFER! Raffle Tickets begin at $10

This raffle drawing benefits Theatre West, a Los Angeles based Non Profit organization (where A BRONX TALE was originally developed).

For contest rules, details and tickets, please visit: www.theatrewest.org 70

A Bronx Tale is directed by two-time Academy Award® winner Robert De Niro and four-time Tony Award® winner Jerry Zaks, written by Academy Award nominee Chazz Palminteri, with songs by eight-time Academy Award winner Alan Menken.

Mr. Todd D. Mitchell Dr. Robert Modlin Montessori School Linda and John Moore Mr. Sean Moriarty Mr. Buddy Morra Toni Hollander Morse and Lawrence Morse Bengt Muthen Rosanne and Mel Nachman Mr. and Mrs. Richard Nahigian Dr. David Neer Ms. Tricia Nelson Mr. and Mrs. John W. Newbold Mr. and Mrs. Oberfeld Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell Mr. Frank O’Dea Mr. Alan Oppenheimer Linda and Ed Ornitz Mr. and Mrs. John B. Orr Kim and P.F. James Overton Mrs. Jane C. Parks Mr. Jamshid Parvaresh and Mrs. Pardis Mirzai Bob and Brana Paster Foundation Mr. Thomas C. Payne Mr. Jack Perry Ms. Iris Peters Mr. Alan Pick Mrs. Charlotte Pinsky Ms. Julie Platt Mr. Joel Pollack Mr. Mark E. Pollack Mr. Christopher K. Poole Mr. Arnold Porath Debbie and Rick Powell John R. Privitelli Quality Production Services Max and Bradley Ramberg Lee Ramer Mrs. Miriam Rand Gay and Ronald Redcay Mr. and Mrs. Richard G. Reinis, Esq. Mr. and Mrs. W. Randolph Reiss Mr. and Mrs. Frank Renek William J. Resnick, M.D. Dr. Susan F. Rice Mr. Ronald Ridgeway Ms. Elizabeth Roberts Ms. Iva C. Roberts Ms. Kristina Rodgers Mr. Albert Roer Ari Rosenblatt, D.D.S. Mr. Richard Rosenthal and Ms. Katherine Spillar Joyce and Deane Ross Mrs. Florence Roth Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough Mr. Larry Ruderman Ms. Penny L. Russell-Smith Mr. Adam Saitman Gail Samuel and William Christian Mr. and Mrs. Michael Sanders San Marino-Pasadena Philharmonic Committee Mr. Kevin J. Savage and Ms. Britta Lindgren Carol (Jackie) and Charles Schwartz Dr. and Mrs. Hervey Segall Dr. and Mrs. Hooshang Semnani Mr. Majid M. Seyedi-Rezvani Mr. and Mrs. Jeffrey Alan Seymour

PERFORMANCES MAGAZINE

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11/15/16 4:00 PM

FOR THE CURIOUS MUSIC | CULTURE | NEWS | NPR

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→ ANNUAL DONORS

19th Smash Year!

J. Bernard Calloway and Blake Segal. Photo by Jim Cox.

NOVEMBER 5 – DECEMBER 26 Dr. Seuss’ How the Grinch Stole Christmas!

Book and Lyrics by Timothy Mason Music by Mel Marvin Directed by James Vasquez Original Production Conceived and Directed by Jack O’Brien

