






















SEPTEMBER 2O 25































LOOKING FOR INFORMATION ABOUT TONIGHT’S PERFORMANCE?
Download our free app to find the program details, notes, and artist biographies. hollywoodbowl.com/app














SEPTEMBER 2O 25
LOOKING FOR INFORMATION ABOUT TONIGHT’S PERFORMANCE?
Download our free app to find the program details, notes, and artist biographies. hollywoodbowl.com/app
We acknowledge the Gabrielino Tongva, Gabrielino Kizh, and Fernandeño Tataviam Nations as the traditional stewards of the land now called the Hollywood Bowl.
We honor and respect the many indigenous peoples connected to this land and express our admiration for their resilient and important cultural leaders in our region—past, present, and future.
Discover a one-of-a-kind immersive retreat blending comfort and serenity with adventure and fun in a captivating coastal haven. OCEAN VIEWS | SPA | GOLF | VILLAS | POOLS | RESTAURANTS
Fireworks, picnics, enjoying a beautiful night of music with friends and family—for many of us, summer means an evening at the Hollywood Bowl. For more than 100 years, the Bowl has been a testament to music’s power to nurture connection, spanning its first sunrise service and community sing-alongs to our recent WE LA concert recognizing first responders and those a ected by the LA wildfires.
Our Music & Artistic Director Gustavo Dudamel says, “Music can build community. It can forge bridges between cultures as we share the things that connect us.” Nowhere does this sentiment ring truer than on a perfect summer night at the Hollywood Bowl. As a Los Angeles County Park operated by the LA Phil, the Bowl attracts the world’s most famous performers while o ering tickets for as little as $1—so that music and this magical summer experience can be available to everyone.
We are delighted to build on these traditions throughout the 2025 season, one that brings together an array of artists spanning all genres and diverse backgrounds. From Mozart to Marsalis, Anne Akiko Meyers to ASTROPICAL, and our fi rst musical theater production since 2022, Jesus Christ Superstar with Cynthia Erivo and Adam Lambert, there are so many spectacular evenings in store. We can’t wait to share them with you.
Warmly,
Kim Noltemy President & CEO
David
C. Bohnett Presidential Chair Los Angeles Philharmonic Association
CHAIR
Jason Subotky*
PRESIDENT & CEO
David C. Bohnett Presidential Chair
Kim Noltemy
VICE CHAIRS
Thomas L. Beckmen*
Reveta Bowers*
Jane B. Eisner*
David Meline*
Diane Paul*
Jay Rasulo*
DIRECTORS
Nancy L. Abell
Gregory A. Adams
Julie Andrews
Winnie Kho
Joey Lee
Francois Mobasser
Camilo Esteban Becdach
Linda Brittan
Jennifer Broder
Kawanna Brown
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geo Rich*
Laura Rosenwald
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung
Jack Suzar
Sue Tsao
Jon Vein
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet
Andrea Chao-Kharma*
R. Martin Chavez
Christian D. Chivaroli
Jonathan L. Congdon
Donald P. de Brier*
Louise D. Edgerton
Dotty Ewing
Lisa Field
David A. Ford
Alfred Fraijo Jr.
Hilary Garland
Jennifer Miller Go *
Tamara Golihew
David Greenbaum
Marian L. Hall
Williamson
Irwin Winkler
Debra Wong Yang
HONORARY
LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Carol Colburn Grigor
Antonia Hernández*
Jonathan Kagan*
Darioush Khaledi
† In Memoriam
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
* Executive Committee Member as of February 2025
** From the opening of Walt Disney Concert Hall on October 24, 2003, to present
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PUBLICATIONS 2025
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ART DIRECTOR
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ACCOUNT DIRECTORS
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I’m excited to welcome you to the Hollywood Bowl, one of the most historic and beloved venues in Los Angeles County. Whether this iconic facility is hosting a performance by the exceptional Los Angeles Philharmonic or a concert by a visiting world-class musician, the Hollywood Bowl is known for its commitment to excellence both on the stage and behind the scenes.
It’s particularly special to me that the Hollywood Bowl finds its home in Los Angeles County’s Fifth District among the communities I have the privilege to represent. With such a rich and storied history, and as host to some of the biggest names in music today, the Bowl is one of the landmarks that make our district unique.
Whether you’re visiting from down the street, across the county, or around the world, I hope you enjoy your time at this remarkable venue. I still hold
near and dear the many fond and fun memories I’ve made at the Hollywood Bowl throughout my life. I know your experience here will be just as memorable, whether it’s your fi rst show or you’re a regular visitor.
Throughout the season, I encourage you to take advantage of all the incredible opportunities available to you. To hop on the convenient and a ordable Park & Ride buses and Bowl Shuttles accessible from all over the county, look at the delicious food options, get a sneak peek at your seats, and fi nd everything else you need to know, head to hollywoodbowl.com/visit so you can make the most of your evening.
You can stay in touch with me at kathrynbarger.lacounty.gov or on social media for the latest community updates and resources. I look forward to connecting with you and hope to see you at a Hollywood Bowl concert soon!
Best wishes,
Supervisor Kathryn Barger Chair, Board of Supervisors Fifth District, Los Angeles County
EDITH GARCÍA-GONZALEZ
I am thrilled you are spending an evening visiting the Hollywood Bowl—one of the best outdoor venues in the US. The Hollywood Bowl is a legendary performance space, public park, and picnic ground, owned by the County of Los Angeles Department of Parks and Recreation (LA County Parks) and operated by the world-class LA Phil. The Bowl’s summer lineup of diverse music genres is a bucket list for Los Angeles County residents and visitors.
The County of Los Angeles Board of Supervisors, LA County Parks, and the LA Phil are committed to ensuring that all Angelenos can enjoy this remarkable venue through initiatives that expand access. We will:
• Continue the Hollywood Bowl Access Program, a partnership of LA County Parks and the LA Phil, to bring teens and seniors to enjoy summer concerts.
• Expand $1 ticket access for the public and expand the concerts o ered.
• Serve as a good steward of sustainability and our environment by continuing to grow public ridership for the Hollywood Bowl’s shuttle and the Park & Ride programs. We have exceeded our 30% transportation goal and are not stopping there.
We invite you to experience the Hollywood Bowl all year long. Visitors can take a leisurely picnic at Highland Camrose Park at the base of the Bowl, visit the on-site museum, take view-worthy strolls on the grounds, and exercise on the hundreds of hillside steps. I warmly welcome and invite you to enjoy your Hollywood Bowl!
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Gustavo Dudamel is committed to creating a better world through music. Guided by an unwavering belief in the power of art to inspire and transform lives, he has worked tirelessly to expand education and access for underserved communities around the world and to broaden the impact of classical music to new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, o ers living proof that culture can bring meaning to the life of an individual and greater harmony to the world at large. He currently serves as the Music & Artistic Director of the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and in 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Throughout 2025, Dudamel will celebrate the 50th Anniversary of El Sistema, honoring the global impact of José Antonio Abreu’s visionary education program across five generations, and acknowledging the vital importance of arts education. Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. In appearances from the United Nations to the White House to the Nobel Peace Prize Concert, Dudamel has served as a passionate advocate for music education and social integration through art, sharing his own transformative experience in Venezuela’s El Sistema program as an example of how music can give a sense of purpose and meaning to young people and help them rise above challenging circumstances. In 2007, Dudamel, the LA Phil, and its community
partners founded YOLA (Youth Orchestra Los Angeles), which now provides more than 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In 2012, Dudamel launched the Dudamel Foundation, which he co-chairs with his wife, actress and director María Valverde, with the goal of expanding access to music and the arts for young people by providing tools and opportunities to shape their creative futures.
As a conductor, Dudamel is one of the few classical musicians to become a bona fi de pop-culture phenomenon and has worked tirelessly to ensure that music reaches an ever-greater audience. He was the fi rst classical artist to participate in the Super Bowl halftime show and the youngest conductor ever to lead the Vienna Philharmonic’s New Year’s Concert. He has performed at global mainstream events from the Academy Awards to the Olympics, and has worked with musical icons like Billie Eilish, Christina Aguilera, LL Cool J, Ca7riel y Paco Amoroso, Laufey, Coldplay, and Nas. Dudamel conducted the score to Steven Spielberg’s new adaptation of West Side Story, and at John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens. His fi lm and television appearances include Sesame Street, The Simpsons, Mozart in the Jungle, Trolls World Tour, and The Nutcracker and the Four Realms, and in 2019 Dudamel was honored with a star on the Hollywood Walk of Fame.
For more information about Gustavo Dudamel, visit his o cial website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.
The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2024/25 season is the orchestra’s 106th.
Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. During its winter season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the finest artists from all genres of music. The Ford, situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, presents an eclectic summer season of music, dance, film, and family events that are reflective of the communities that comprise Los Angeles.
The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments,
intensive music training, and academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purposebuilt facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.
The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York.
The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.
The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammywinning recordings featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz—whose Revolución diamantina received three Grammys in 2025.
The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).
Thomas Wilkins is Principal Conductor of the Hollywood Bowl Orchestra. He has held a titled position at the Hollywood Bowl since 2008, when he was named Principal Guest Conductor; in the spring of 2014, he became Principal Conductor.
In addition, he is the Boston Symphony’s Artistic Partner for Education and Community Engagement and Germeshausen Youth and Family Concerts Conductor; Indiana University’s Henry A. Upper Chair of Orchestral Conducting, a position established by the late Barbara and David Jacobs; and Principal Guest Conductor of the Virginia Symphony. At the close of the 2020/21 season, he ended his long and successful tenure as Music Director of the Omaha Symphony. Other past positions include resident conductor of the Detroit Symphony and The Florida Orchestra (Tampa Bay) and associate conductor of the Richmond (VA) Symphony. He also has served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond.
Devoted to promoting a lifelong enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful
first season with the Boston Symphony, The Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious Outstanding Artist award at the Nebraska Governor’s Arts Awards for his significant contribution to music in the state, and in March 2018, the Longy School of Music at Bard College honored him with the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society. In 2019, the Virginia Symphony bestowed Wilkins with its annual Dreamer Award. In 2022, the Omaha Entertainment and Arts Awards presented him with its Lifetime Achievement Award for Music, the Boston Conservatory awarded him an honorary Doctorate of Arts, and he was the recipient of the League of American Orchestras’ Gold Baton Award. During his conducting career, Wilkins has led orchestras throughout the United States, including the New York and Los Angeles philharmonic orchestras; the Philadelphia and Cleveland orchestras; the symphony orchestras of Chicago, Boston, Cincinnati, and Detroit; and the National Symphony.
A native of Norfolk, VA, Thomas Wilkins is a graduate of the Shenandoah Conservatory and the New England Conservatory. He and his wife, Sheri-Lee, are the proud parents of twin daughters, Erica and Nicole.
Zen-inspired Senior Living is coming to Ventura County.
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Select residences are now available to reserve on a limited basis, with lucrative nancial incentives for those who reserve before construction begins.
To learn more about the possibilities of life at Ensō Verde, scan the code, visit verde.kendal.org or call us at 805.600.5871.
ZEN-INSPIRED SENIOR LIVING IN VENTURA COUNTY
See Hana’s story and others at Hana, Age 30 Daughter, Dog Mom, Artwork in Progress
“I feel my mom’s presence around me in the bamboo forest, and I feel at peace. I can just be myself here. She first brought me to the Door when I was 18 on Mother’s Day. So I return to connect with her and to myself. I know she would have wanted that for me.”
The Bowl’s food and wine team--James Beard chef Suzanne Goin and restaurateur Caroline Styne restaurants Lucques, a.o.c., Caldo Verde and Cara in their seventh year of providing exceptional to make your concert experiences even more spectacular. supper in your box seats to freshly-prepared picnic market-driven fare, there’s truly something for everyone.
The Bowl’s food and wine team--James Beard chef Suzanne Goin and restaurateur Caroline Styne restaurants Lucques, a.o.c., Caldo Verde and Cara in their seventh year of providing exceptional to make your concert experiences even more spectacular. supper in your box seats to freshly-prepared picnic market-driven fare, there’s truly something for everyone.
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
The Hollywood Bowl Orchestra is composed of approximately 65 regular players, an international mix of classically trained musicians who are among the best studio musicians in Los Angeles. Many spend their days on Hollywood’s scoring stages. It might be surprising to learn that there is no overlap between the musicians of the Los Angeles Philharmonic and those of the Hollywood Bowl Orchestra—another indicator that LA has a tremendous pool of musical talent.
Musicians have been performing at the Hollywood Bowl since its opening in 1922. “Bowl Orchestra” was used as early as 1925, and “Hollywood Bowl Orchestra” appeared on live recordings made in 1928. Leopold Stokowski was Music Director of the Hollywood Bowl Symphony Orchestra from 1945 to 1946. During that time, the orchestra recorded several classical works. In the 1950s and 1960s, Capitol Records issued an extensive series of recordings of the Hollywood Bowl Symphony Orchestra with a number of different conductors, including Carmen Dragon, Felix Slatkin, Alfred Newman, and Miklós
Rózsa, with album titles such as Rhapsody Under the Stars, Chopin by Starlight, Fiesta!, and Marche!
From the 1950s on, there was no o cial Hollywood Bowl Orchestra, until it reappeared in 1991, under the auspices of the Los Angeles Philharmonic Association, as a completely new ensemble under the direction of Principal Conductor John Mauceri. After retiring from the orchestra in 2006, Mauceri was awarded the lifelong title of Founding Director of the Hollywood Bowl Orchestra.
Give your guests when you host Our selection of perfect for events gatherings to elaborate
Give your guests when you host Our selection of perfect for events gatherings to elaborate
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
In 2008, Thomas Wilkins began an appointment as Principal Guest Conductor of the Hollywood Bowl Orchestra. In June 2014, he became the orchestra’s Principal Conductor, in which position he continues to lead the ensemble each summer in a wide range of concerts at the fabled outdoor venue.
From Mozart to Motown, the repertoire of the Hollywood Bowl Orchestra is as diverse as Hollywood itself. In a single season, the orchestra may perform everything from Broadway favorites to film music, pop music to jazz, and classical music to world premieres by living composers. In essence, the Hollywood Bowl Orchestra does it all.
KITCHEN 22
Kitchen 22 is the fan favorites like chicken, specialty
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn. KITCHEN 22 Kitchen 22 is the fan favorites like chicken, specialty
MOBILE ORDERING: Download the Hollywood from the comfort of your seat and skip the line at pick up.
MOBILE ORDERING: Download the Hollywood from the comfort of your seat and skip the line at pick up.
Beard
Winners Styne of celebrated Cara Cara - are now cuisine designed spectacular. From picnic baskets and everyone.
Beard Award Winners
Styne of celebrated Cara Cara - are now cuisine designed spectacular. From picnic baskets and everyone.
The Bowl’s food and wine team--James Beard Award Winners chef Suzanne Goin and restaurateur Caroline Styne of celebrated restaurants Lucques, a.o.c., Caldo Verde and Cara Cara - are now in their seventh year of providing exceptional cuisine designed to make your concert experiences even more spectacular. From supper in your box seats to freshly-prepared picnic baskets and market-driven fare, there’s truly something for everyone.
The Bowl’s food and wine team--James Beard Award Winners chef Suzanne Goin and restaurateur Caroline Styne of celebrated restaurants Lucques, a.o.c., Caldo Verde and Cara Cara - are now in their seventh year of providing exceptional cuisine designed to make your concert experiences even more spectacular. From supper in your box seats to freshly-prepared picnic baskets and market-driven fare, there’s truly something for everyone.
gorgeous natural surroundings al fresco space has the feel backyard in the Hollywood Hills. Two wood-burning grills are the focus of this market-driven restaurant serving chops, steaks, vegetables, salads, items.
gorgeous natural surroundings al fresco space has the feel backyard in the Hollywood Hills. Two wood-burning grills are the focus of this market-driven restaurant serving chops, steaks, vegetables, salads, items.
original a.o.c. on 3rd St., features a wide selection of favorite new and old world wines to both experienced and novice paired with Suzanne Goin’s plates menu. Reservations
original a.o.c. on 3rd St., features a wide selection of favorite new and old world wines to both experienced and novice paired with Suzanne Goin’s plates menu. Reservations
the experience of a lifetime your next event at the Bowl! of seven beautiful venues is events of all sizes, from intimate elaborate a airs.
the experience of a lifetime your next event at the Bowl! of seven beautiful venues is events of all sizes, from intimate elaborate a airs.
22
the best place to indulge in like burgers, French fries, fried specialty sandwiches, and salads.
the best place to indulge in like burgers, French fries, fried specialty sandwiches, and salads.
The Bowl’s food and wine team--James Beard chef Suzanne Goin and restaurateur Caroline Styne restaurants Lucques, a.o.c., Caldo Verde and Cara in their seventh year of providing exceptional to make your concert experiences even more supper in your box seats to freshly-prepared picnic market-driven fare, there’s truly something for
The Bowl’s food and wine team--James Beard chef Suzanne Goin and restaurateur Caroline Styne restaurants Lucques, a.o.c., Caldo Verde and Cara in their seventh year of providing exceptional to make your concert experiences even more supper in your box seats to freshly-prepared picnic market-driven fare, there’s truly something for
PHOTOGRAPHY BY ROB STARK
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
PHOTOGRAPHY BY ROB STARK
Inspired by the gorgeous natural surroundings of the Bowl, this al fresco space has the feel of a chic backyard in the Hollywood Hills. Two large wood-burning grills are the focus of this farmers’ market-driven restaurant serving grilled fish, chops, steaks, vegetables, salads, and raw bar items.
Inspired by the gorgeous natural surroundings of the Bowl, this al fresco space has the feel of a chic backyard in the Hollywood Hills. Two large wood-burning grills are the focus of this farmers’ market-driven restaurant serving grilled fish, chops, steaks, vegetables, salads, and raw bar items.
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Enjoy a delicious pre-concert meal served to you in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.