Generously sponsored by Audrey Geisel

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Mr. Hovav Shacham Ms. Rita Shamban-Hahn Abby Sher Mr. Chris Sheridan Mrs. Elise Sinay Spilker Professor Judy and Dr. William Sloan Cynthia and John Smet Barbara and Hugh Smith Al and Joyce Sommer Speakers Bureau Ms. Lisa Specht Mr. and Mrs. Richard Spelke Ian and Pamela Spiszman Ms. Shirley Starke Mr. and Mrs. Pierre Steele Mr. and Mrs. Joseph Stein Roger Stewart STIR Architecture Dr. Evangelina Ramirez Stockwell Ms. Sunshine Stone Robert and Joan Sugar Mr. Bradley Tabach-Bank Mr. Akio Tagawa and Ms. Yui Suzuki Mr. Stephen S. Taylor Thomas and Elayne Techentin Mr. Andrew Tennenbaum Ms. Jennifer Terry Mr. Michael Thaxton Mr. James Thompson Michael Frazier Thompson Tichenor & Thorp Architects, Inc. Mr. and Mrs. William P. Tinkley Mr. and Mrs. Harris Toibb Joan Tours Townsend Bonnie K. Trapp Terrye Underwood Vargo Physical Therapy Mr. and Mrs. Zev Vered Frank Wagner Hope Warschaw and John Law Mr. Nicholas N. Weber Ms. Abby Silverman Weiss and Mr. Ray F. Weiss Mr. and Mrs. Max K. Weissberg Dr. Robert Weissman Ms. Cynthia White Ms. Margaret E. White Mr. William A. White Willis Towers Watson Mr. Adam Wilson Mr. and Mrs. David Wilson Mr. and Mrs. Larry Wolf Dr. and Mrs. Terris Wolff Mr. and Mrs. Irwin Wong Mr. and Mrs. Geoffrey Yarema Ms. Stacie Yee Mr. Dylan Yolles Mr. and Mrs. Larry Yust Mr. William Zak Nancy Zamora Marshall S. Zolla Rachel and Michael Zugsmith

CA

J

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit LAPhil.com. If your name has been misspelled or omitted from this list in error, please contact the Development Department at 213.972.7557. Thank you.

PERFORMANCES MAGAZINE

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CITY OF LOS ANGELES Eric Garcetti Mayor Mike Feuer City Attorney Ron Galperin Controller CITY COUNCIL Bob Blumenfield Mike Bonin Joe Buscaino Gilbert Cedillo Mitchell Englander Marqueece Harris-Dawson Jose Huizar Paul Koretz Paul Krekorian Nury Martinez Mitch O’Farrell Curren D. Price, Jr. David Ryu Herb J. Wesson, Jr. President DEPARTMENT OF CULTURAL AFFAIRS Danielle Brazell General Manager CULTURAL AFFAIRS COMMISSION Eric Paquette President Charmaine Jefferson Vice President Jill Cohen Josefina Lopez Sonia Molina Elissa Scrafano John Wirfs

WALT DISNEY CONCERT HALL HOUSE STAFF Ronald H. Galbraith Master Carpenter John Phillips Property Master Terry Klein Master Electrician Kevin F. Wapner Master Audio/Video Greg Flusty House Manager The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

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LOS ANGELES PHILHARMONIC ASSOCIATION Deborah Borda President and Chief Executive Officer David C. Bohnett Presidential Chair

Gail Samuel Executive Director Chad Smith Chief Operating Officer Chris Ayzoukian Vice President, Philharmonic and Production Michael DeMartini Vice President and Chief Financial Officer Kathleen Kane Vice President, Philanthropy Shana Mathur Vice President, Marketing and Communications Mona Patel Vice President, Human Resources and General Counsel

ADMINISTRATION Maxwell Adams Executive Assistant to the Vice President and CFO Susan Bragg Administrative Assistant to the President and CEO Lauren Coakley Benefits Coordinator Ruth Cwik Attorney / Senior Contracts Manager Samantha Ganeku Human Resources Manager Kevin Higa Cloud Infrastructure Engineer Dean Hughes Systems Support Specialist, Desktop Charles Koo Infrastructure Manager Amanda La Pierre Human Resources Coordinator Michelle Lucas Human Resources Coordinator Rik Martin Administrative Services Manager Jeff Matchan Director of Information Technology Paula Michea Executive Assistant to the President and CEO Angela Morrell Application Support Technician Shawn Newmann Executive Assistant to the Executive Director Frank Park Infrastructure Engineer Sean Pinto Database Applications Manager Miguel A. Ponce, Jr. Administrative Services Assistant Christopher Prince Application Support Technician Manuel Reed Systems Support Specialist, Desktop Jamy Sweet Data Warehouse Specialist Shannon Thal Senior Benefits Manager