Inspired by the original a.o.c. on 3rd St., Ann’s Wine Bar features a wide selection of Caroline’s favorite new and old world wines to be explored by both experienced and novice wine lovers, all paired with Suzanne Goin’s signature small plates menu. Reservations recommended.
Inspired by the original a.o.c. on 3rd St., Ann’s Wine Bar features a wide selection of Caroline’s favorite new and old world wines to be explored by both experienced and novice wine lovers, all paired with Suzanne Goin’s signature small plates menu. Reservations recommended.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
Specialty sandwiches, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wide-ranging variety of approachable and delicious wines await you at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or supplement one you already have.
THE BACKYARD Inspired by the of the Bowl, this of a chic backyard large wood-burning farmers’ market-driven grilled fish, chops, and raw bar items.
Inspired by the Ann’s Wine Bar Caroline’s favorite be explored by wine lovers, all signature small recommended.
recommended.
Give your guests the experience of a lifetime when you host your next event at the Bowl! Our selection of seven beautiful venues is perfect for events of all sizes, from intimate gatherings to elaborate a airs.
Give your guests the experience of a lifetime when you host your next event at the Bowl! Our selection of seven beautiful venues is perfect for events of all sizes, from intimate gatherings to elaborate a airs.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the award-winning restaurant Lucques.
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
A variety of delicious options are available throughout the Bowl, including hearty homemade burritos, fried chicken, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
Bowl app or scan one of the many QR codes to place an order Mobile ordering is available throughout the venue.
Bowl app or scan one of the many QR codes to place an order Mobile ordering is available throughout the venue.
Kitchen 22 is the best place to indulge in fan favorites like burgers, French fries, fried chicken, specialty sandwiches, and salads.
Kitchen 22 is the best place to indulge in fan favorites like burgers, French fries, fried chicken, specialty sandwiches, and salads.
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
A variety of delicious options are available throughout the Bowl, including street tacos, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.
Give your guests when you host Our selection perfect for events gatherings to elaborate
Give your guests when you host Our selection perfect for events gatherings to elaborate
KITCHEN
KITCHEN
Kitchen 22 is fan favorites like chicken, specialty
Kitchen 22 is fan favorites like chicken, specialty
Download the Hollywood Bowl app or scan one of the many QR codes to place an order from the comfort of your seat and skip the line at pick up. Mobile ordering is available throughout the venue.
MOBILE ORDERING: Download the Hollywood from the comfort of your seat and skip the line at pick up.
MOBILE ORDERING: Download the Hollywood Bowl app or scan one of the many QR codes to place an order from the comfort of your seat and skip the line at pick up. Mobile ordering is available throughout the venue.
MOBILE ORDERING: Download the Hollywood from the comfort of your seat and skip the line at pick up.
It’s easier than ever to enjoy a picnic supper before your concert with five options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.
It’s easier than ever to enjoy a picnic supper before your concert with five options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.
It’s easier than ever to enjoy a picnic supper before your concert with five options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.
It’s easier than ever to enjoy a picnic supper before your concert with five options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.
Through YOLA (Youth Orchestra Los Angeles), inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians—aged 6 to 18—locally and nationally, empowering them to become vital citizens, leaders, and agents of change. Eighteen years ago, the LA Phil and its community partners launched YOLA with 80 students at the EXPO Center in South LA. Today, in partnership with Heart of Los Angeles and Camino Nuevo Charter Academy, our program hubs serve students and families in the Rampart District, Westlake/MacArthur Park, East LA, and Inglewood. YOLA engages musicians from more than 200 schools in culturally vibrant and ethnically diverse communities across LA County. Music study is complemented by leadership development opportunities, workshops, and performances. YOLA’s young musicians have performed on great stages, from the LA Phil’s iconic venues—the Hollywood Bowl and Walt Disney Concert Hall—to national and international television broadcasts, and alongside the greatest artists. On October 15, 2021, the Los Angeles Philharmonic opened the Judith and Thomas
L. Beckmen YOLA Center at Inglewood, designed by Gehry Partners, LLC, the first permanent, purposebuilt facility for YOLA. For more information, please visit laphil.com/yola
The
In 1919, a virtual who’s who of Los Angeles cultural and civic life galvanized around a project to build the first urban open-air performing arts venue in the nation. Aiming to put Los Angeles on the map, these impresarios, musicians, real estate moguls, Theosophists, “professional men” of various backgrounds, and others brought their own ideas and agendas for the venue and how it could serve Los Angeles’ vast and growing communities.
Currently on view at the Hollywood Bowl Museum, Building the Bowl: From Dream to Destination focuses on six of the central founding figures of the Hollywood Bowl— Christine Wetherill Stevenson, Dr. T. Perceval Gerson, Charles E. Toberman, Artie Mason Carter, Frederick W. Blanchard, and Florence M. Irish—each of whom played a distinctive role in its history.
Tue–Fri | 10am–showtime Sat–Mon | 4 hours before showtime
Part of the Museum’s permanent display
A DONOR ADVISED FUND with us tells your story. It’s a sign of all you believe in.
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With over $1 billion of assets and 1400+ client families, we’ve helped people like you develop tax efficient charitable accounts for more than 70 years, like a Donor Advised Fund. You can use it to support numerous causes in the Jewish community and community at large – locally, nationally and in Israel.
Contact us for more information. It couldn’t hurt.
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This year, come home to the Jewish Community Foundation.
On October 3, 2009, a packed Hollywood Bowl welcomed a 28-year-old Venezuelan conductor, Gustavo Dudamel, as the new Music Director of the Los Angeles Philharmonic. That storied ¡Bienvenido Gustavo! concert marked the beginning of an extraordinary partnership, one that transformed a conductor, an orchestra, and a city. This month, Dudamel begins the final season of his 17-year-long tenure, during which he and the orchestra will revisit cherished performances, encounter beloved staples for the first time, and breathe life into new works. Each of these moments builds on an extraordinary legacy and opens up new horizons, all adding up to one spectacular and meaningful season.
The season begins with a brand-new work by a familiar face: Ellen Reid. Dudamel led her work as part of 2022’s Power to the People! festival and also conducted the 2023 world premiere of her West Coast Sky Eternal at Walt Disney Concert Hall. Reid’s Earth Between Oceans for orchestra and chorus is ingeniously constructed so that it can be tailored to suit its presenters. Reid has dedicated it “to Gustavo Dudamel, a bridge-builder who forges meaningful connections across communities of people from different backgrounds, cultures, ages, classes, and abilities. His fierce positivity and tremendous talents inspire us to think bigger and do better.” This inspirational message is certain to set a tone for the season! (SEPT 25 & 27–28)
First performed by the LA Phil in 1928 at the Hollywood Bowl, Stravinsky’s The Rite of Spring has become a signature piece for the orchestra and is always a tour de force. Dudamel unleashes its visceral energy in a program with the composer’s The Firebird Suite and the US premiere of John Adams’ aptly titled Frenzy: a short symphony (OCT 2 & 4–5)
The work of Gustav Mahler has been a constant source of fascination for Dudamel. He began his tenure performing Mahler’s First Symphony and oversaw 2012’s The Mahler Project, which presented all 10 symphonies plus the grand song cycle Das Lied von der Erde in three weeks. But he had never performed the composer’s Second Symphony, “Resurrection,” with the LA Phil at Walt Disney Concert Hall—until now. (OCT 9–12)
For more information about the Los Angeles Philharmonic’s 2025/26 season at Walt Disney Concert Hall, visit laphil.com/graciasgustavo
The LA Phil’s most recent Grammy-winning performances—Thomas Adès’ Dante (2023) and Gabriela Ortiz’s Revolución diamantina (2024)—return in the winter in illuminating and vibrant concerts. Dance troupe Grupo Corpo joins the LA Phil for Ortiz’s ballet, which follows Beethoven’s Seventh Symphony in a dance-themed program. (FEB 26–28 & MAR 1) And the “Inferno” section of Dante is devilishly juxtaposed with Beethoven’s bucolic Sixth Symphony, “Pastoral.” (MAR 5–6 & 8)
Judy Baca’s mural The Great Wall of Los Angeles tells the story of the Angelenos who made this city, from prehistoric times through the present. Dudamel leads the LA Phil New Music Group in a work inspired by the mural, fusing the music of LA-based composers Juhi Bansal, Nicolás Lell Benavides, Viet Cuong, Xavier Muzik, Estevan Olmos, and Nina Shekhar, with a film component created by Oscar-winning director Alejandro G. Iñárritu. (MAR 7)
In a highlight of 2024, Dudamel led a star-studded cast in Wagner’s opera Das Rheingold Renowned architect and set designer Frank Gehry, director Alberto Arvelo, and breakout bass-baritone Ryan Speedo Green reunite with Dudamel for the next installment in Wagner’s saga, Die Walküre (MAY 19–24)
The last concert of the season, “Gracias Gustavo: Celebrating 17 Years,” features a pair of poignant Easter eggs for longtime LA Phil fans: John Adams’ Harmonium and Antonio Estévez’s Cantata Criolla. The first is a tribute to the composer for whom Dudamel established the position of Creative Chair even before he o cially began as Music Director and who then composed City Noir for Dudamel’s inaugural concert in LA. Cantata Criolla, a masterpiece of Venezuelan symphonic music, was also a highlight of Dudamel’s first season as Music Director and a pillar of the Americas and Americans festival—a theme that would become a hallmark of his tenure. It’s a heartfelt return to where it all started. (JUNE 5–7)
By Piper Starnes Illustrations by Radha Vishnubhotla
The Hollywood Bowl is renowned for staging world-class live music under the stars. But while audiences are focused on the stage, another world is quietly active all around the grounds of the venue. Tucked into a canyon and backed by steep, brush-covered hillsides, the Bowl is also a functioning ecosystem—home to a wide range of plants and animals that have long inhabited this stretch of the Hollywood Hills.
Red-tailed hawks soar overhead. Squirrels scurry across the grass. Anna’s hummingbirds zip around the Bowl shell. Raccoons, brush rabbits, and even mountain lions pass through the area. (Did you know that the fi rst time the famous local puma P-22 was ever spotted was just across the 101 on The Ford property?) These creatures live alongside the musicians, sta , and thousands of visitors who pass through each week.
For over a century, the Bowl has been a public park managed by Los Angeles County and operated by the Hollywood Bowl Association (which later became part of the Los Angeles Philharmonic Association). As stewards of the land, we see it as our responsibility to
ensure that the many animal and native plant species that call the Bowl home are cared for in the best, most humane way possible.
Mark Ladd, Director of Operations at the Bowl and its county-appointed Superintendent, says he’s seen and handled a number of wild animals throughout his four decades working for the LA Phil and LA County.
“We get a couple different species of deer here pretty much every day,” Ladd says. “We see the big raptor birds, like hawks and great horned owls, and we get a lot of reptiles.”
Like snakes!
“People really freak out when they see a snake, including our own employees,” he says. Fortunately for staff, “you don’t have to touch a snake to catch a snake. We capture and release them to a more remote part of the park.”
The same goes for skunks sneaking into the theater, birds wandering into the Bowl Museum, and other creatures that find themselves beyond their immediate habitat. They’re all part of the ecosystem.
Throughout the venue, you’ll also find a multitude of plants—from shrubs and trees to berries and flowers— that fill the park with life, color, and sustenance.
plants—from shrubs and trees to berries and flowers—
The vast majority are native to the state or more specifically to the Hollywood Hills. Since these plants are from here, they’ve evolved over time to grow and survive in California’s chaparral ecosystem without excessive water and maintenance. That also means these plants keep the habitat healthy and resilient in the face of drought, wildfires, and other environmental threats.
The Hollywood Bowl sits on 88 acres of biodiverse land in the middle of a mountain fire zone, beside a freeway, and along the secondbusiest street in the city (Highland Avenue). With these immense environmental pressures, it is essential to continue our conservation efforts and green initiatives.
This summer, we’re commissioning a biotic survey to gain a better understanding of which plant and animal species share the space with us. By using cameras set up around the Bowl, we’ll be able to know who is stopping by, how they’re doing, and what we can do to be better neighbors and cohabitants. To learn more about what we’re doing to maintain the Bowl grounds (and support
AND WHAT LIVES AT THE BOWL? HERE ARE SOME, TO NAME A FEW!
MAMMALS
Brush rabbit
California ground squirrel
Coyote
Eastern fox squirrel
Mountain lion
Mule deer
Raccoon
Striped skunk
Virginia opossum
BIRDS
American crow
Anna’s hummingbird
Band-tailed pigeon
Black phoebe
California quail
Common raven
Cooper’s hawk
Great horned owl
Mourning dove
Northern mockingbird
Red-tailed hawk
Western scrub-jay
Gopher snake
Side-blotched lizard
Southern alligator lizard
Western fence lizard
NATIVE PLANTS
Barberry
Black sage
California lilac
California sycamore
Coast live oak
Co eeberry
Elderberry
Fuchsia-flowered gooseberry
Lemonade berry
Little purple monkey flower
Meadow rue
Phacelia
Poison oak
Sugar bush
Toyon
Scrub oak
White nightshade
White nightshade the flora and fauna that live here), visit hollywoodbowl.com/KeepingItGreen
Yucca
Comic, actor, and host of Black Movie Soundtrack, Craig Robinson calls the tribute concert “a hug for your soul.” For over a decade, the Hollywood Bowl has been the place where Black film and music can come together to comfort, uplift, honor, and excite. On September 10, the celebration returns for its fifth installment.
By Piper Starnes
From the trailblazing performances of Dorothy Dandridge and Sidney Poitier to the revolutionary storytelling of fi lmmakers like Spike Lee, Ava DuVernay, and Ryan Coogler, Black fi lm has shaped how generations of people see identity, joy, resistance, and love on screen. And like the movies themselves, the accompanying soundtracks and scores have left an indelible mark on the Black arts canon, continuing to foster solidarity across generations of creatives and entertainers.
Black Movie Soundtrack was born from the belief that the music of Black film deserves a stage of its own. First held at the Hollywood Bowl in 2014, the concert series was created by a pair of visionary artists: Reginald Hudlin—a director, screenwriter, and Oscarnominated producer known for House Party (1990), Boomerang (1992), and Django Unchained (2012)—and Marcus Miller—the Grammy-winning bassist and composer acclaimed for his collaborations with Miles Davis, Luther Vandross, and countless others who have shaped the sounds of modern R&B and jazz.
Together, they produced a one-of-a-kind concert experience that honors the legacy of Black movie soundtracks through live performances and a selection
SEPTEMBER 5-14, 2025
NOVEMBER 7-16, 2025
FEBRUARY 6-8, 2026
MARCH 14-22, 2026
MAY 16-17, 2026
of film clips. The very first installment of the series was a hit. It featured Stormy Weather (1943), Super Fly (1972), Purple Rain (1984), The Bodyguard (1992), Waiting to Exhale (1995), and other cultural touchstones. Chuck D and Flavor Flav of Public Enemy rocked the stage with “Fight the Power,” from Do the Right Thing (1989); members of En Vogue stole the show with their cover of “Something He Can Feel,” from Sparkle (1976); and many more joined in for the celebration.
“When you sit in the theater, and you see someone who looks like you, that’s a really big thing,” Hudlin says. “We remember that so much, because we didn’t see it. The most emails I ever got in my life after one show was after Black Movie Soundtrack. It wasn’t just about this music. It was about being proud of the history.”
With so much ground to cover, Hudlin says, the most challenging part of the event is selecting the songs. “When I first pitched the show, I made a list. I didn’t look [anything] up. Just off the top of the dome, [I decided] these are the songs that must be in the show. I stopped at 120.” After finding out they could fit only about 12 songs in the program, Hudlin and Miller knew Black Movie Soundtrack couldn’t just be a one-night-only event.
Eleven years and a few installments later, Black Movie Soundtrack has paid tribute to a multitude of movies and their music through outstanding performances by Earth, Wind & Fire, Charlie Wilson, Gladys Knight, Babyface, Common, El DeBarge, Chaka Khan—the list goes on!
After the most recent installment, the LA Sentinel said, “Just when you thought Black Movie Soundtrack could not get any better, it did.”
On September 10, Black Movie Soundtrack is taking over the Bowl a fifth time, hosted once again by beloved comic and actor Craig Robinson (The O ce Hot Tub Time Machine The Cleveland Show). Joined by Derrick Hodge and the Color of Noize Orchestra, Robinson and the creators are setting the bar higher than ever with actor Miles Caton (Sinners) and hip-hop legend Warren G among the guest artists.
More than a tribute, Black Movie Soundtrack is a living, breathing mixtape of cultural memory, reminding us that these films and the music that carries them aren’t just entertainment. They can reflect authentic hope, humor, and heartbreak, reminding us that the collective Black experience is worth celebrating on one of the world’s greatest stages.
Camille A. Brown & Dancers
Sep. 12–14, 2025
The Music Center’s Ahmanson Theatre
Complexions Contemporary Ballet
The Music Center’s Dorothy Chandler Pavilion Oct. 24–26, 2025
Alvin Ailey American Dance Theater
The Music Center’s Dorothy Chandler Pavilion
Mar. 25–29, 2026
New York City Ballet
The Music Center’s Dorothy Chandler Pavilion Jun. 24–28, 2026
The Music Center’s BalletNOW ® : Superstars of Paris featuring Hugo Marchand & Friends
The Music Center’s Walt Disney Concert Hall
Jul. 31–Aug. 2, 2026
TUESDAY SEPTEMBER 2, 2025 8PM
Los Angeles Philharmonic
Christian Vásquez, conductor
Anne Akiko Meyers, violin
Arturo MÁRQUEZ
Arturo MÁRQUEZ
SHOSTAKOVICH
Danzón No. 2 (c. 10 minutes)
Fandango (c. 30 minutes)
Folia Tropical Plegaria (Prayer) (Chaconne)
Fandanguito
Anne Akiko Meyers
INTERMISSION
Symphony No. 5 in D minor, Op. 47 (c. 44 minutes)
Moderato
Allegretto
Largo
Allegro non troppo
This concert will broadcast on Classical California KUSC (91.5 FM) October 12, 2025, at 7PM, and available to stream at kusc.org for seven days following its airing. Please visit hollywoodbowl.com/radio for the complete schedule.