ARTISTIC PLANNING Nate Bachhuber Artistic Administrator Summer Bjork Centennial Director Megan Henschel Manager of Artist Services Meghan Martineau Associate Director, Artistic Planning Ayrten Rodriguez Artist Liaison John Schwerbel Artistic Planning Coordinator Ebner Sobalvarro Assistant to the Music & Artistic Director

AUDIENCE SERVICES Denise Alfred Audience Services Representative Gloria Balcom Audience Services Supervisor Brendan Broms Audience Services Representative Grace Chapron Audience Services Representative Jacqueline Ferger Audience Services Representative Linda Holloway Patron Services Manager Jennifer Hugus Patron / Audience Services Representative Bernie Keating Audience Services Representative Cody Kendall Audience Services Supervisor Sarah Mears Audience Services Supervisor Aurelio Minchaca Audience Services Representative Barbara Morgan Audience Services Representative Anwar Nasir Audience Services Manager Claudia Rhodes Audience Services Representative Randolph Stephen Audience Services Supervisor Robert Ullrich Patron Services Representative Sherry Wallace Audience Services Coordinator

BOX OFFICE – WINTER SEASON Spring Ake Ticket Seller Toliman Au 2nd Assistant Treasurer Donella Coffey 2nd Assistant Treasurer Nancy Fitzgerald Ticket Seller (Group Services) Angelia Franco Ticket Seller (Group Services) Christy Galasso 1st Assistant Treasurer Veronika Garcia 2nd Assistant Treasurer

Laurel Harris 1st Assistant Treasurer (Group Services) Alex Hennich Ticket Seller Tomorrow Kitchen 2nd Assistant Treasurer (Group Services) Amy Lackow 2nd Assistant Treasurer Elia Luna Ticket Seller Page Messerly Treasurer Ariana Morales 1st Assistant Treasurer Carolina Orellana 2nd Assistant Treasurer Cathy Ramos Ticket Seller Elias Santos 2nd Assistant Treasurer John Tadena Ticket Seller Carlie Tomasulo 2nd Assistant Treasurer Jose Villasenor Ticket Seller (Group Services)

COMMUNITY & GOVERNMENT AFFAIRS Leni Isaacs Boorstin Director of Community

and Government Affairs

Ljiljana Grubisic Archives and Museum Director Steven Lacoste Archivist

DEVELOPMENT Robert Albini Senior Major Gifts Officer Joshua Alvarenga Senior Major Gifts Officer Malorie Barbee Senior Manager, Annual Fund / Membership Michael Cocks Development Operations Coordinator Julia Cole Director, Institutional Giving and Stewardship Shelley De Leon Manager, Gift Planning Joseph Feneck Manager, Volunteer Activities Justin Foo Manager of Development Operations Genevieve Goetz Executive Assistant to VP Philanthropy Christina Hall Senior Major Gifts Officer Julianna Herrera Donor Relations Coordinator Jen Kehs Grant Writer Sara Kim Director, Individual Giving Anita Lawson Director, Development Operations Angie Lee Associate Manager, Special Events Matthew Miles Senior Major Gifts Officer Allison Mitchell Board Liaison Sara Mountjoy-Pepka Assistant Manager, Annual Fund Katherine Nicolai Donor Coordinator Stephanie Prom Volunteer Activities Coordinator Rachel Pryzgoda Campaign Project Manager Susan Erburu Reardon Director, Gift Planning Mike Salerno Development Operations Specialist Carina Sanchez Research Analyst Kristina Schaaf Corporate Sponsorship Coordinator Erica Sitko Campaign Manager Stefanie Sprester Director, Corporate Sponsorship Brian Tom Special Events Coordinator Derek Traub Senior Writer Kimberley Valentine Associate Director, Gift Planning and Principal Gifts