This broadcast is made possible through the endowed LA Phil Broadcast Program Fund, generously supported by the Lenore S. and Bernard A. Greenberg Fund
This performance is generously supported in part by the Kohl Virtuoso Violin Fund.
Programs and artists subject to change.
Arturo Márquez (b. 1950)
Born in Mexico, Arturo Márquez spent his middle school and high school years in La Puente, CA, where he began his musical training. After he returned to Mexico, Márquez studied at the Conservatory of Music and the Institute of Fine Arts, followed by private study in Paris with Jacques Castérède and then at the California Institute of the Arts with Morton Subotnick, Stephen Mosko, Mel Powell, and James Newton.
At that time, Márquez was interested in avant-garde techniques and processes, although his time at CalArts gave him ideas about how jazz and world music elements could be added to the mix. His first Danzón, composed in 1992, shows his concepts in practice. It was an electronic piece for tape and optional saxophone, but including Minimalist aspects and references to the traditional danzón, an old salon dance from Cuba that became popular in Veracruz and then in Mexico City, where it still holds sway.
This initial elaboration on the danzón proved crucial for Márquez, renewing his own musical language in a turn away from Modernist impulses. His Danzón No. 2, one of the most popular pieces of orchestral music of the last quarter-century, confirmed this new direction.
“The idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter
Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salón in Mexico City,” the composer writes. “From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the state of Veracruz and in the dance parlors of Mexico City.” —John Henken
Arturo Márquez
The fandango is known worldwide as a popular Spanish dance, and specifi cally as one of the fundamental styles (palos) of flamenco. Since its appearance in 18th-century Spain, the fandango moved to the Americas, where it acquired a personality according to the land that adopted and cultivated it. Today, we still find
it in countries such as Ecuador, Colombia, and Mexico. In the latter, specifi cally in the state of Veracruz and in the Huasteca area, the fandango acquired a di erent tinge from the Spanish genre. For centuries, it has been a special festivity for musicians, singers, poets, and dancers. Everyone gathers around a wooden platform to stamp their feet, sing, and improvise décimas (poetry of 10-line stanzas) for the occasion.
In 2018, I received an email from violinist Anne Akiko Meyers, in which she o ered me the possibility of writing a work for violin and orchestra that had to do with Mexican music. The proposal interested and fascinated me from that very moment. I had already tried, unsuccessfully, to compose a violin concerto some 20 years earlier with ideas that were based on the Mexican fandango. I had known this music since I was a child, listening to it in the cinema, on the radio, and played by my father (Arturo Márquez, Sr.), a mariachi violinist. Also, the violin was my first instrument when I was 14 years old (1965); I studied it in La Puente, CA, in Los Angeles County, where the work was [eventually] premiered.
Fandango for violin and orchestra is formally a concerto in three movements. The first movement, Folia Tropical, has the form of the sonata: introduction, exposition with its two themes, bridge, development, and recapitulation. The introduction and the two themes share the same motif in totally di erent ways. Emotionally, the introduction is a
call to the remote history of the fandango; the first theme and the bridge, this one totally rhythmic, are based on the Caribbean clave, and the second is almost like a romantic bolero. Folias are ancient dances that come from Portugal and Spain.
The second movement, Plegaria (Prayer), pays tribute to the mariachi huapango along with the Spanish fandango. It is also a freely treated chaconne. Perhaps few would know that the chaconne, as well as the zarabanda, were two dances forbidden by the Spanish Inquisition, long before they became part of European Baroque music.
The third movement, Fandanguito, is a tribute to the famous Fandanguito Huasteco. The music of this region features violin, jarana huasteca (a small rhythm guitar), and huapanguera (bass guitar with fi ve courses of strings), and, of course, it accompanies the singing of sones and sung or recited improvisation. The huasteco violin has certain features similar to Baroque style but with great rhythmic vitality and a rich variety of bow strokes. This third movement demands great virtuosity from the soloist, and it is the music that I have kept in my heart for decades.
I think that for every composer it is a real challenge to compose new works in old forms, especially when that repertoire is part of the fundamental structure of classical music. But I have preserved my seven capital principles: tonality, modality, melody, rhythm, imaginary folk tradition, harmony, and orchestral color. —Arturo Márquez
Dmitri Shostakovich
(1906–75)
The Fifth Symphony was written at a critical juncture in Shostakovich’s career—for the fi rst time (and not the last), he confronted the peril of Stalin’s displeasure. In January 1936, the Soviet newspaper Pravda ran a ferocious column, rumored to have been written by Stalin, condemning Shostakovich’s opera Lady Macbeth of the Mtsensk District as “formalist,” “bourgeois,” and “vulgar,” among other insults. Such criticism was not merely career-threatening but also life-threatening. Shostakovich withheld the exploratory Fourth Symphony he was working on and began composing the Fifth. Even so, Shostakovich did not attempt to make amends through a patriotic cantata or a sycophantic ode, but with a symphony, that most formalist of forms, and one that would remain a mystery to Soviet policymakers, since a symphony without words cannot pledge support to the regime. The Fifth Symphony, first performed in November 1937, was received with huge enthusiasm and relief since it possessed all the qualities needed to rehabilitate the composer: simple and direct musical language, extended wellshaped melodies, and, above all, a positive fanfare at the end, erasing all shadows and doubts. At the same time, it contained
seriousness and complexity that lifted it well above the level of bland self-abasement that might have been his response.
Shostakovich publicly described the new work as “a Soviet artist’s reply to just criticism.” Privately, he said (or is said to have said) that the fi nale was a satirical picture of the dictator, deliberately hollow but dressed up as exuberant adulation. It was well within Shostakovich’s power to present a double message in this way, and it is well beyond our means to establish whether the messages are true or false. The listener must read into this music whatever meaning may be found here; its strength and depth allow us to revise our impressions at every hearing.
The shadows of both Beethoven and Mahler hang over the first two movements: the fi rst one displaying great ingenuity in the control of tempo from slow to fast and back, and the second couched in a folksy idiom, with traces of the jocular spirit of all scherzos. The third movement is notable for the fi ne quality of the string writing (the brass are not involved) and its intensity of expression. In contrast, the fi nale gives the brass and percussion a chance to flex their muscles and hammer home the message of...what? Triumph in the major key, perhaps; pride in a populist regime, perhaps; the mask of jollity concealing the tears beneath, perhaps. The language of music remains forever inscrutable. —Hugh Macdonald
Christian Vásquez was Principal Conductor of the Stavanger Symphony Orchestra from 2013 to 2019 and Principal Guest Conductor of the Gävle Symphony Orchestra from 2010 to 2013 and of the Het Gelders Orkest from 2015 to 2020. He is currently Associate Conductor of the Simón Bolívar Symphony Orchestra and Music Director of the Juan José Landaeta Orchestra, part of the El Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela.
Vásquez has worked with orchestras such as the Philharmonia Orchestra, Residentie Orkest, Orchestre de la Suisse Romande, Vienna Radio Symphony, Camerata Salzburg, Russian State Symphony, Orchestre national du Capitole de Toulouse, Sinfónica de Galicia, Konzerthausorchester Berlin, Prague Radio Symphony, Warsaw Beethoven Festival, the Poznań, Rotterdam, Helsinki, Turku, and Munich philharmonic orchestras, the Basel Symphony, Estonian National Symphony Orchestra, Royal Danish Orchestra, Norwegian Radio Orchestra, RTÉ National Symphony Orchestra of Ireland, Tokyo
Philharmonic, and Singapore Symphony. In North America he has conducted the National Symphony Orchestra of Mexico, the National Arts Centre Orchestra (Ottawa), and the Los Angeles Philharmonic, the latter as a Dudamel Fellow.
Vásquez has worked with world-class musicians such
as Simon Rattle, Frank Peter Zimmermann, Pacho Flores, Truls Mørk, Sol Gabetta, Sergio Tiempo, Ray Chen, Kolja Blacher, Veronika Eberle, James Ehnes, Martin Grubinger, Kari Kriikku, Juan Ferrer, Jonathan Biss, Kirill Gerstein, Bertrand Chamayou, Igor Levit, and Stefan Schulz.
ANNE AKIKO MEYERS
Grammy Award winner Anne Akiko Meyers is one of the world’s most esteemed and celebrated violinists. Renowned as a muse and champion of today’s leading composers, she has commissioned, premiered, and recorded a signifi cant body of contemporary violin repertoire. The Strad hails her as “the Wonder Woman of commissioning,” a title earned through her close collaborations with visionary composers such as Arvo Pärt, Einojuhani Rautavaara, John Corigliano, Arturo Márquez,
Philip Glass, Michael Daugherty, Mason Bates, Adam Schoenberg, Billy Childs, Jakub Ciupinski, Ola Gjeilo, Morten Lauridsen, Wynton Marsalis, Somei Satoh, and Eric Whitacre. Since her teens, Meyers has performed around the world as soloist with leading orchestras and in recital and recorded more than 40 releases.
In the 2025/26 season Meyers premieres Eric Whitacre’s The Pacific Has No Memory with the Orpheus Chamber Orchestra, Colorado Music Festival Orchestra, and Los Angeles Chamber Orchestra; releases four world premiere recordings; and performs
in recital and with leading orchestras. The new recordings are Blue Electra, a violin concerto by Michael Daugherty with David Alan Miller and the Albany Symphony; Beloved, including Billy Childs’ requiem In the Arms of the Beloved and selections by Ola Gjeilo and Eric Whitacre with Grant Gershon and the Los Angeles Master Chorale; Philip Glass’ New Chaconne and Violin Concerto No. 1 with Gustavo Dudamel and the Los Angeles Philharmonic; and Adam Schoenberg’s Orchard in Fog with Gemma New and the New Zealand Symphony Orchestra. Meyers has appeared twice on The Tonight Show and on Tiny Desk Evening at Pops, and Great Performances. In 2024, her recording of Arturo Márquez’s Fandango, with Dudamel and the LA Phil, received two Latin Grammy Awards: Best Classical Album and Best Contemporary Composition. Fandango premiered in 2021 at the Hollywood Bowl and has been performed more than 40 times with 16 orchestras around the world.
Meyers performs on Larsen Strings with the Ex-Vieuxtemps Guarneri del Gesù, dated 1741, considered by many to be the fi nest-sounding violin in existence.
Anne Akiko Meyers is represented by Colbert Artists Management, Inc., 212 757 0782, colbertartists.com
WEDNESDAY SEPTEMBER 3, 2025 8PM
Hiatus Kaiyote
Naomi “Nai Palm” Saalfield, vocals/guitar
Paul Bender, bass
Simon Mavin, keyboard
Perrin Moss, drums
Snarky Puppy
Michael League, bass
Nate Werth, percussion
Bob Lanzetti, guitar
Jamison Ross, drums
Justin Stanton, keyboard and trumpet
Bobby Sparks II, keyboard
Mike “Maz” Maher, trumpet
Chris Bullock, saxophone and flute
Jay Jennings, trumpet
Zach Brock, violin
Programs and artists subject to change.
A great band is a group of musicians who share one nervous system. It’s an alchemy that goes beyond hours of practice and years spent together. It’s about sensing as much it is playing, anticipating without being warned, knowing without being told. To hear and see a great band at work is to witness a miracle.
Hiatus Kaiyote would never make such a claim about themselves. So let us make it: On their fourth album, Love Heart Cheat Code (Brainfeeder Records/Ninja Tune), you get to hear one of the greatest bands in the world, working one miracle after another.
The chemistry has been strong since their first jam session in 2011, in the living room of a “share house” in Melbourne, Australia. Guitaristvocalist Naomi “Nai Palm” Saalfield, bassist Paul Bender, keyboardist Simon Mavin, and drummer Perrin Moss released their first album, Tawk Tomahawk, the following year, garnering a Grammy nomination. Their second LP, 2015’s Choose Your Weapon, showcased skillful songwriting and daring harmony and rhythm. Several world tours and a second Grammy nomination followed. Then came 2021’s Mood Valiant, a reflective beauty created and issued
in the midst of the pandemic, and cause for a third Grammy nomination. In that time, Hiatus Kaiyote has graced stages from Coachella, Fuji Rock, and the Sydney Opera House to the Hollywood Bowl and Red Rocks; been sampled by hip-hop and R&B icons from Kendrick Lamar and Anderson .Paak to Jay-Z and Beyoncé; and been lauded in The New York Times and Rolling Stone. But what the years have really wrought for these four artists is a kind of precious interconnection. Love Heart Cheat Code is a snapshot of four musicians dancing together on the edge—11 playful, exuberant tracks that feel light and shine light. Not just a band. A band band. Four is the magic number. Très bien ensemble —Dan Charnas
“Maybe you didn’t notice, but this is Snarky Puppy’s world, and the rest of us only live in it.” —The New York Times Snarky Puppy, the five-time Grammy-winning collective, “has always been a band that prioritizes the sound of the music,” says bandleader and bassist Michael League. Displaying a wide array of influences including funk, R&B, hard rock, classic soul, modern gospel, new tech, fusion, and jazz, Snarky Puppy
isn’t exactly a jazz band, it’s not a fusion band, and it’s definitely not a jam band. It’s probably best to take Nate Chinen of The New York Times’ advice, to “take them for what they are, rather than judge them for what they’re not.”
Their latest Grammy-winning album, Empire Central, was released in September 2022. With a big, bold, chill, and laid-back sound, the album was a love letter to Texas, with the group looking fondly at where it came from.
“Our soundscape has expanded dramatically over the years,” says League. “When the band started, we were jazzier, brainy, and musicoriented. Moving into the Dallas scene we became groovier, more emotional, deeper in a sense. We focused more on communicating a clear message, understandable to a listener without dumbing things down.”
Each new record brings a new vision and progressive direction. “Our rule is that it can’t sound like it sounded before,” says League. “The music has to feel like it’s moving somewhere.” The band has just released a 10thanniversary deluxe edition of its groundbreaking album We Like it Here. It kicked o 2025 recording an album with the Metropole Orkest in the Netherlands in January and with a new vision for the GroundUP Festival in Miami in February.
Georgia Anne Muldrow is an Instrument of the Ancestors, electronic musician, mother, mentor, cultural technologist, vocalist/songwriter, and producer.
She’s collaborated on recorded work with Brittany Howard, Anderson .Paak (for Flying Lotus), Erykah Badu, Yasiin Bey (formerly known as Mos Def), Lakecia Benjamin, Meshell Ndegeocello, Adrian Younge and Ali Shaheed Muhammad’s The Midnight Hour Denzel Curry, Dudley Perkins, Tank and the Bangas, Bahamadia, MachHommy, Henry Threadgill, Dev Hynes, Mike & Keys, Keyon Harrold, Robert Glasper, Jason Moran, Brian Jackson, Wildchild, DJ Romes, Oh No, Big Daddy Kane, Posdnuos, Steve Arrington, Madlib, Bilal, Sa-Ra Creative Partners, Dwight Trible, and many more.
You guessed it—that IS a whole lot of talented Black folks. She’s from LA, raised and steeped in the Afrocentric art technologies of Leimert Park. She wrote “Stay Woke” with a kiddie marker on an old white tee, and it turned into a worldwide phenomenon soon after. She also thinks The Blues are too good to throw away but loves that her computer listens to her better than humans can.
Her Overload album was nominated for a Grammy, but she
likes her 2020 album Mama, You Can Bet! more.
She’s recorded 21 records to date and been in the morning paper quite a few times, including in the Los Angeles Times and The New York Times. Georgia wants you to
know that music is her spaceship— she’s a one-woman band that translates cosmic waves of music above her head...so they can touch your heart.
Landed in 1983, debuted in 2004, and still alive.
THURSDAY
Los Angeles Philharmonic
James Gaffigan, conductor
Elena Villalón, soprano
Isabel Signoret, mezzo-soprano
Joshua Blue, tenor
Christian Van Horn, bass-baritone
Los Angeles Master Chorale
Grant Gershon, Artistic Director
Jenny Wong, Associate Artistic Director
Ellen REID
BRAHMS
MOZART
Body Cosmic (c. 15 minutes) (LA Phil commission)
Awe | she forms herself
Dissonance | her light and its shadow
Schicksalslied (Song of Destiny) in E-flat major, Op. 54 (c. 15 minutes)
Langsam und sehnsuchtsvoll
Allegro
Adagio
Los Angeles Master Chorale
INTERMISSION
Requiem in D minor, K. 626, completed by Süssmayr (c. 47 minutes)
Introit—Requiem
Kyrie
Sequence
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa
O ertory
Domine Jesu
Hostias
Sanctus
Benedictus
Agnus Dei
Communion
Elena Villalón, Isabel Signoret, Joshua Blue, Christian Van Horn, Los Angeles Master Chorale
This concert will broadcast on Classical California KUSC (91.5 FM) October 19, 2025, at 7PM, and available to stream at kusc.org for seven days following its airing. Please visit hollywoodbowl.com/radio for the complete schedule.
This broadcast is made possible through the endowed LA Phil Broadcast Program Fund, generously supported by the Lenore S. and Bernard A. Greenberg Fund
Programs and artists subject to change.
Ellen Reid (b. 1983)
Body Cosmic is a meditation on the human body as it creates life and gives birth.
The first movement, Awe | she forms herself, unspools a melody against the pulse of an ostinato, reflecting the surreality of creating new life, so common and yet so astonishing. Dissonance | her light and its shadow explores the conundrum of bringing new life into the simultaneously beautiful and crumbling world, moving between big splashes of smearing brass and tumultuous percussion and moments of warmth and blazing beauty.
This piece was written in response to my own experience with pregnancy and childbirth, a period of time that coincided with my dual residency at the Concertgebouw concert hall and with the Concertgebouw Orchestra. Spending time in Amsterdam, working in the Concertgebouw’s storied halls, activated over 140 years of music-making, is a looming presence in this work. Thank you to the incredible musicians of the Concertgebouw Orchestra, whose generous artistic contributions rang loudly in my mind’s ear as I wrote this piece. —Ellen Reid, 2024
Johannes Brahms (1833–97)
Late in the summer of 1868, having taken his father to Switzerland for a mountain holiday, Brahms visited his friends the Dietrichs in Oldenburg. While there, he specifically asked if they could visit the great shipbuilding works at Wilhelmshaven (curiously, though he could rarely be induced to board a ship, Brahms was fascinated with them). On the morning scheduled for the visit, rising before the rest of the family, Brahms started reading the poems of Friedrich Hölderlin (1770–1843), which he found amid the Dietrich family’s books. He told his hosts that he had been deeply moved by a poem titled “Hyperion’s Song of Fate.” Years later, in a memoir recalling his friendship with Brahms, Albert Dietrich wrote:
When, later in the day, after having wandered about and seen everything of interest, we sat down by the sea to rest, we discovered Brahms at a great distance, sitting alone on the beach and writing. These were the first sketches for the Schicksalslied.