Morgan Walton Manager, Special Events Julia Ward Senior Manager, Development Communications Richard T. Watkins Director, Major Gifts Natalie White Senior Research Manager

EDUCATION Phil Bravo Social Innovation Manager Angelica Cortez Education Project Manager Loribeth Gregory Education Project Manager Rada Jovicic Education Project Manager Sarah Little Education Project Manager Gretchen Nielsen Director of Educational Initiatives

FINANCE Xyra Aranda Staff Accountant Lynn Banal Assistant Controller David Cherpin Controller/Treasurer Mark Crane Insurance Coordinator

Evelyn Fausto Payroll Coordinator Shani French Accounts Payable Assistant Lisa Hernandez Accounts Payable Supervisor Lorena Jimenez Payroll Supervisor Debbie Marcelo Senior Budget Analyst Barbara Trokan Payroll Manager

HOLLYWOOD BOWL & PRESENTATIONS Kerri Bershon Operations Administrator, Hollywood Bowl Laura Connelly Director of Presentations Kylee Garton Concert Manager, Hollywood Bowl Orchestra and Presentations

Brian Grohl Program Manager, Pops / Manager, Hollywood Bowl Orchestra

Mark Ladd Assistant Director of Operations Gina Leoni Operations Coordinator Michael Oliver Transit Manager George Portillo Theater Maintenance Manager Johanna Rees Associate Director of Presentations Ruben Reyes Pool Circle Manager Edgar Tom Director, Hollywood Bowl Operations Tom Waldron House Manager Herbie Hancock William Powers & Carolyn Powers Creative Chair for Jazz

Darlene Chan, FestivalWest Inc. Program Advisor for Jazz

MARKETING & COMMUNICATIONS Dennis Bade Associate Editor, Publications Janice Bartczak Director, Retail Services Nora Brady Associate Director, Sales and Marketing Lisa Burlingham Director of Marketing Charles Carroll Advertising Manager Joe Carter Director of Sales and Customer Service Joe Chang Digital Producer Brian Dawes Creative Services Coordinator Cynthia Fuentes Marketing Manager,

Promotions and Partnerships

Paul Gibson Staff Writer John Henken Publications Editor Raymond Horwitz Manager, Digital Content Sierra Lever Marketing Assistant Yuko Makuuchi Assistant Manager, Retail Operations Brant Markley Manager, Audience Development Ino Mercado Assistant Manager Tim Nelson Retail Sales Supervisor David Van Norden Assistant Manager, Music Buyer Rachel Park Marketing Coordinator, Promotions and Partnerships Celeste Peterson Director, Digital Initiatives Michael J. Ruppert Project Manager, Tessitura Implementation Natalie Suarez Associate Creative Director Jonathan Thomas Marketing Database Specialist Josephine van Willigenburg Marketing Coordinator Fran Wheatley Art Director

ORCHESTRA MANAGEMENT Lee Helms Production Manager Megan McGrath Orchestra Personnel Administrator Taylor Saleeby Associate Director, Production Michael Vitale Production Manager Kelvin Vu Stage Manager Jeff Wallace Associate Director, Production Bill Williams Scheduling Manager and Production Associate

PUBLIC RELATIONS Lydia Fong Publicist Sophie Jefferies Director of Public Relations Andrew Schwartz Public Relations Coordinator Lisa White Publicist The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers.

PERFORMANCES MAGAZINE

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2016/2017

BOARD OF DIRECTORS OFFICERS Lisa Specht Board Chair

Robert J. Abernethy Michael J. Pagano Vice Chairs Rachel S. Moore President and Chief Executive Officer Karen Kay Platt Secretary

The Music Center Annual Fund supports world-class dance, nationally recognized arts education and participatory arts programs that inspire people of all ages and create opportunities for expression.

It is only through unrestricted annual support that these innovative programs continue to grow.

For more information, please call (213) 972-4349.