The text, reenacting the Classical fatalism of the Greeks, spoke to some central element in the composer’s own soul; yet despite the immediate reaction to the poem and the instant musical sketch, he was unable to bring the work to completion until May 1871. The problem may have lain in the structure of Hölderlin’s grim text: The poem is in two parts, the first depicting the tranquil, eternal bliss of the gods in their abode of light, the second contrasting it with the torments of humanity, driven by a blind destiny. Brahms did not want to end the music in such a negative mood. He considered simply repeating the opening words at the end but was dissuaded from that course by the conductor Hermann Levi. Instead, he concluded the piece with a tranquil orchestral statement of the opening music, thus rounding it o musically with a hint of consolation while retaining the text’s original form. The music of the gods is luminous, sharply contrasted to the hard-driven torments of mankind, especially the dramatic depiction of “water thrown from crag to crag,” followed by a sudden silence. The chorus ends on a note of resignation, but again—as in the Alto Rhapsody—a shift from C minor to C major brings reconciliation.
—Steven Ledbetter
Wolfgang Amadeus Mozart (1756–91)
Mozart’s Requiem o ers music history one of its most convoluted mysteries, the twisted threads of which are the subject of further investigation to this day. The tale begins as one of fiction: A messenger arrives on Mozart’s doorstep in summer 1791 with a commission for a Requiem Mass. Mozart accepts, and a fee is agreed upon, as well as a condition that he not know the identity of the commissioner. Although ill, Mozart began the work, but as he did, he became progressively more fatalistic, even believing that he was being poisoned slowly. He said to a friend, “I am writing my own funeral music. I must not leave it unfinished.”
Tragically correct, Mozart could not fulfill the commission. He might have, had he not also composed La clemenza di Tito for the coronation of Emperor Leopold in Prague on September 6; written a Masonic Ode, completed on November 15; and (thank heaven) finished Die
Zauberflöte, which premiered on September 30. By November 1791, with his days numbered and anguished, he was working on the Requiem from his deathbed, with his pupil Franz Xaver Süssmayr (1766–1803) in attendance. When Mozart died on December 5, only the first two sections, the Requiem and the Kyrie, were completely finished; the second to the ninth movements—the Dies irae to the Hostias—were left in draft form. How, then, do we have a complete Mozart Requiem? Anxious not to lose the fee for the work, Mozart’s widow, Constanze, entrusted the completion of the score to Süssmayr and two of her husband’s other students, Joseph Eybler and Franz Freystädtler. When the Requiem was completed, the identity of the commissioner became known: Count Franz von Walsegg, who frequently paid composers for pieces that he passed o as his own. He had intended for the Requiem to be performed in memory of his wife, who had died the previous February. According to scholarly
conclusions, Freystädtler’s role was small—he and Süssmayr assisted with the completion of the fugue of the Kyrie. Eybler and Süssmayr reconstructed and/or filled in the sketches—according to Mozart’s instructions or verbal intentions—of a large portion of the torso, and Süssmayr composed the Sanctus, Benedictus, and Agnus Dei. Many have been the arguments against the sections composed entirely by Süssmayr and even of those parts reconstructed by him. One is left with the sense, however, that Süssmayr deserves more thanks for saving the work from oblivion than censure. As an entity, the Requiem is a grandiose work: powerful in the fearsomeness of its visions of the Last Judgment and sublime in the gentleness of its evocation of salvation and eternal rest. Appropriately, the scoring is dark in color. Lighter-hued flutes and oboes are omitted, and the strings are often used in their lower registers. Yet, for all its solemnity, Mozart’s Requiem is a luminous and wondrous thing, more than merely beautiful. —Orrin Howard
Recognized worldwide for his natural ease and extraordinary collaborative spirit, American conductor James Ga gan has attracted international attention for his prowess as a conductor of both symphony orchestras and opera.
Ga gan is the General Music Director of Komische Oper Berlin, where he began his second season
in 2024/25, and Music Director of the Palau de les Arts Reina Sofía in Valencia, where he led widely acclaimed productions of Wozzeck, La bohème, and Tristan und Isolde
In his 2024/25 season with Komische Oper Berlin, Gaffigan led productions of Sweeney Todd, The Magic Flute, and Don Giovanni. At Palau de les Arts Reina Sofía, he conducted a varied season of programming, including a staging of Der fliegende
Holländer. Guest engagements included his debut with the NDR Elbphilharmonie Orchester and returns to the Symphonieorchester des Bayerischen Rundfunks and Luzerner Sinfonieorchester.
In the United States, he made return engagements with the Chicago Symphony Orchestra, National Symphony Orchestra, San Francisco Symphony, and Houston Grand Opera.
Ga gan was first-prize winner of the 2004 Sir Georg Solti International Conducting Competition, which opened Europe’s doors to him as a young American. In 2009, he completed a three-year tenure as Associate Conductor of the San Francisco Symphony, a position created for him by Michael Tilson Thomas. Prior to that, he was Assistant Conductor of The Cleveland Orchestra, where he worked with Music Director Franz Welser-Möst. Ga gan is an alumnus of the Aspen Music Festival and School Aspen Conducting Academy and the Tanglewood Music Center.
Ga gan grew up in New York City and studied at the LaGuardia High School of Music and Art before pursuing his conducting studies. He believes that access to music education is the method by which America’s concert halls will finally begin to reflect our community and shrink the racial and gender gaps that exist in the performing arts today.
Winner of the Metropolitan Opera National Council Auditions, several prizes at the Belvedere Singing Competition, and Third Prize and the Audience Prize at the Operalia competition 2023, Cuban American soprano Elena Villalón is already attracting major industry attention. An alumna of the Houston Grand Opera Studio, Villalón made two major appearances in New York in the 2024/25 season: as Nuria in the highly anticipated Metropolitan Opera premiere of Osvaldo Golijov’s Ainadamar and her solo recital debut at Carnegie Hall with pianist Craig Terry. She also returned to Santa Fe Opera as Gilda in Rigoletto, made her debuts as Almirena in Rinaldo at Detroit Opera and in the title role in Rodelinda at Oper Frankfurt, where she also portrayed Susanna (Le nozze di Figaro) and Sophie (Der Rosenkavalier). Future engagements include company debuts with the Royal Ballet & Opera, Opéra national de Paris, Staatsoper Berlin, and Glyndebourne Festival.
During the 2023/24 season, Villalón made debuts at the Metropolitan Opera as Amore in Gluck’s Orfeo ed Euridice and Sheila in the world premiere of Gregory Spears’ The Righteous at Santa Fe. As an ensemble member at Oper Frankfurt, Villalón made her role debuts as Pamina in Die Zauberflöte and Frasquita in Carmen. In concert, she sang Mahler’s Symphony No. 4 under James Ga gan with the Boston Symphony Orchestra at the Tanglewood Music Festival, Handel’s Messiah and Brahms’ Ein deutsches Requiem with the Pittsburgh Symphony, Bach’s Christmas Oratorio at the Tiroler Festspiele Erl, and Mahler’s Symphony No. 2 with the Lubbock Symphony in her native Texas.
Puerto Rican mezzo-soprano Isa Signoret is an ensemble member of the Wiener Staatsoper, having completed a two-year studio residency. In the 2024/25 season at the Wiener Staatsoper, Signoret
sang Dorabella in Così fan tutte Cherubino in Le nozze di Figaro, Zerlina in Don Giovanni, and Minerva in Il ritorno d’Ulisse in patria. She made her Paris Opera debut as Wellgunde in a new production of Das Rheingold conducted by Pablo Heras-Casado and conceived by Calixto Bieito.
Signoret’s recent seasons in Vienna have also included Suzuki in Madama Butterfly, Muriel in Animal Farm, Rosina in a new production of Der Barbier für Kinder, Mercédès in Carmen, Meg Page in Falsta , Amando in a new production of Le Grand Macabre, Lola in Cavalleria rusticana, Amore/Valletto in L’incoronazione di Poppea, Tisbe in La Cenerentola, Bersi in Andrea Chénier, Blumenmädchen in Parsifal, and the Page in Salome. In concert she has performed Handel’s Messiah with the North Carolina Symphony.
Signoret, a graduate of Rice University, has performed with Wolf Trap Opera and the Aspen and Miami music festivals. In concert, she has presented recitals of Spanish, Cuban, and Argentinian art song with guitar and piano.
British American tenor Joshua Blue made several company debuts in the 2024/25 season, including reviving the role of Rodolfo in La bohème for the English National Opera alongside conductor Clelia Cafiero and with the San Diego Opera under conductor Lidiya Yankovskaya and director Keturah Stickann. Other season highlights included Handel’s Messiah with The Phoenix Symphony and conductor Patrick Dupré Quigley; his first portrayal of Ferrando in Così fan tutte in a new production by director Yuval Sharon and conductor Corinna Niemeyer with the Detroit Opera; Paul Moravec’s Sanctuary Road led by Andrew Grams with the Charleston Symphony; a concert of Puccini arias and duets led by Don Liuzzi; a return to Opera Philadelphia to debut the role of Colin in Bologne’s L’amant anonyme under the baton of Kalena Bovell; Handel’s Messiah at Carnegie Hall with the Oratorio Society of New York and conductor Kent Tritle; tenor arias from Bach’s St. Matthew Passion at St. John the Divine in New York;
Beethoven’s Symphony No. 9 with Joe Illick and the New Year’s Eve Orchestra at the Lensic Theatre in Santa Fe; his first time as Alfred in Die Fledermaus with conductor George Manahan, director Shawna Lucey, and the Opera Theatre of Saint Louis; My Brother’s Keeper, a newly conceived evening celebrating Black men in America through art song, soul, gospel, and opera with pianist Steven Blier at the New York Festival of Song; and Alfredo in La Traviata at the Berkshire Opera Festival, jointly produced by cofounders conductor Brian Garman and director Jonathan Loy.
With a voice that can “shake the heavens” (Opera Today), bassbaritone Christian Van Horn has established himself as a favorite of audiences and critics alike. With his powerful instrument and commanding stage presence, Van Horn has been hailed by The New York Times as “a bass-baritone of uncommon agility and power,” with a versatility that allows him to embody a variety
of compelling roles, ranging from Méphistophélès to Don Giovanni.
In the 2024/25 season, he starred as the Four Villains in O enbach’s Les contes d’Ho mann at the Metropolitan Opera. Other engagements included the title role in Bartók’s Bluebeard’s Castle with the Chicago Symphony Orchestra and Esa-Pekka Salonen, his greatly anticipated debut as Philippe II in Verdi’s Don Carlos at the Opéra national de Paris, Escamillo in Bizet’s Carmen for both San Francisco Opera and Royal Ballet and Opera, and his title role debut in Verdi’s Attila, presented in concert at the Teatro Real.
In the 2023/24 season, Van Horn brought his “vocally resplendent and dramatically compelling” (San Francisco Chronicle) voice to the title role in Bluebeard’s Castle at Carnegie Hall and on tour throughout Asia with Elīna Garanča, the Metropolitan Opera Orchestra, and Music Director Yannick Nézet-Séguin. He made his Wiener Staatsoper debut in the title role of Mozart’s Don Giovanni and later sang the role in concert at the Théâtre des Champs-Élysées.
The Grammy-winning Los Angeles Master Chorale is the “the fi nestby-far major chorus in America” ( Los Angeles Times) and a vibrant cultural treasure. Hailed for its powerful performances, technical precision, and artistic daring, the Chorale is led by Grant Gershon, Kiki & David Gindler Artistic Director; Associate Artistic Director Jenny Wong; and President & CEO Scott Altman. Its Swan Family Artistin-Residence is Reena Esmail.
Created by legendary conductor Roger Wagner in 1964, the Chorale is a founding resident company of
The Music Center and choir-inresidence at Walt Disney Concert Hall. The Chorale reaches over 175,000 people a year through performances at Walt Disney Concert Hall, its international touring of innovative works, and its collaborations with the Los Angeles Philharmonic and others.
The Chorale’s discography includes the LA Phil’s Deutsche Grammophon recording of Mahler’s Symphony No. 8, for which the Chorale won a Best Choral Performance Grammy with the National Children’s Chorus, Los Angeles Children’s Chorus, and Pacifi c Chorale. The Chorale released The Sacred
Veil by Eric Whitacre in 2020. Under Gershon’s direction, the Chorale has released eight commercial recordings and is featured on the soundtracks of many major motion pictures, including Star Wars: The Last Jedi and The Rise of Skywalker
The Chorale toured its productions of Lagrime di San Pietro and Heinrich Schütz’s Music to Accompany a Departure, both directed by Peter Sellars, earning rave reviews across the globe that cited the Chorale’s performances as “painfully beautiful” (Süddeutsche Zeitung) and “transcendent” and “incomparably moving” ( Los Angeles Times).
SOPRANO
April Amante
Tamara Bevard
Christina Bristow
Harriet Fraser
Graycen Gardner
Ayana Haviv
Karen Hogle Brown
Elissa Johnston
Juhye Kim
Holly Sedillos
Sunmi Shin
Kathryn Shuman
Addy Sterrett
Suzanne Waters
Andrea Zomorodian
Anna Caplan
Carmen Edano
Michele Hemmings
Shabnam Kalbasi
Sharon Chohi Kim
Hannah Little
Sarah Lynch
Adriana Manfredi
Cynthia Marty
Julia Metzler
Alice Kirwan Murray
Lindsay Patterson Abdou
Jessie Shulman
Nike St. Clair
Nancy Sulahian
Elyse Willis
Casey Breves
Matthew Brown
Bradley Chapman
Adam Faruqi
Michael Jones
Dermot Kiernan
Joey Krumbein
Charles Lane
Kyuyoung Lee
Michael Lichtenauer
JJ Lopez
David Morales
Evan Roberts
Todd Strange
Matt Thomas
Michael Bannett
Mark Beasom
John Bu ett
Kevin Dalbey
Dylan Gentile
Will Goldman
Abdiel Gonzalez
Scott Gra
James Hayden
Jared Jones
Luc Kleiner
Ben Han-Wei Lin
Brett McDermid
Steve Pence
Mark Edward Smith
Shuo Zhai
The Artists of the Los Angeles Master Chorale are represented by the American Guild of Musical Artists, AFL-CIO, James Hayden, AGMA Delegate.
TUESDAY SEPTEMBER 9, 2025 8PM
Los Angeles Philharmonic Rafael Payare, conductor
Alisa Weilerstein, cello
DVOŘÁK
Wynton MARSALIS
Cello Concerto in B minor, Op. 104 (c. 40 minutes) Allegro Adagio ma non troppo Finale: Allegro moderato
Alisa Weilerstein
INTERMISSION
Concerto for Orchestra (c. 38 minutes) (US premiere, LA Phil commission) Who Struck John? Group Speak Testimonials It Comes in Waves A Love Feeling Say What?
This concert will broadcast on Classical California KUSC (91.5 FM) October 26, 2025, at 7PM, and available to stream at kusc.org for seven days following its airing. Please visit hollywoodbowl.com/radio for the complete schedule.
This broadcast is made possible through the endowed LA Phil Broadcast Program Fund generously supported by the Lenore S. and Bernard A. Greenberg Fund
Programs and artists subject to change.
Antonín Dvořák (1841–1904)
In September 1892, Dvořák, accompanied by some of his family, arrived in America to take up the post of director of the National Conservatory of Music. The invitation came from the conservatory’s wealthy founder, Jeannette Thurber, and o ered Dvořák a substantial salary as well as the chance to perform his own compositions. Dvořák accepted and spent the next two-and-a-half years teaching and performing in the United States.
The Cello Concerto was one of only two works Dvořák composed during his last year in New York. Cellist and composer Victor Herbert was Dvořák’s unwitting muse after Dvořák attended a performance of Herbert’s Second Cello Concerto. After the performance, Dvořák reportedly went backstage, threw his arms around Herbert, and exclaimed, “Splendid! Splendid!” Dvořák especially liked Herbert’s brilliant use of the cello’s upper registers, which until then Dvořák had regarded as weak and limited. He also observed the three trombones used to accompany the soloist in the slow movement. Dvořák strayed from conventional instrumentation in his own concerto by adding three trombones, as well as tuba, piccolo, and triangle.
Dvořák’s abandonment of Classical concerto scoring for a more symphonic orchestra with an augmented brass section could have presented a twofold problem for any soloist: Not only are the brass instruments louder than the cello, but they also play in the same low register. Dvořák skillfully avoids obscuring the cello’s sound by allowing a reversal of roles as the cello at times accompanies the orchestra. There are also a number of lush and prominent solos given to various instruments as well as long passages where the cello is silent. Dvořák desired his concerto to be more a
dialogue and less a virtuoso showcase. The first movement’s opening section is constructed like a symphonic exposition and begins with a theme reminiscent of a funeral march. This dark and brooding motif is soon taken up by the full orchestra, builds to a climax, then gently quiets and gives way to the movement’s second theme, a wonderfully tender melody played by a single horn. The cello’s entrance, marked quasi improvisando, develops in the remote key of A-flat minor over violin and viola tremolando. The Adagio ma non troppo begins peacefully in G major. The expansive and lyrical development of the first subject leads to a gentle climax and denouement. We are not given time to reflect before the orchestra explodes with a jarring G-minor chord. Shortly after, Dvořák quotes “Leave Me Alone,” the first of his Four Songs, Op. 82, and a favorite of his sister-in-law, Josefina Kaunitzová, with whom a younger Dvořák had fallen in love long before deciding to marry her sister. Kaunitzová, who became gravely ill while the composer was in America, died soon after his return to Bohemia. The solo cello sings this quote with passionate intensity over anxious arpeggios in the violins. The cello then takes up arpeggios, with woodwinds playing the theme. After passing through several ambiguous tonalities, the opening section repeats and draws the movement to a reluctant close.
The finale is a lively, dance-like movement partly shaped by Dvořák’s warm thoughts of his impending return home. The melancholy and longing of the first two movements is cast o and replaced with an exuberant hopefulness. Once in the bright key of B major, the soloist joins solo violin in a duet of tenderness and brilliance. The movement includes one last reference to “Leave Me Alone,” this time in a major key, as well as subtle echoes of the first movement’s theme. A brilliant crescendo for the full orchestra takes us to the thunderous final chords. —J. Anthony McAlister
(b. 1961)
For more than four decades, Wynton Marsalis has seamlessly navigated the worlds of classical and jazz as a composer, bandleader, and trumpeter. In addition to touring and performing— often with the Jazz at Lincoln Center Orchestra where he is the Managing and Artistic Director—Marsalis has maintained a prolific compositional career since the 1980s. He writes music that often lies at the intersection between genres, coloring in traditional symphonic forms with bluesy hues and jazzy rhythms. Among his works are the jazz oratorio Blood on the Fields (winner of the 1997 Pulitzer Prize for Music), four symphonies, and concertos for violin, tuba, and trumpet, among others.
With his Concerto for Orchestra, Marsalis puts himself into conversation with the concerto grosso, which was popularized during the Baroque era as a way of highlighting several musicians of a chamber orchestra. In the first half of the 20th century, Modernist composers like Paul Hindemith and most famously Béla Bartók adapted the idea to a much larger symphonic orchestra as a means of showcasing the parts within a whole.
Otto Hagedorn of the WDR Sinfonieorchester, which premiered the work, writes, “The idea for the Concerto for Orchestra arose from the many years of collaboration and the many conversations I have had with Wynton Marsalis. The language he uses in all his compositions is the idiom of jazz, but the way he builds the structure has classical origins. Forms that go back to the fugue or passacaglia are present in all his compositions. But he reinvents them to fit his own musical language.”
Marsalis’ concerto is written in six movements, each with a playful title that hints at the lively dialogue between the various sections.
Please scan the QR code for more information on the concerto.
Rafael Payare’s innate musicianship, technical brilliance, and charismatic energy have elevated him as one of the most sought-after conductors. The 2024/25 season marked Payare’s third season as Music Director of Orchestre symphonique de Montréal and his fifth as Music Director of the San Diego Symphony, with which his relationship has been recognized as one of the most dynamic in North America.
Payare was previously Principal Conductor and Music Director of the Ulster Orchestra from 2014 to 2019, appearing twice with the orchestra at the BBC Proms, in 2016 and 2019, and now holds the title of Conductor Laureate.
With his gift for communication and irresistibly joyous spirit, Payare works with the world’s leading orchestras, including the Wiener Philharmoniker, Chicago Symphony, Munchner Philharmoniker, Orchestra dell’Accademia Nazionale di Santa Cecilia, Berlin Staatskapelle,
Tonhalle-Orchester Zürich, London Symphony Orchestra, Chamber Orchestra of Europe, and The Cleveland Orchestra. Soloists with whom he has enjoyed collaborations include Daniil Trifonov, Frank Peter Zimmerman, Vilde Frang, Hilary Hahn, Maria João Pires, Gil Shaham, Jean-Yves Thibaudet, Alisa Weilerstein, Piotr Anderszewski, Sergey Khachatryan, Emanuel Ax, Yefim Bronfman, and Dorothea Röschmann. Highlights of the 2024/25 season included a major European tour with Orchestre symphonique de Montréal and return visits to The Philadelphia Orchestra, New York Philharmonic, and Royal Opera House, Covent Garden, to conduct Turandot
Born in 1980 and a graduate of the celebrated El Sistema in Venezuela, Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the major orchestras, including the Simón Bolívar Symphony Orchestra. Having also served as Principal Horn of the Simón Bolívar Symphony Orchestra, he took part in many prestigious tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Simon Rattle, and Lorin Maazel.
In May 2012, Payare was awarded first prize at the Malko international conducting competition.
ALISA WEILERSTEIN
Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment, and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations.
With her multi-season solo cello project, FRAGMENTS, Weilerstein aims to reimagine the concert experience. Comprising six programs, each an hour long, the series sees her weave together the 36 movements of Bach’s solo cello suites with 27 new commissions in a multisensory production by Elkhanah Pulitzer. In the 2024/25 season, she premiered FRAGMENTS 3 at San Diego’s Jacobs Music Center, gave the New York premieres of FRAGMENTS 2 and 3 at New York’s Carnegie Hall, and performed the complete cycle at Charleston’s Spoleto Festival USA.
Weilerstein regularly appears alongside preeminent conductors with the world’s major orchestras. Versatile across the cello repertoire’s full breadth, she is a leading exponent of its greatest classics and an ardent proponent
of contemporary music who has premiered important new concertos by Pascal Dusapin, Matthias Pintscher, and Joan Tower. In 2024/25, she brought to life three more concertos, premiering Thomas Larcher’s with the New York Philharmonic and Bavarian Radio Symphony; Richard Blackford’s with the Czech Philharmonic; and Gabriela Ortiz’s with Gustavo Dudamel and the Los Angeles Philharmonic at Walt Disney Concert Hall, Bogotá’s Teatro Mayor, and Carnegie Hall. Her other
2024/25 highlights included seasonopening concerts with the San Diego and Kansas City symphonies; returns to the Berlin Philharmonic, Leipzig Gewandhaus, and Royal Concertgebouw orchestras; and duo recitals with Inon Barnatan at Stanford University and in Boston’s Celebrity Series.
Diagnosed with type 1 diabetes at 9 years old, Weilerstein is a staunch advocate for the T1D community. She lives with her husband, Venezuelan conductor Rafael Payare, and their two young children.
WEDNESDAY SEPTEMBER 10, 2025 8PM
Marcus Miller, musical director
Craig Robinson, host
Color of Noize Orchestra
Derrick Hodge, conductor
Bun B, special guest
Miles Caton, special guest
Morris Day, special guest
D-Nice, special guest
Full Force, special guest
Warren G, special guest
Jennifer Holliday, special guest
Jimmy Jam and Terry Lewis, special guests
Alice Smith, special guest
Programs and artists subject to change.
Marcus Miller’s musical legacy spans decades of groundbreaking contributions as a Grammy Award–winning artist, producer, and composer. His soulful, funky bass lines have graced over 500 recordings and have enriched tracks by legends like Miles Davis, Luther Vandross, Aretha Franklin, Bill Withers, Herbie Hancock, and David Sanborn. Miller’s accolades reflect his impact on the music world. Besides having produced five Grammy-winning albums, Miller has received the Netherlands’ esteemed Edison Award, the Montreal Jazz Festival’s Miles Davis Award, 10 DownBeat magazine “Electric Bassist of the Year”
awards, and France’s revered Les Victoires du Jazz award. Miller’s appointment as a UNESCO Artist for Peace reflects his unwavering commitment to music as a catalyst for change. He received a cultural medal of distinction from both Monaco and France, a testament to his lifelong dedication and contributions to the world of music.
Beginning as a stand-up comedian, Craig Robinson fi rst made his mark in the comedy circuit at the 1998 Montreal Just For Laughs festival. Now headlining venues and festivals across the US, he does both solo acts and full sets with his band The Nasty Delicious. Before deciding to
pursue his comedy career full-time, Robinson was a K–8 teacher in the Chicago public school system. He earned his undergraduate degree from Illinois State University and his Master of Education from Saint Xavier University. While Robinson was studying education in Chicago, he discovered his love of acting and comedy when he joined the famed Second City theater. Robinson is best known for his portrayal of Daryl Philbin in NBC’s The O ce but has also starred in such movies as Knocked Up, This Is the End, Hot Tub Time Machine, Hot Tub Time Machine 2, Morris from America, Tragedy Girls, Dolemite Is My Name, and Timmy Failure: Mistakes Were Made. Robinson also starred in his very own sitcom, Mr. Robinson, on NBC, as well as Ghosted on Fox.
Derrick Hodge is a distinguished bassist and composer, celebrated for his rich and multifaceted solo projects—Live Today (2013), The Second (2016), and Color of Noize (2020). His music reflects his church roots, passion for hiphop, and deep appreciation for melody and classical composition.
Growing up near Philadelphia, Hodge became immersed in the city’s neo-soul scene and later served as the musical director for artists like Jill Scott and Nas while performing in orchestras and jazz circles with legends like Terence Blanchard and Donald Byrd. Hodge has achieved numerous historic milestones, including directing music for the Academy Awards and arranging for Nas at the Grammys. He conducted the fi rst all-Black orchestra at the Hollywood Bowl during CNN’s Juneteenth celebration and became the fi rst Black composer
to arrange hip-hop for the National Symphony Orchestra.
Hodge has contributed to projects like the Smithsonian’s National Museum of African American History and Culture and scored influential films such as The Black Candle and The Photograph. His signature series, Color of Noize, premiered in 2019 at the Monterey Jazz Festival, showcasing diverse musical styles and fostering community.
It’s been well over 30 years since Bernard Freeman—known better to the world as Bun B—changed the hip-hop landscape as one-half of the legendary UGK alongside the late Pimp C. While the Grammynominated duo collectively delivered six classic albums and two EPs, Bun solidified his solo warrior status with five projects that embodied his Port Arthur, TX, mantra to “keep it trill.”
From UGK’s 1992 debut Too Hard to Swallow and their
groundbreaking “Int’l Players Anthem (I Choose You)” with Outkast 15 years later to their cameo on Jay-Z’s “Big Pimpin,” Southern hip-hop was made better thanks to the Underground Kingz. And despite Pimp C’s passing in 2007, his legacy lives on thanks to his partner in rhyme. As for Bun, his solo work speaks for itself.
In 2006 Bun B won an ASCAP Award for Top R&B/Hip-Hop Song for his writing and performance on the single “Give Me That,” and he also holds an MTV Music Award for Best R&B Video for Beyoncé’s “Check on It,” featuring himself and Slim Thug. His third solo album, 2010’s Trill O.G., garnered 5 mics from The Source and an XL rating from XXL Magazine. By 2013, he released his last project before his musical break, The Epilogue, boasting collaborations with Rick Ross, 2 Chainz, and Big K.R.I.T.
On January 1, 2021, Bun welcomed the new year with the release of the collaborative EP Distant with fellow Houston rapper LE$.
Miles Caton is a rising actor and musician who gained global recognition for his breakout role in Ryan Coogler’s box-o ce hit Sinners for Warner Bros. In his acting debut, Caton starred opposite an all-star cast and received rave reviews for his role as Sammie.
The 20-year-old Brooklyn native first garnered national attention in 2017 after a video of him singing “Feeling Good” (made popular by Nina Simone) went viral, leading to appearances on NBC’s Little Big Shots, The View, and a part in the Jay-Z short film “4:44.” In 2022, he toured with Grammy-winning artist H.E.R. as a background vocalist, during which H.E.R. encouraged him to audition for Sinners. Despite having no prior acting experience, he landed the role and learned how to play guitar for the role in two months.
Caton released his debut single “This Ain’t It” in 2023 and cowrote the original song “Last Time (I Seen the Sun)” for Sinners alongside singer-songwriter Alice Smith and Academy Award–winning composer Ludwig Göransson. With his blend of artistic versatility, Miles Caton has emerged as one of the most exciting and promising new voices in entertainment.
With his dynamic dancing and smooth, gutsy vocals, Morris Day played an essential role in the development of the Twin City dance/club sound of the 1980s. A founding member of Prince’s band The Time, he remained with the group until 1984, when he launched his solo career. Returning for the first time in 1988, he performed and recorded with The Time from 1990 until 1991 and from 1995 on. Day’s involvement with Prince traces back to 1980, when his composition “Partyup,” originally recorded when he was a member of the Enterprise, was covered on Prince’s Dirty Mind. After the release of his debut solo album, Color of Success, in 1985, Day reached his apex with his second solo album, Daydreaming, two years later. Produced by ex–Time members Terry Lewis and Jimmy Jam, the album included the chart-topping R&B tune “Fishnet.” Day released his third solo album, Guaranteed, in 1992. Day returned to recordstore racks in 2004 with It’s About Time, a mostly live album with a few new studio cuts, including a guest appearance by rapper E-40. Day has appeared in such films as Purple Rain and the sitcom New Attitude
With his journey taking him from the streets of Harlem to the White House, Derrick “D-Nice” Jones is not only a pillar of hip-hop but is continuing to steer pop culture. The legendary artist, DJ, and photographer has moved millions on wax, onstage, and now online with his revolutionary virtual Club Quarantine, which raised millions for first responders, HBCUs, and more. D-Nice’s global influence has been acknowledged time and again, with the NAACP Image Awards naming him Entertainer of the Year, Time magazine nominating him as 2020 Person of the Year, and Ebony magazine including him on its 2021 Power 100 list. After spreading hope online, D-Nice got viewers around the world moving with his performances at the NBA All-Star Game and the 94th Academy Awards. D-Nice and his company, BrandNice, coproduced a special soldout presentation of Club Quarantine Live at the legendary Carnegie Hall and a history-making engagement at the Opera House at the Kennedy Center. He rounded out 2022 with appearances on the Soul Train Awards and American Music Awards and returned to the stage on Dick Clark’s New Year’s Rockin’ Eve D-Nice consistently innovates and inspires, leaving an indelible mark on the entertainment industry.
As a struggling young local band straight outta Brooklyn and fresh out of high school, trying to get a record deal in the early 1980s was tough. Fortunately, this young, persistent band finally gained recognition for its multifaceted roles as music producers and performers. The talented sixman collective (Bowlegged Lou, Paul Anthony, B-Fine, Baby Gerry, JR, and Curttt) better known as Full Force has been consistently and successfully creating great music as far back as the mid-’80s! Full Force first gained recognition as music producers by creating the classic hip-hop hit “Roxanne, Roxanne” by UTFO. This phenomenon of a song spawned 84 answer records and birthed the careers of several female rappers, like the Real Roxanne and Roxanne Shante (“Roxanne’s Revenge”).
Showing its versatility, Full Force went on to create the group Lisa Lisa & Cult Jam, for whom it wrote and produced several No. 1 hits, such as “I Wonder If I Take You Home,” “All Cried Out,” “Can You Feel the Beat,” “Lost in Emotion,” and “Head to Toe.” Full Force went on to produce and write for many artists, including Patti LaBelle, Lil’ Kim, *NSYNC, Rihanna,
James Brown, Michael Jordan, Ex Girlfriend, Backstreet Boys, Allure, Howard Hewett, Whodini, Force M.D.’s, Cheryl “Pepsii” Riley, Selena, and 3LW.
As musicians, Full Force was known for combining hip-hop and R&B with powerful vocals and catchy melodies. The band created the hits “Ain’t My Type of Hype” (from the movie House Party), “Alice, I Want You Just for Me!,” “Temporary Love Thing,” and “All in My Mind” from the album Guess Who’s Comin’ To The Crib
The cultural influence of groundbreaking American rapper, record producer, media personality, philanthropist, and entrepreneur Warren G (born Warren Gri n III) remains as urgent today as his 1994 multiplatinum smash “Regulate.”
Recorded with childhood friend and iconic superstar Nate Dogg, the track would define the rap genre and a generation. For three decades, Gri n has sold 8 million to 10 million records worldwide. Today, he is crafting a new narrative by extending his reach into the culinary arts, inspired by his family history.
As the artist reaches 50, his achievements in crafting music to
reflect the sound and poetry of a generation are without comparison. Now, Gri n has emerged as the “hip-hop pit master,” eager to share a lifestyle that personifies joy, family, and celebration.
Jennifer Holliday catapulted to stardom 43 years ago in the smash Broadway musical Dreamgirls with her show-stopping performance as E e “Melody” White, the iconic role that garnered her a Tony Award for Best Actress in a Musical. She was discovered at age 17 while singing in her church choir in Houston by dancer Jamie Patterson, who persuaded her to move to New York City. She made her Broadway debut in Vinnette Carroll’s Your Arms Too Short to Box with God as a featured soloist. Beyond Broadway, Holliday appeared as Lisa Knowles on the Fox TV dramedy Ally McBeal. She has also enjoyed a successful recording career, winning Grammy Awards for her mesmerizing performances of “And I Am Telling You I’m Not Going” (1982) and Duke Ellington’s “Come Sunday” (1985). Holliday has also received rave reviews for her 2014 album The Song Is You
Five-time Grammy Award winners Jimmy Jam and Terry Lewis are world-renowned songwriters, record producers, musicians, and entrepreneurs. For over 40 years, Jam and Lewis’ accomplishments have elevated them to iconic status within the music industry.
Jam and Lewis have collaborated on over 100 Gold, Platinum, and Diamond certified recordings for a diverse array of artists including Prince, Michael Jackson, Boyz II Men, Sting, Elton John, Mary J. Blige, Usher, Beyoncé, Luther Vandross, Rihanna, Rod Stewart, Mariah Carey, Gwen Stefani, Willie Nelson, New Edition, Sounds of Blackness, Morris Day, The Time, Janet Jackson, and Earth, Wind & Fire.
Jam and Lewis have amassed 26 No. 1 R&B singles and 16 No. 1 Hot 100 hits, giving the duo more Billboard No. 1s than any other songwriting/ production team in chart history.
Jam and Lewis won their first Grammy Award for Producer of the Year (Non-Classical) in 1987 and
have received 10 more Producer of the Year nominations since, the most nominations in that category in Grammy history.
As songwriters, Jam and Lewis have garnered over 100 ASCAP Awards and have won a record-breaking nine ASCAP Songwriter of the Year awards. The duo was honored with Oscar and Golden Globe nominations, was immortalized with a star on the Hollywood Walk of Fame, and was inducted into the 2017 class of the Songwriters Hall of Fame and 2023 Rock & Roll Hall of Fame.