Susan M. Wegleitner Treasurer Lisa Whitney Assistant Treasurer and Chief Financial Officer

MEMBERS AT LARGE

DIRECTORS EMERITI

William H. Ahmanson

Peter K. Barker Judith Beckmen Eli Broad Ronald W. Burkle Lloyd E. Cotsen John B. Emerson* Lois Erburu Richard M. Ferry Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Amb. Glen A. Holden Stuart M. Ketchum Amb. Lester B. Korn Carolbeth Korn Kent Kresa Robert F. Maguire, III Ginny Mancini Edward J. McAniff Walter M. Mirisch Fredric M. Roberts Claire L. Rothman Cynthia A. Telles

Wallis Annenberg Darrell Brown Kimaada M. Brown Dannielle Campos Greg T. Geyer Lisa Gilford David Gindler Kiki Ramos Gindler Julie Goldsmith Brindell Gottlieb Maria Rosario Jackson

Glenn Kaino Arthur D. Kraus Cary J. Lefton David Lippman Nigel Lythgoe Richard Martinez Bowen “Buzz” H. McCoy Mattie McFadden- Lawson^ Diane G. Medina Elizabeth Michelson Darrell D. Miller

CONTACT

Cindy Miscikowski Shelby Notkin

General Information (213) 972-7211

Rory Pullens

Theatre Rentals (213) 972-3600

Joseph Rice

Filming (213) 972-7334 Patina Restaurant Group/ Catered Events (213) 972-7565 Audio Description/Project D.A.T.E. (Direct Audience Theatre Experience) (213) 680-4017 Lost and Found (213) 972-2600

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James A. Thomas Andrea L. Van de Kamp* Paul M. Watson Thomas R. Weinberger Rosalind W. Wyman *Chairman Emeritus

Max Ramberg Richard K. Roeder Joni J. Smith Catharine Soros Marc I. Stern Cary H. Thompson Walter F. Ulloa Timothy S. Wahl Alyce Williamson Jay Wintrob Bradley H. Ellis General Counsel ^ Leave o f Absence

11/9/16 4:20 PM

This past October, The Music Center welcomed more than 5,000 children to the annual Very Special Arts Festival, a day dedicated to celebrating the artistic achievements of students with all abilities in grades K-12.

More than 130 schools attended this year’s festival, the only one of its kind in the County, which included live performances of music and movement from more than 80 school groups and a display of more than 1,000 pieces of 2-D and 3-D student artwork presented by more than 60 schools.

Based on this year’s theme, “Heroes,” the free festival featured continuous student performances on two outdoor stages on The Music Center Plaza, along with numerous visual and performing arts participatory workshops led by both professional teaching artists and high school students. While the theme was interpreted in different ways, from the donning of capes and masks to firefighter and police costumes, the true heroes of the day were always the children.

Now in its 38th year, The Very Special Arts Festival is an example of The Music Center’s commitment to the arts as a universal language in which students, parents and teachers of all abilities can find common ground.

The festival not only provides a platform for students to express themselves, but also offers audiences an opportunity to appreciate and value the diversity of that expression.

It is a day for children to shine and take center stage, communicating creatively through singing, dancing and visual arts, leaving them pridefilled and hopeful for more discoveries and transformations made through the power of the arts.

The Very Special Arts Festival is presented by The Music Center in partnership with the Los Angeles Unified School District and the Los Angeles County Office of Education.

For more information about this program or how to get involved, please visit musiccenter.org/vsaf.

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COUNTY OF LOS ANGELES Through the support of the Board of Supervisors, the County of Los Angeles plays an invaluable role in the successful operation of The Music Center.