Grammy-nominated singersongwriter Alice Smith is known and celebrated for her soulful, fouroctave vocal range and formidable stage presence. She began her music journey in the earliest days of the New York Afropunk scene. Her critically acclaimed 2006 debut album For Lovers, Dreamers and Me earned Smith a Grammy nomination with its lead single,
“Dream.” Since then, her artful blend of soulful vocals and mid-tempo grooves has garnered a passionate following that has packed venues like New York City’s Apollo Theater, Bowery Ballroom, and Irving Plaza. Her subsequent album, She, took Smith a step further into her own power and highlights stirring combinations of fiercely honed pop, drenched in notes of soul.
Her latest collection of songs, Mystery, features intuitively crafted originals that pair a “trip-hop-like grit” with the exquisite sultriness of Smith’s state-altering voice. She will put a spell on you; Smith has created timeless compositions that have transcended and redefined the boundaries found in popular music.
Alice Smith’s artistry is as intoxicating as it is mesmerizing, always feeding audiences music they can truly feel. She is a muse to and has collaborated with artists such as Khalil Joseph, Glenn Kaino, and Isaac Julien. Most recently, Smith cowrote and recorded “Last Time (I Seen the Sun)” for the 2025 film Sinners, directed by Ryan Coogler and scored by Ludwig Göransson.
THURSDAY SEPTEMBER 11, 2025 8PM
Los Angeles Philharmonic
Jonathon Heyward, conductor
Dance Theatre of Harlem
Robert Garland, Artistic Director and choreographer
Katy A. Freeman, costumes
TCHAIKOVSKY
Adolphus HAILSTORK
PROKOFIEV
Romeo and Juliet Fantasy Overture (c. 23 minutes)
Symphony No. 1 (c. 21 minutes)
Allegro
Adagio: Lento ma non troppo
Scherzo: Allegretto
Rondo: Vivace
Derek Brockington, Micah Bullard, Alexandra Hutchinson, Ingrid Silva, Delaney Washington
INTERMISSION
Romeo and Juliet, Suite No. 2, Op. 64 (c. 35 minutes)
The Montagues and the Capulets
Juliet the Maiden
Friar Laurence
Dance
The Parting of Romeo and Juliet
Dance of the Antillean Maidens
Derek Brockington, Ariana Dickerson, Carly Greene, Alexandra Rene Jones
Romeo at the Tomb of Juliet
Kamala Saara, Kouadio Davis, Delaney Washington, Derek Brockington, Kira Robinson, Ethan Wilson, Michaela Martin-Mason, Sean Miller, Ingrid Silva, Renan Cerdeiro, Lindsey Donnell, Jhaelin Mcquay
This performance is generously supported by Maria Seferian
Programs and artists subject to change.
Pyotr Ilyich Tchaikovsky (1840–93)
Stories of doomed love resonated deeply with Tchaikovsky; Shakespeare’s tragedy Romeo and Juliet was no exception. In 1869, when Tchaikovsky took up the play as a musical subject at the suggestion of fellow composer Mily Balakirev, he was deeply in love with Eduard Zak, a 15-year-old cousin of one of his students. Zak committed suicide four years later, and when Tchaikovsky pondered the incident in his diary in 1887, his recollection of Zak reveals how strong his feelings for the boy were: “How amazingly clearly I remember him: the sound of his voice, his movements, but especially the extraordinarily wonderful expression on his face at times. I cannot conceive that he is no more. The death of this boy, the fact that he no longer exists, is beyond my understanding. It seems to me that I have never loved anyone so strongly as him.”
Shakespeare’s tragedy and Tchaikovsky’s tortured personal life collided to produce the first true expression of his genius as a composer, a tautly constructed masterpiece that boils Shakespeare’s narrative down to its essentials in 20 minutes of music that is, by turns, thunderingly dramatic and achingly beautiful. The fantasy overture opens with a lengthy introduction before presenting its two main theme groups: oppressively brutal music representing the conflict between the Capulets and the Montagues, and a rapturous love
theme for Romeo and Juliet. The second statement of this theme is interrupted by the music for the warring families as Romeo and Juliet’s love is crushed by the two families’ seething hatred for one another. After a somber reworked version of the love theme in the minor mode, it is transfigured into music that is serene and chorale-like, ending the piece on a triumphant and otherworldly note. —John Mangum
SYMPHONY NO. 1
Adolphus Hailstork (b. 1941)
Born in Rochester, NY, Adolphus Hailstork grew up in Albany, where he fell in love with music as a boy chorister in his Episcopal church. He began composing music seriously as a student at Howard University and later studied under the prominent 20th-century teacher Nadia Boulanger and American composer David Diamond. Despite the Modernist zeitgeist, Hailstork resisted the allure of atonality. In a 2020 interview with San Francisco Classical Voice, he described his path: “I survived the gun-to-thehead modernism, back when I was a student—you know if you weren’t crunching elbows on the keys and counting up to 12 all the time, you weren’t being much of a composer. I decided I didn’t want to go that way. I came up as a singer and singers don’t often sing in 12-tone technique and things like that. I’ve used it, but it wasn’t a natural fit and so I’ve spent most of my career trying to be honest with myself. I call it ‘authenticism’—that’s my ‘ism.’”
Describing the genesis of Symphony No. 1, Hailstork
recounted, “In 1987 I was asked to write a piece for a summer music festival in Ocean Grove, NJ. Since the piece was to be 20 minutes long and for a Haydn-sized orchestra, I decided that a simple first symphony would fit the bill. It is written in the standard four movements: Allegro, Adagio, Scherzo and Rondo. The final rondo brings back themes from the previous three movements.”
Composed the following year, Hailstork’s First Symphony shows the composer’s early inclinations toward wide-open Copland-esque melodies, lush soundscapes of Samuel Barber, and Bernsteinlike dissonances as well as African American and African sounds, placing himself in the lineage of fellow African American composers such as William Grant Still and William Dawson. Commenting on the breadth of his influences, Hailstork said: “I’m pretty eclectic; I’m multistylistic; all the names you want to use, they all fit.”
The fanfare-like Allegro paints a lively scene with jaunty rhythms and is followed by a searching second movement where solo clarinet and flute float above swelling strings. A quicksilver Scherzo skitters about in the high strings and winds with periodic brass and timpani bursts. A jazz-infused Rondo weaves together motifs in an uplifting and satisfying finale. Together, the symphony provides a rich and varied inspiration for Dance Theatre of Harlem’s choreography. —Tess Carges
Symphony No. 1 © 1988 MMB Music, Inc. (ASCAP)
Used with permission of Lauren Keiser Music Publishing
Sergei Prokofiev (1891–1953)
One of the works featured in tonight’s Dance Theatre of Harlem program at the Hollywood Bowl is titled Romeo and Juliet, a name that understandably evokes images of a dramatic, narrative ballet—the timeless tale of star-crossed lovers brought to life through dance.
But what you’ll encounter this evening o ers something quite di erent. Rather than retelling Shakespeare’s story in traditional form, this work delves into the emotional and thematic layers of Romeo and Juliet—love, tension, fate—without tracing a linear plot. It embraces abstraction and musical interpretation, allowing movement and sound to stir the imagination and invite reflection, rather than follow a scripted narrative.
Our hope is that you’ll approach the piece with openness and curiosity, letting it speak to you in unexpected ways. It’s a fresh perspective on familiar terrain, where meaning emerges through the interplay of choreography and score—intimate, evocative, and uniquely yours.
Enjoy the performance.
—Robert Garland, Artistic Director, Dance Theatre of Harlem
The urgent appeal of Shakespeare’s Romeo and Juliet seems to have no limits. Acted, sung, conceived instrumentally, danced; in the flesh, on the screen, in print; played traditionally, interpreted broadly; in authentic costume, in contemporary dress; scholarly and archaic, relevantly mod—no amount of repetition in seemingly endless guise threatens to dim its luster or weaken its impact. Among these interpretations, Sergei Prokofi ev’s ballet score stands alone. Nothing is lost in the translation. Prokofiev captured the essence of the tale in music in a way that is not only nonintimidating but eminently accessible, and many choreographers have been stirred to extraordinary achievement by it. Prokofiev composed the score in 1935 for the Leningrad Theater of Opera and Ballet, but the music became known through concert performances well before the fi rst staging in Russia by the Kirov Ballet, which, with choreography by Leonid Lavrovsky, occurred in 1940. In 1946, the Bolshoi Ballet introduced its dramatically enriched Lavrovsky production,
and then there followed, among others, the Frederick Ashton version for the Royal Danish Ballet in 1955, John Cranko’s for the Stuttgart Ballet in 1962, and Kenneth MacMillan’s for Britain’s Royal Ballet in 1965. Indeed, the score is little short of miraculous. With impressive economy of means, without ever resorting to inflated emotionalism, Prokofi ev conjured in sound every circumstance, character, and mood. The musical pictorialism is endlessly intriguing; the musical footprints are clearly recognizable. The simplest melody is quickened and colored by sudden, fresh twists of harmony; large melodic leaps invest the themes with unblushing piquancy or virile strength; driving rhythms and harmonic clashes provide satire and/or exhilarating vigor; the orchestration is lucid, always masterful, and never given to overstatement. Prokofiev served the spirit of Shakespeare in an entirely honest, original way. Because of its superb quality, the music for Romeo and Juliet is as trenchant and valid in concert performance as it is in the theater. —Excerpted from a note by Orrin Howard
Jonathon Heyward is forging a career as one of the most exciting conductors on the international scene. He currently serves as Music Director of the Baltimore Symphony Orchestra, having made his debut with the BSO in March 2022 in three performances that included their first-ever performance of Shostakovich’s Symphony No. 15. In summer 2024, Heyward became the Renée and Robert Belfer Music Director of the Festival Orchestra of Lincoln Center. This appointment followed a highly acclaimed Lincoln Center debut with the Mostly Mozart Festival Orchestra in summer 2022, as part of the Summer for the City festival. In 2025, it was announced that Heyward would continue as the Renée and Robert Belfer Music Director of the Festival Orchestra of Lincoln Center through 2029, now with the added title and role of Artistic Director.
In 2024, Heyward completed his four-year tenure as Chief Conductor of the Nordwestdeutsche Philharmonie. In summer 2021, he took part in an intense two-week residency with the National Youth Orchestra of Great Britain, which led to a highly acclaimed BBC Proms debut. According to The Guardian,
Heyward delivered “a fast and fearless performance of Beethoven’s Eroica Symphony, in which loud chords exploded, repeating like fireworks in the hall’s dome, and the quietest passages barely registered. It was exuberant, exhilarating stu .” Heyward currently lives in the United Kingdom, where his recent and future guest conducting highlights include engagements with the London Philharmonic, London Symphony, BBC Symphony, Royal Scottish National Orchestra, National Symphony Orchestra Ireland, City of Birmingham Symphony Orchestra, Royal Academy of Music, and Scottish Chamber Orchestra. In continental Europe, Heyward recently made distinguished debuts with the NDR Elbphilharmonie Orchester and Danish National Symphony. Successful European highlights of recent seasons included collaborations with the Castilla y León Symphony, Galicia Symphony, Brussels Philharmonic, Orchestre National Bordeaux Aquitaine, and MDR-Leipzig Symphony.
“What does dance give you? The freedom to be who you are and do what you want to do.”
—Arthur Mitchell, Cofounder, Dance Theatre of Harlem
Dance Theatre of Harlem stands as a dynamic force in the ballet world, captivating audiences both nationally and internationally. Our repertoire is a thrilling blend of treasured classics, neoclassical masterpieces by George Balanchine and artistic director Robert Garland, and cutting-edge contemporary works that embody cofounder Arthur Mitchell’s belief that ballet is for everyone. Through electrifying performances, community engagement, and arts education programs, Dance Theatre of Harlem champions the power of the arts to inspire and empower.
Since our founding in 1969 by Arthur Mitchell and Karel Shook, Dance Theatre of Harlem has been hailed as “one of ballet’s most exciting undertakings” (The New York Times). Inspired by the work of the Reverend Dr. Martin Luther King, Jr., Mitchell established a school to provide Harlem’s youth with the opportunity to explore dance and the allied arts. Now celebrating over 55 years of excellence, DTH has evolved into a globally renowned ballet company, setting new standards in the performing arts and leaving an indelible mark on the world stage. Our extraordinary legacy continues to open doors for creative expression and artistic brilliance.
Please scan for more information about the Dance Theatre of Harlem.
WEDNESDAY SEPTEMBER 24, 2025 8PM
Please scan for updated program information.
This performance is generously supported by Tylie Jones and Family Programs and artists subject to change.
2025 marks the 50th anniversary of Perfect Angel, an album featuring one of the most iconic voices in music history. Minnie Riperton was an extraordinary vocalist whose impressive five-and-a-half-octave range and expressive delivery transcended genre, generation, and expectation. Born in Chicago, Riperton grew up singing in the Sixth Grace Presbyterian Church choir and trained in opera, drama, and dance at the Abraham Lincoln Center. With these talents, she took to the city’s thriving music scene, joining The Gems at Chess Records and later singing backup for artists like Etta James, Chuck Berry, and Muddy Waters all while a teenager. These sessions even produced backing vocals for singers outside of the Chess Records catalog like Ray Charles.
In 1966, Riperton released “Lonely Girl” under the name Andrea Davis. Produced by Charles Stepney (producer for Earth, Wind & Fire and others), it was a ballad that showed o not only her range but also her lyrical prowess. By the time she joined Cadet Concept’s psychedelic soul group, Rotary Connection, she had attained both local success and a range of cross-genre experience. The group was a youthful exaltation spearheaded by Leonard Chess’ son, Marshall. Under the guidance of Stepney, the group accomplished a blended sound that influenced Riperton’s debut solo album, Come to My Garden. With Stepney and Richard Rudolph contributing as cowriters, the album revolutionized music with its blend of orchestral pop and jazz-infused soul.
On the experience of writing, Rudolph recalled, “I remember having a dream, waking up and writing this song, ‘Come to My Garden.’ Minnie was right there with me. I don’t know if it was about the place where we ended up getting married—which was a garden. I think it was just about our being together….” Her relationship with Richard led to both personal fulfillment and profound musical collaboration. Together, they crafted a unique and elegant
sound that characterized the album Perfect Angel—a work coproduced by Stevie Wonder that featured the chart-topping hit “Lovin’ You.” The album became a masterpiece of dulcet melodies, soulful anthems, and emotionally tender lyricism. Riperton’s career soared as she explored increasingly sophisticated themes in albums like Adventures in Paradise and Stay in Love. Joined by coproducer Stewart Levine and collaborators such as Leon Ware and members of The Crusaders, she was able to merge spiritual depth with erotic expression, exemplified by daring tracks like “Inside My Love.” Rudolph maintained that the song was “a much more spiritual trip. There is a duality, but we always believed that to truly have love and to express that love physically, you have to have the other side of it—the emotional side. ‘While we’re here / The whole world is turning ….’” Ware spoke of the spiritual dichotomy of the lyrics being integral to the project. Recounting his upbringing in the church, he says, “Whenever a sermon was almost over, there would be this point where the organ would play real soft, you could hear a pin drop and the vibe would be completely hypnotic. The pastor would say, ‘Won’t you come inside the Lord,’ and people would stand up—eyes closed and arms outstretched—as if they were being guided to the pulpit.”
These principles remained the foundation of Riperton’s artistry: love, family, and personal truth. It’s why she earned the admiration of industry giants and devoted fans alike. Moreover, Riperton’s experimentation with her sound is an artifact of the way she lived her life. On August 24, 1976, Riperton revealed on The Tonight Show that she had undergone a mastectomy due to breast cancer. Even when faced with a terminal illness, she continued creating, performing, and using her platform to raise awareness, becoming one of the first celebrities to speak publicly about breast cancer. She received the Courage Award from the American Cancer Society in 1978 and
became a national spokeswoman for the society’s Awareness Program. Her 1977 album, Stay in Love: A Romantic Fantasy Set to Music, coproduced by Motown legend Freddie Perren, was a conceptual musical chronicling a woman’s epic romance. A thematically sophisticated tale, its blend of R&B and disco allowed Minnie to mull over the complex feelings of love across her life.
With her health taking a toll, the last album released in her lifetime would be Minnie (1979). Coproduced by Henry Lewy, the album is a paragon of the bittersweet. Singles like “Memory Lane” evoke a retrospective on Richard and Minnie’s life together, laid over her trademark angelic tones. She dedicated the album to her grandmother Minnie Matthews, who had passed away nearly a year before Riperton. In the dedication, she wrote, “I hope she can hear it up there.”
Minnie Riperton died in 1979 at just 31 years old. She is remembered not only fondly, but with a legacy that has only grown. Her posthumous releases, particularly Love Lives Forever, showcase the enduring power of her voice with contributions from major artists like Michael Jackson and George Benson. Contemporary musicians—from Mariah Carey to Q-Tip—have cited her as a major influence, and her music continues to be sampled, covered, and celebrated across genres. Riperton’s genius lay not only in her vocal acrobatics but in her ability to channel vulnerability, sensuality, and grace into timeless music. Her son, Marc, remembers throwing her flowers when she was onstage. We can only give her more as we continue to enjoy her music. Her daughter, Maya, remarks: “The house just felt alive when Mom was around.” We can assure her memory is alive with her testaments to love, artistry, and an uncompromising devotion to emotional truth.
Thank you, Minnie.
Robin Burgess, Executive Producer
Danny Kapilian, Producer
Grammy-nominated Aloe Blacc has long been a voice for the people—a globally recognized singer, songwriter, and change maker whose music uplifts, empowers, and unites. Best known for genre-defying anthems like the international smash “Wake Me Up” with Avicii, the anthemic “The Man,” and the timeless “I Need a Dollar,” Blacc continues to inspire through sound and purpose.
In 2024, he was honored as one of Worth magazine’s Worthy 100, recognizing his influential work at the intersection of music and social impact.
Now, in 2025, Aloe Blacc returns with his most mission-driven work to date: a new full-length album titled Stand Together. Featuring unforgettable singles “Don’t Go Alone” and “One Good Thing,” the album draws deep inspiration from real-life stories—those of nonprofit founders, humanitarians, and everyday heroes dedicated to making lasting change in their communities. Stand Together is both a celebration and a call to action, with Blacc’s signature soul and sincerity woven into every note.
Following the album’s release, Blacc embarks on a sweeping tour across the US and Europe. The run kicked o with a sold-out residency at New York’s legendary Blue Note and continues through October 2025.
This October also marks a milestone in Blacc’s career: the 15year anniversary of his breakthrough album, Good Things, and its indelible single “I Need a Dollar”—a song that remains a rallying cry for working people everywhere.
Alex Isley is a natural artist destined to shine in the music industry. Born in New Jersey and raised in Los Angeles, she started performing at the age of 6. Although her sonic lineage is traceable— her father, Ernie, and his brothers form the R&B/funk group The Isley Brothers— her ethereal vocals are unique. Isley’s musical influences mirror her upbringing, not in the sense of where she lived, but of what she consumed. Her grandmother was an opera singer who began classically training Alex at age 12. Aside from her musically rich family, Isley loved listening to timeless artists like Michael Jackson and Mariah Carey. In 2005, she enrolled in UCLA’s ethnomusicology (jazz studies) program and exposed herself to all kinds of music from around the world. After graduating from college, Isley purchased her first MacBook and launched her career as an independent artist.
In 2012, Isley released her debut EP, The Love/Art Memoirs. Isley’s determination propelled her to become a rising star. She went on to release projects consistently over the years, including Dreams in Analog (2013); L U X U R Y (2015); The Beauty of Everything, Pt. 1 (2018); The Beauty of Everything, Pt. 2 (2019); and her collaborative EP with Jack Dine, Wilton (2019). During the pandemic, Isley participated in NPR Music’s Tiny Desk (home) concert series, and that same year, she joined forces with Masego and Dine to release the dreamy single “Good & Plenty.”
Isley earned two coproducer credits on Lucky Daye’s sophomore album, Candydrip, which was nominated for Best R&B Performance; Best R&B Album; and Producer of the Year, Non-
1946–2025
Classical, at the 65th Grammy Awards (2023). Most recently, as a featured artist, Isley was nominated for Best R&B Performance and Best R&B Song at the 66th Grammy Awards (2024) after she collaborated with Robert Glasper and SiR on “Back To Love.”
Chanté Moore is a Grammy-nominated artist whose mesmerizing voice and chart-topping hits have made her a staple in R&B and jazz, with over 10 million albums sold. Moore’s soulful sound and electrifying stage presence promise a show-stopping performance to honor Minnie Riperton. Always busy and artistically multitasking, the full-throttle chanteuse belongs to that exclusive club of songbirds (Deniece Williams and Mariah Carey as well as Riperton) possessing spectacularly soaring vocal range.
Grammy-winning vocal group säje (rhymes with “beige”) was born out of the close friendship and mutual admiration among vocalist/composers Sara Gazarek (2024 DownBeat Critics Poll, Rising Star Female Vocalist), Amanda Taylor, Johnaye Kendrick, and Erin Bentlage. Their self-titled debut album featuring special guests Terri Lyne Carrington, Jacob Collier, Ambrose Akinmusire, and Regina Carter won a 2024 Grammy (Best Arrangement, Instruments and Vocals). Their single “Alma” won a 2025 Grammy in the same category. “säje is blazing a new trail for female composers and performers in the jazz world.” —Forbes
From 1971 to 2016, Herbert Ausman was a member of the Los Angeles Philharmonic’s trombone section. He was born in Alabama and graduated from the Eastman School of Music. In addition to holding the second trombone chair for 45 years, he was a highly regarded recording engineer, videographer, and arranger. Over the course of his career, he collaborated with many of his colleagues on solo and ensemble recordings, winning critical praise for his technical achievements. Ausman is survived by his wife, Erica, and his daughters, Amanda and Emma.
13 – SEP7
Gustavo Dudamel
Music & Artistic
Director
Walt and Lilly
Disney Chair
Zubin Mehta
Conductor Emeritus
Esa-Pekka Salonen
Conductor Laureate
Rodolfo Barráez
Assistant Conductor
Ann Ronus Chair
John Adams
John and Samantha
Williams Creative Chair
Herbie Hancock
Creative Chair for Jazz
Martin Chalifour
Principal
Concertmaster
Marjorie Connell
Wilson Chair
[Position vacant]
First Associate Concertmaster
Ernest Fleischmann Chair
Bing Wang
Associate Concertmaster
Barbara and Jay Rasulo Chair
[Position vacant]
Assistant Concertmaster
Philharmonic
A liates Chair
Rebecca Reale
Deanie and Jay
Stein Chair
Justin Woo
Rochelle Abramson
Minyoung Chang
I.H. Albert
Sutnick Chair
Tianyun Jia
Jordan Koransky
Ashley Park
Katherine Woo
Weilu Zhang
Melody Ye Yuan
Principal
Mark Kashper
Associate Principal
Isabella Brown
Assistant Principal
Kristine Whitson
Johnny Lee
[Position vacant]
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
Ingrid Chun
Jin-Shan Dai
Miika Gregg
Chao-Hua Jin
Jung Eun Kang
Vivian Kukiel
Nickolai Kurganov
Varty Manouelian
Emily Shehi
Michelle Tseng
[Position vacant]
Principal
John Connell Chair
Ben Ullery
Associate Principal
Jenni Seo
Assistant Principal
Dana Lawson
Richard Elegino
Ingrid Hutman
Michael Larco
Hui Liu
Meredith Snow
Leticia Oaks Strong
Minor L. Wetzel
Bradley Parrimore*
Pasadena Showcase
House for the Arts
LA Phil Resident Fellow Chair
* Judith and Thomas L. Beckmen LA Phil Resident Fellow
Robert deMaine
Principal
Bram and Elaine Goldsmith Chair
Ben Hong
Associate Principal
Sadie and Norman
Lee Chair
Dahae Kim
Assistant Principal
Jonathan Karoly
David Garrett
Barry Gold
Jason Lippmann
Gloria Lum
Linda and Maynard
Brittan Chair
Zachary Mowitz
Serge Oskotsky
Brent Samuel
Ismael Guerrero*
Alicia Miñana and Rob Lovelace LA Phil
Resident Fellow Chair
Christopher Hanulik
Principal
Diane Disney Miller and Ron Miller Chair
Kaelan Decman
Associate Principal
Oscar M. Meza
Assistant Principal
David Allen Moore
Ted Botsford
Jory Herman
Brian Johnson
Peter Rofé
Nicholas Arredondo*
Alicia Miñana and Rob Lovelace LA Phil
Resident Fellow Chair
Denis Bouriakov
Principal
Virginia and Henry Mancini Chair
Catherine Ransom Karoly
Associate Principal
Mr. and Mrs. H.
Russell Smith Chair
Elise Shope Henry
Mari L. Danihel Chair
Sarah Jackson
Piccolo
Sarah Jackson
[Position vacant]
Principal
Carol Colburn
Grigor Chair
Marion Arthur Kuszyk
Associate Principal
Anne Marie Gabriele
English Horn
[Position vacant]
Boris Allakhverdyan
Principal
Michele and Dudley Rauch Chair
[Position vacant]
Associate Principal
Andrew Lowy
Taylor Ei ert
E-Flat Clarinet
Andrew Lowy
Bass Clarinet
Taylor Ei ert
Whitney Crockett
Principal
Shawn Mouser
Associate Principal
Ann Ronus Chair
Michele Grego
Evan Kuhlmann
Contrabassoon
Evan Kuhlmann
Andrew Bain
Principal
John Cecil
Bessell Chair
David Cooper
Associate Principal
Gregory Roosa
Alan Scott Klee Chair
Amy Jo Rhine
Loring Charitable Trust Chair
Elyse Lauzon
Ethan Bearman
Assistant
Bud and Barbara Hellman Chair
Elizabeth Linares Montero*
Nancy and Leslie
Abell LA Phil Resident
Fellow Chair
TRUMPETS
Thomas Hooten
Principal
M. David and Diane
Paul Chair
James Wilt
Associate Principal
Nancy and Donald de Brier Chair
Christopher Still
Ronald and Valerie
Sugar Chair
Je rey Strong
TROMBONES
David Rejano
Cantero
Principal Koni and Geo
Rich Chair
James Miller
Associate Principal
Judith and Thomas L. Beckmen Chair
Paul Radke
Bass Trombone
John Lofton
Miller and Go Family Chair
TUBA
Mason Soria
TIMPANI
Joseph Pereira
Principal
Cecilia and Dudley Rauch Chair
David Riccobono
Assistant Principal
Matthew Howard
Principal
James Babor
David Riccobono
Joanne Pearce
Martin
Katharine Bixby Hotchkis Chair
Emmanuel Ceysson
Principal
Ann Ronus Chair
LIBRARIANS
Stephen Biagini
Benjamin Picard
KT Somero
CONDUCTING FELLOWS
Luis Castillo-Briceño
Holly Hyun Choe
Dayner Tafur-Díaz
Molly Turner
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
Thomas Wilkins Principal Conductor
John Mauceri Founding Director
Kathryn Eberle Concertmaster
Marisa Sorajja Principal
Grace Oh Associate Principal
Chloe Szu-Yun Chiu
Christine Frank
Radu Pieptea
Adrianne Pope
Yutong Sharp
Shelly Shi
Mari Tsumura
Kathleen Sloan Principal
Cheryl Norman Brick Associate Principal
Pam Gates
Natalie Leggett
Carolyn Osborn
Robert Schumitzky
Olivia Tsui
Vivian Wolf
Erik Rynearson Principal
Jonah Sirota Associate Principal
Carrie Holzman-Little
Carole Kleister-Castillo
Stefan L. Smith
Phillip Triggs
Hyeree Yu
Dennis Karmazyn Principal
Armen Ksajikian Associate Principal
Giovanna Moraga Clayton
Trevor Handy
Julie Jung
Erin Breene Schumitzky
BASSES
Andrew Chilcote Principal
Denise Briesé Associate Principal
Paul Macres
Barry Newton
FLUTES
Heather Clark Principal
Lawrence Kaplan
Piccolo [position vacant]
OBOES
Lelie Resnick Principal
Noah Breneman
English Horn
Catherine Del Russo
CLARINETS
[position vacant] Principal
Bass Clarinet [position vacant]
BASSOONS
Elliott Moreau Principal
Contrabassoon
Allen Savedo
HORNS
Dylan Hart Principal
Allen Fogle Associate Principal
TRUMPETS
Robert Schaer Principal
Robert Frear
TROMBONES
William Booth Principal
Alexander Iles
Bass Trombone
Todd Eames
TUBA
Jim Self Principal
TIMPANI
Tyler Stell Principal
DRUMS
Brian Miller Principal
PERCUSSION
Wade Culbreath Principal
Gregory Goodall
HARP
Cristina Montes Mateo Principal
KEYBOARDS
Alan Steinberger Principal
SAXOPHONE [position vacant]
ASSOCIATE CONDUCTOR
Scott Dunn
LIBRARIAN
Stephen Biagini
The Hollywood Bowl Orchestra string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
Classical California KUSC’s SoCal Sunday Night series to air Los Angeles Philharmonic concerts from the 2025 Hollywood Bowl Season
For the 18th year in a row, Classical California KUSC (91.5 FM, kusc.org) is airing Los Angeles Philharmonic concerts, taped live at the Hollywood Bowl, on its SoCal Sunday Night program. KUSC’s weekly spotlight on local concerts allows hundreds of thousands of listeners across Southern California—and the world—to experience performances from the Bowl each week.
Hosted by KUSC’s Brian Lauritzen, the programs air weekly at 7PM on Sundays from August 24 to October 26, and they are also available to stream on the KUSC website for one week following the broadcast.
UPCOMING BROADCASTS
AUGUST 31
SoCal Sunday Nights at 7PM on Classical California KUSC
OCTOBER 5
Leonard Slatkin, conductor; Martin Chalifour, violin Pacific Chorale
Daniel SLATKIN Voyager 130
VAUGHAN WILLIAMS The Lark Ascending HOLST The Planets
SEPTEMBER 7
Gustavo Dudamel, conductor; Seong-Jin Cho, piano
ELLINGTON Harlem
RAVEL Piano Concerto for the Left Hand
RAVEL Piano Concerto in G
ELLINGTON Black, Brown and Beige
SEPTEMBER 14
Gustavo Dudamel, conductor; Vilde Frang, violin
KORNGOLD Violin Concerto
MAHLER Symphony No. 1, “Titan”
SEPTEMBER 21
Gemma New, conductor; Pacho Flores, trumpet
RIMSKY-KORSAKOV Capriccio espagnol
ARUTIUNIAN Trumpet Concerto
TCHAIKOVSKY Symphony No. 4
SEPTEMBER 28
Daniel Harding, conductor; Daniil Trifonov, piano
RACHMANINOFF Piano Concerto No. 2 or No. 3*
RACHMANINOFF Symphony No. 2
*BROADCASTSELECTIONTBD
Giedrė Šlekytė, conductor; Nobuyuki Tsujii, piano
BEETHOVEN Egmont Overture
BEETHOVEN Piano Concerto No. 4
BEETHOVEN Symphony No. 3, “Eroica”
OCTOBER 12
Christian Vásquez, conductor; Anne Akiko Meyers, violin
Arturo MÁRQUEZ Danzón No. 2
Arturo MÁRQUEZ Fandango
SHOSTAKOVICH
OCTOBER 19
Symphony No. 5
James Ga gan, conductor; Elena Villalón, soprano; Isabel Signoret, mezzo-soprano; Joshua Blue, tenor; Christian Van Horn, bass-baritone; Los Angeles Master Chorale
Ellen REID Body Cosmic
BRAHMS Schicksalslied
MOZART Requiem
OCTOBER 26
Rafael Payare, conductor; Alisa Weilerstein, cello DVOŘÁK Cello Concerto
Wynton MARSALIS Concerto for orchestra
Programs and artists subject to change.
Beethoven. Verdi. Two powerhouse composers who wrote glorious music for all of humanity! Both the Mass in C and Four Sacred Pieces are filled with radiance and empathy—a comforting balm in uncertain times.
GRANT GERSHON CONDUCTOR 92 singers, 4 soloists, orchestra
OCTOBER 5, 2025 | 7PM
Our wondrous musical journey begins this Fall…
A MUSICAL GENESIS MARTÍN + ALTSTAEDT + SCHUMANN
Sep 13 | 7:30
Sep 14 | 4
Jaime Martín Music Director | Nicolas Altstaedt Cello
PROGRAM:
J. Haydn, Symphony No. 83 in G minor, “La poule”
R. Schumann, Cello Concerto in A minor
L. Beethoven, Symphony No. 5 in C minor
ROMANTIC RESONANCE MARTÍN + HAMELIN + BRAHMS
Oct 25 | 7:30
HALL
Oct 26 | 4
CURRENT: REFLECTIONS IN SONG
John Holiday Countertenor | Lara
PROGRAM:
Familiar narratives and timeless elegance from the 20th century, featuring works by Ellington to Korngold. Come dressed and ready to enjoy a 1920s big-band inspired night!
Jaime Martín Music Director | Marc-André Hamelin Piano
PROGRAM:
L. Farrenc, Symphony No. 2 in D major
J. Brahms, Piano Concerto No. 1 in D minor
Oct 4 | 7:30 CICADA RESTAURANT AND LOUNGE A BRAHMSIAN AFFAIR
Nov 22 | 7:30
Nov 23 | 4
Margaret Batjer Director of Chamber Music
PROGRAM: J. Brahms, Sextet No. 2 in G major J. Brahms, Sextet No. 1 in B-flat major
For the third straight year, designer and artist Justina Blakeney collaborated with the Hollywood Bowl Store on an exclusive collection. Titled With the Folks, this line represents her “love letter to LA.”
“The Hollywood Bowl has always felt like one of LA’s happiest places—music in the air, sunshine or stars overhead, and that electric sense of togetherness. For this season’s design, called ‘With the Folks,’ I wanted to capture that spirit of community, freedom, and fun. I started with the Bowl’s iconic shell shape, letting it bloom into flowers, petals, suns, and stars—symbols of resilience, beauty, and renewal. Flowers, to me, represent the way nature keeps finding a way to bloom, even after fire. This folksy, retro, and funky design is my love letter to LA—a celebration of music, nature, and the simple magic of gathering with the folks you love.”
—Justina Blakeney, Artist & Jungalow founder
Find the With the Folks collection and more exclusive merchandise for you or the music lover in your life at the Bowl Stores, the LA Phil Store, and at laphilstore.com
losangelesballet.org
We’re celebrating twenty years of ballet artistry, passion and joy in Los Angeles! Thank you to our community that has given us so much in return. 2025/2026 Season
Scan to sign up for season updates
Take the stress out of your next concert trip. Since 1953, audiences have been taking buses to the Hollywood Bowl, helping grow the program into the largest and most comprehensive transportation system of any concert venue west of the Mississippi. The Hollywood Bowl has added a transportation hub to help streamline access for Park & Ride, Bowl Shuttle, Metro, and rideshares. These efforts help reduce the number of cars coming to the Bowl by more than 2,000 vehicles each evening, making your night run more smoothly. Plan your next trip at hollywoodbowl.com/gettinghere
• When you show your same-day Park & Ride or Shuttle ticket at the Plaza Marketplace, you get 20% off your purchase.
• Buses drop you o at the top of Lot B.
• Bowl Shuttle rides are FREE with a valid TAP card used within the previous two hours, a GoMetro Round-Trip Pass, or a Burbank Metrolink ticket.
The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. We provide leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross-sector creative strategies that address civic issues. All of this work is framed by our long-standing commitment to fostering access to the arts and by the County’s Cultural Equity and Inclusion Initiative.
The Los Angeles County Arts Commission supports and advocates for the mission, vision, and values of the Los Angeles County Department of Arts and Culture. The Commission is an advisory group to the Board of Supervisors, with three appointees for each District.
The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture and from the City of Los Angeles Department of Cultural A airs.
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice K. Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Randi Tahara President
Rogerio V. Carvalheiro Vice President
Sandra P. Hahn Secretary
Jennifer Price-Letscher Executive Committee Member
Leticia Buckley Immediate Past President
Pamela Bright-Moon
Patrice Cullors
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Liane Weintraub
SYMPHONIE FANTASTIQUE!