BOARD OF SUPERVISORS HILDA L. SOLIS

SHEILA J. KUEHL

MARK RIDLEY-THOMAS

DON KNABE

First District, Chairman Second District

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Third District

MICHAEL D. ANTONOVICH Fifth District

Fourth District

11/9/16 4:21 PM

DECEMBER THU 01 DEC / 8:00PM The Beauty Queen of Leenane CENTER THEATRE GROUP Mark Taper Forum Thru 12/18

SUN 04 DEC / 6:30PM Amelie, A New Musical CENTER THEATRE GROUP Ahmanson Theatre Thru 1/15

THU 01 DEC / 8:00PM Dudamel & Russian Masters LA PHIL Walt Disney Concert Hall

MON 05 DEC / 8:30PM Betzy Bromberg: Glide of Trasparency REDCAT

THU 01 DEC / 5:30AM Grand Park Lights Up The Holidays GRAND PARK Thru 12/25

MON 05 DEC / 8:00PM CHINA PHILHARMONIC ORCHESTRA Walt Disney Concert Hall

FRI 02 DEC / 12:15PM ¡LUNCHTIME! Yoga reTREAT LA OPERA GRAND PARK Thru 5/31 FRI 02 DEC / 8:00PM Wonderful Town LA OPERA Dorothy Chandler Pavilion Thru 12/4 SAT 03 DEC / 8:30PM The Music of Mark Trayle REDCAT SAT 03 DEC / 2:00PM Festival of Carols LOS ANGELES MASTER CHORALE Walt Disney Concert Hall Thru 12/10 SAT 03 DEC / 11:00PM Toyota Symphonies for Youth: Tchaikovsky’s The Nutcracker LOS ANGELES MASTER CHORALE Walt Disney Concert Hall SUN 04 DEC / 7:00PM Christmas with Eric Whitacre LOS ANGELES MASTER CHORALE Walt Disney Concert Hall

FRI 16 DEC / 1:00PM Debbie Allen’s Hot Chocolate Nutcracker THE MUSIC CENTER Dorothy Chandler Pavilion Thru 12/17

THU 08 DEC / 8:00PM Dudamel Conducts Haydn’s Creation LA PHIL Walt Disney Concert Hall Thru 12/11 FRI 09 DEC / 8:30PM CalArts Winter Dance REDCAT Thru 12/10 WED 14 DEC / 8:30PM Stew & Heidi: Notes of a Native Song REDCAT Thru 12/17 THU 15 DEC / 8:00PM Handel’s Messiah LA PHIL Walt Disney Concert Hall Thru 12/17 FRI 16 DEC / 6:00PM The Music Center’s Holiday Sing-Along THE MUSIC CENTER The Music Center Plaza

SAT 17 DEC / 11:30AM Holiday Sing-Along LA PHIL Walt Disney Concert Hall SUN 18 DEC / 7:30PM 36th Annual Messiah Sing-Along LOS ANGELES MASTER CHORALE Walt Disney Concert Hall TUE 20 DEC / 8:00PM A Chanticleer Christmas LA PHIL Walt Disney Concert Hall WED 21 DEC / 8:00PM Sweet Honey in the Rock: Celebrating the Holidays LA PHIL Walt Disney Concert Hall THU 22 DEC / 8:00PM Swinging Christmas with The Arturo Sandoval Big Band LA PHIL Walt Disney Concert Hall FRI 23 DEC / 3:00PM / 8:00PM White Christmas Sing-Along LA PHIL Walt Disney Concert Hall SAT 31 DEC / 7:00PM / 10:30PM New Year’s Eve with Pink Martini LA PHIL Walt Disney Concert Hall

2016 FRI 16 DEC / 8:00PM Adams @ 70: El Niño LA PHIL Walt Disney Concert Hall Thru 12/18

SAT 31 DEC / 8:00PM Grand Park + The Music Center’s N.Y.E.L.A. Grand Park/The Music Center Plaza

Visit musiccenter.org for additional information on all upcoming events. facebook.com/MusicCenterLA

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@MusicCenterLA

@MusicCenterLA

@MusicCenterLA

11/9/16 4:21 PM

Experience

T ER RANE A T RADITIONS Create new family traditions in a land where holiday cheer includes poolside sunsets, cozy starlit fire pits, and gingerbread sand castles.

R E S O R T | G O L F | D I N I N G | S PA

Visit Terranea.com/Traditions or call 844.316.9953.

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11/9/16 2:25 PM

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11/11/16 10:16 AM