NOVEMBER 8, 2025
ORION WEISS, piano
JIM SELF Tour de Force
RAVEL Piano Concerto in G Major
BERLIOZ Symphonie Fantastique
MENDELSSOHN & MEYER
JANUARY 24, 2026
TESSA LARK,violin
MENDELSSOHN The Hebrides Overture
EDGAR MEYER Violin Concerto
MENDELSSOHN Symphony No. 3, “Scottish”
TCHAIKOVSKY PATHÉTIQUE
FEBRUARY 21, 2026
MICHELLE CANN, piano
JEFFREY NYTCH Beacon
MOZART Piano Concerto No. 23
TCHAIKOVSKY Symphony No. 6 “Pathétique”
FROM THE NEW WORLD
MARCH 21, 2026
JUAN PABLO CONTRERAS, composer & special guest
BERNSTEIN Three Variations from Fancy Free CONTRERAS Symphony No. 1*
DVO R ˇ ÁK Symphony No. 9, “From the New World”
BEETHOVEN EROICA
APRIL 25, 2026
JULIAN SCHWARZ, cello
QUINN MASON Heroic Overture (Overtura Eroica)
JENNIFER HIGDON Cello Concerto † BEETHOVEN Symphony No. 3, “Eroica”
BRETT MITCHELL Music Director
AMERICA @ 250
MAY 30, 2026
JOHN WILLIAMS Selections from American Journey
JONATHAN LESHNOFF Rhapsody on “America” * † COPLAND Appalachian Spring Suite
JOYCE YANG, piano * co-commission † west coast premiere
COPLAND Lincoln Portrait
The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email aradden@laphil.org.
From the concerts that take place onstage at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford to the learning programs that fill our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music— sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation at any level is critical to our success.
Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA, which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.
Winnie Kho and Chris Testa, Co-Chairs Christian and Ti any Chivaroli, Co-Chairs
The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.
We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of April 15, 2025.
$25,000,000 AND ABOVE
Walt and Lilly
Disney Foundation
Cecilia and Dudley Rauch
$20,000,000 TO $24,999,999
David Bohnett Foundation
$10,000,000 TO $19,999,999
The Annenberg Foundation
Colburn Foundation
Lenore S. and Bernard
A. Greenberg Fund
$5,000,000 TO $9,999,999
Anonymous Dunard Fund USA
Carol Colburn Grigor
Terri and Jerry M. Kohl
Los Angeles Philharmonic A liates
Diane and Ron Miller
Charitable Fund
M. David and Diane Paul
Ann and Robert Ronus
Ronus Foundation
John and Samantha Williams
$2,500,000 TO $4,999,999
Peggy Bergmann
YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann
Lynn Booth/The Otis
Booth Foundation
Elaine and Bram Goldsmith
Norman and Sadie Lee Foundation
Karl H. Loring
Alfred E. Mann
Elise Mudd Marvin Trust
Barbara and Jay Rasulo
Flora L. Thornton
$1,000,000 TO $2,499,999
Linda and Robert Attiyeh
Judith and Thomas Beckmen
Gordon Binder and Adele Haggarty
Helen and Peter Bing
William H. Brady, III
Linda and Maynard Brittan
Richard and Norma Camp
Mr. and Mrs.
Michael J. Connell
Mark Houston Dalzell and James Dao-Dalzell
Mari L. Danihel
Nancy and Donald de Brier
The Rafael & Luisa de Marchena-Huyke Foundation
The Walt Disney Company
Fairchild-Martindale Foundation
Eris and Larry Field
Max H. Gluck Foundation
Reese and Doris Gothie
Joan and John Hotchkis
Janeway Foundation
Bernice and Wendell Je rey
Carrie and Stuart Ketchum
Kenneth N. and Doreen R. Klee
B. Allen and Dorothy Lay
Los Angeles
Philharmonic Committee
Estate of Judith Lynne
Maddocks-Brown Foundation
Ginny Mancini
Raulee Marcus
Barbara and Buzz McCoy
Merle and Peter Mullin
William Powers and Carolyn Powers
Koni and Geo Rich H. Russell Smith Foundation
Jay and Deanie Stein Foundation Trust
Ronald and Valerie Sugar
I.H. Sutnick
$500,000 TO $999,999
Ann and Martin Albert
Abbott Brown
Mr. George L. Cassat
Kathleen and Jerrold L. Eberhardt
Valerie Franklin
Yvonne and Gordon Hessler
Barbara Leidenfrost
Ernest Mauk and Doyce Nunis
Mr. and Mrs.
David Meline
Sandy and
Barry D. Pressman
Earl and Victoria Pushee
William and Sally Rutter
Nancy and Barry Sanders
Kenneth D. Sanson
Richard and Bradley Seeley
Christian Stracke
Donna Swayze
Judy Ungar and Adrienne Fritz
Lee and Hope Landis
Warner YOLA Student Fund
Edna Weiss
$250,000 TO $499,999
Nancy and Leslie Abell
Mr. Gregory A. Adams
Baker Family Trust
Kawanna and Jay Brown
Leah Danberg
Veronica and Robert Egelston
Gordon Family Foundation
Ms. Kay Harland
Joan Green Harris Trust
Bud and Barbara Hellman
Gerald L. Katell
Norma Kayser
Joyce and Kent Kresa
Raymond Lieberman
Mr. Kevin MacCarthy and Ms. Lauren Lexton
Alfred E. Mann Charities
Glenn Miya and Steven Llanusa
Jane and Marc B. Nathanson
Miguel A. Navarro
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Katharine and Thomas Stoever
Sue Tsao
Alyce and Warren Williamson
$100,000 TO $249,999
Mr. Robert J. Abernethy
William A. Allison
Rachel and Lee Ault
W. Lee Bailey, M.D.
Angela Bardowell
Deborah Borda
The Eli and Edythe
Broad Foundation
Jane Carruthers
Pei-yuan Chia and Katherine Shen
James and Paula Coburn Foundation
The Geraldine P. Coombs
Trust in memory of Gerie P. Coombs
Mr. and Mrs. Terry Cox
Silvia and Kevin Dretzka
Allan and Diane Eisenman
Christine and Daniel Ewell
Diane Futterman
Arnold Gilberg, M.D.,
Ph.D.
David and Paige Glickman
Nicholas T. Goldsborough
Gonda Family Foundation
Margaret Grauman
Kathryn Kert Green and Mark Green
Freya and Mark Ivener
Ruth Jacobson
Estate of Mary Calfas Janos
Stephen A. Kanter, M.D.
Jo Ann and Charles Kaplan
Yates Keir
Susanne and Paul Kester
Vicki King
Sylvia Kunin
Ann and Edward Leibon
Ellen and Mark Lipson
Ms. Gloria Lothrop
Vicki and Kerry McCluggage
Heidi and Steve McLean in memory of Katharine Lamb
David and Margaret Mgrublian
Diane and Leon Morton
Mary Pickford Foundation
Sally and Frank Raab
Mr. David Sanders
Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation
William E.B. and Laura K. Siart
Tom and Janet Unterman
Magda and Frederick R. Waingrow
Wasserman Foundation
Robert Wood
Syham Yohanna and James W. Manns
$25,000 TO $99,999
Mr. and Mrs. Karl J. Abert
Marie Baier Foundation
Dr. Richard Bardowell, M.D.
Jacqueline Briskin
Dona Burrell
Ying Cai & Wann
S. Lee Foundation
Ann and Tony Cannon
Dee and Robert E. Cody
The Colburn Fund
Margaret Sheehy Collins
Mr. Allen Don Cornelsen
Ginny and John Cushman
Marilyn J. Dale
Mrs. Barbara A. Davis
Dr. and Mrs.
Roger DeBard
Jennifer and Royce Diener
Jane B. and Michael D. Eisner
The Englekirk Family
Claudia and Mark Foster
Lillian and Stephen Frank
Margaret E. Gascoigne
Dr. Suzanne Gemmell
Paul and Florence Glaser
Good Works Foundation
Anne Heineman
Ann and Jean Horton
Drs. Judith and Herbert Hyman
Albert E. and Nancy C. Jenkins
Robert Jesberg and Michael J. Carmody
William Johnson and Daniel Meeks
Ms. Ann L. Kligman
Sandra Krause and William Fitzgerald
Michael and Emily Laskin
B. and Lonis Liverman
Sarah and Ira R. Manson
Carole McCormac
Meitus Marital Trust
Sharyl and Rafael Mendez, M.D.
John Millard
National Endowment for the Arts
Alfred and Arlene Noreen
Occidental Petroleum Corporation
Dr. M. Lee Pearce
Lois Rosen
Anne and James Rothenberg
Donald Tracy Rumford
Family Trust
The SahanDaywi Foundation
Mrs. Nancie Schneider
William and Luiginia Sheridan
Virginia Skinner
Living Trust
Nancy and Richard Spelke
Mary H. Statham
Ms. Fran H. Tuchman
Rhio H. Weir
Mrs. Joseph F. Westheimer
Jean Willingham
Winnick Family Foundation
Cheryl and Peter Ziegler
Lynn and Roger Zino
CURRENT AND FORMER LA PHIL MUSICIANS
Anonymous
Kenneth Bonebrake
Nancy and Martin Chalifour
Brian Drake
Perry Dreiman
Barry Gold
Christopher Hanulik
John Hayhurst
Jory and Selina Herman
Ingrid Hutman
Andrew Lowy
Gloria Lum
Joanne Pearce Martin
Kazue Asawa McGregor
Oscar and Diane Meza
Mitchell Newman
Peter Rofé
Meredith Snow and Mark Zimoski
Barry Socher
Paul Stein
Leticia Oaks Strong
Lyndon and Beth Johnston Taylor
Dennis Trembly
Allison and Jim Wilt
Suli Xue
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
National Yiddish Theatre Folksbiene’s Fiddler on the Roof in Yiddish
A Soraya Concert Production With English Supertitles
Mariachi Herencia de México With Special Guest Leonardo Aguilar Graham100
The Martha Graham Dance Company’s 100th Season Featuring Wild Up
Disney and Pixar’s
Toy Story 30th Anniversary Live-to-Film Concert
A Tribute to Quincy Jones Featuring Pacific Jazz Orchestra With Special Guests
Ms. Lisa Fischer and José James Chris Walden, conductor
Lila Downs
Día de Muertos
Colburn Orchestra
Carlos Miguel Prieto, conductor Zi Yang Low, violin
Ray Chen, violin
Julio Elizalde, piano
Onstage Classical
Mariza Ballet BC BOLERO X
MOMIX
Alice
SingleTickets & Membership Discounts Available Now
The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $2,000 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between April 16, 2024, and April 15, 2025.
$1,000,000 AND ABOVE
Anonymous (3)
$500,000 TO $999,999
Ballmer GroupMax H. Gluck Foundation
$200,000 TO $499,999
Anonymous (2)
Judith and Thomas L. Beckmen
Canon Insurance Service
Colburn Foundation
Jane B. and Michael D. Eisner
Lisa Field
Robyn Field and Anthony O’Carroll
Ms. Erika J. Glazer
$100,000 TO $199,999
Anonymous (4)
Nancy and Leslie Abell
Mr. Gregory
A. Adams
The Blue Ribbon
R. Martin Chavez
Becca and Jonathan Congdon
Michael J. Connell Foundation
Dunard Fund USA
Louise and Brad Edgerton/Edgerton Foundation
The Eisner Foundation
Estate of Joseph Garcia
$50,000 TO $99,999
Anonymous (2)
Ms. Kate Angelo and Mr. Francois Mobasser
Antonieta Arango, In memory of Javier Arango
Mr. Joe Berchtold
David Bohnett
Foundation
Linda and Maynard Brittan
Kawanna and Jay Brown
Dan Clivner
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Rafael and Luisa De MarchenaHuyke Foundation
The Walt Disney Company
Mr. James Gleason
Faye Greenberg and David Lawrence
Yvonne Hessler
Alexa Hong and Derek Reeves
David Z. & Young
O. Hong Family Foundation
Cindy and Alan Horn
Anne Akiko Meyers and Jason Subotky
Jennifer Miller GoffTerri and Jerry M. Kohl
Music Center Foundation
Alexandra S. Glickman and Gayle Whittemore
The Hearthland Foundation
Tylie Jones
Pasadena Showcase House for the Arts
M. David and Diane Paul Barbara and Jay Rasulo
The Rauch Family Foundation
James D. Rigler/ Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Tamara Golihew
GRoW @ Annenberg
The Hillenburg Family
The José Iturbi Foundation
Kaiser Permanente
Winnie Kho and Chris Testa
Los Angeles County Department of Arts and Culture County of Los Angeles
Ms. Irene Mecchi
John Mohme Foundation
Maureen and Stanley Moore
The Music Man Foundation
Peninsula Committee
Sandy and Barry D. Pressman
Koni and Geoff Rich
Rosenthal Family Foundation
Rolex Watch USA, Inc.
Linda and David Shaheen
Jay and Deanie Stein Foundation Trust
Margo and Irwin Winkler
Barbara and Amos Hostetter
Frank Hu and Vikki Sung
Robin and Gary Jacobs
Monique and Jonathan Kagan
Mr. and Mrs.
Joshua R. Kaplan
Linda and
Donald Kaplan
W.M. Keck
Foundation
Paul Kester
Darioush and Shahpar Khaledi
Dr. Ralph A. Korpman
Mr. and Mrs. Keith Landenberger
The Norman and Sadie Lee Foundation
Live Nation-Hewitt
Silva Concerts, LLC
Roger Lustberg and Cheryl Petersen
Linda May and Jack Suzar
Barbara and Buzz McCoy
Heidi and Steve McLean
Mr. and Mrs. David Meline
Michael and Lori Milken Family Foundation
Ms. Linda L. Pierce
Richard and Diane Schirtzer
Smidt Family Foundation Trust
Audre Slater Foundation
Sony Pictures
Entertainment, Inc.
Marilyn and Eugene Stein
James and Laura Rosenwald/ Orinoco Foundation
Maria Seferian
Jenny Williams
Alyce de Roulet
Williamson
Ellen and Arnold Zetcher
Ronald and Valerie Sugar
Cecilia Terasaki
David William
Upham Foundation
Mr. Alex Weingarten
John and Marilyn
Wells Family Foundation
Estate of Ronald Wilkniss
Debra Wong
Yang and John W. Spiegel
$25,000 TO $49,999
Anonymous (11)
The Herb Alpert Foundation
Dr. William Benbassat
Susan and Adam Berger
Samuel and Erin Biggs
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Steven Bristing
Michele Brustin
Gail Buchalter and Warren Breslow
Thy Bui
Steven and Lori Bush
Ying Cai & Wann S. Lee Foundation
Andrea ChaoKharma and Kenneth Kharma
Chevron Products Company
Mr. Richard W. Colburn
Mr. and Mrs.
Robert Cook
Donelle Dadigan
Orna and David Delrahim
Mr. Lawrence Doyle and Dr. LuAnn
Wilkerson
Mike Dreyer
Joseph Drown Foundation
East West Bank
Kathleen and Jerry L. Eberhardt
Edison International
Dr. Paul and Patti Eisenberg
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Alfred Fraijo Jr. and Arturo Becerra
Debra Frank
Drs. Jessie and Steven Galson
The Rosalinde and Arthur Gilbert Foundation
Francis Goelet
Charitable
Lead Trusts
Mr. Gregg Goldman and Mr. Anthony DeFrancesco
Kate Good
Lori Greene Gordon and Neil Gordon
The Gorfaine/ Schwartz Agency
$15,000 TO $24,999
Anonymous (3)
Mr. Robert J.
Abernethy
Mrs. Lisette Ackerberg
Drew and Susan Adams
Honorable and Mrs. Richard Adler
The Aversano Family Trust
Mrs. Stella Balesh
Ms. Elizabeth Barbatelli
Karen Barragan
Camilo Esteban
Becdach
Miles and Joni Benickes
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Tracey BoldemannTatkin and Stan Tatkin
The Otis Booth Foundation
Mr. and Mrs.
Hal Borthwick
Mr. and Mrs.
Wade Bourne
Liz and Peter Goulds
The Green Foundation
Marnie and Dan Gruen
Renée and Paul Haas
Harman Family Foundation
Lynette Maria
Carlucci Hayde
Madeleine Heil and Sean Petersen
Walter and Donna Helm
Stephen D. Henry and Rudy M. Oclaray
Mr. Philip Hettema
Marion and Tod Hindin
Fritz Hoelscher
Mr. Tyler Holcomb
Thomas Dubois
Hormel Foundation
David and Michelle Horowitz
Mr. and Mrs. Daniel
Paul Horwitz
Ms. Teena Hostovich and Mr. Doug Martinet
Mr. and Mrs.
James L. Hunter
Rif and Bridget Hutton
Estate of Mary Calfas Janos
Julia Kalmus
Terri and Michael Kaplan
Elizabeth Kolawa
Delores M. Komar and Susan M. Wolford
David Lee
Mr. and Mrs.
Simon K.C. Li
Charlene and Vinny Lingham
Ms. Judith W. Locke
Los Angeles
Philharmonic Affiliates
The Seth MacFarlane Foundation
Alfred E. Mann Charities
Mrs. Beverly C. Marksbury
Ms. Kim McCarthy and Mr. Ben Cheng
Coco Miller
Ms. Christine Muller and Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Anthony and Olivia Neece
Mr. and Mrs.
Randy Newman
Mr. Robert W. Olsen
Tye Ouzounian
Mr. Ralph Page and Patty Lesh
Ellen Pansky
Bruce and Aulana Peters
Dennis C. Poulsen and Cindy Costello
Madeline and Bruce Ramer
Mr. Bennett
Rosenthal Ross Endowment Fund
Bill and Amy Roth
Wendy and Ken Ruby
Katy and Michael S. Saei
Mr. Lee C. Samson
San Marino-Pasadena Philharmonic Committee
Ellen and Richard Sandler
Miguel Santana
Elizabeth and Justus Schlichting
Howard and Stephanie Sherwood
John Sinnema and Laura Sinnema
Melanie and Harold Snedcof
Randy and Susan Snyder
Jeremy and Luanne Stark
Lisa and
Wayne Stelmar
Eva and Marc Stern
Dwight Stuart
Youth Fund
Dr. James Thompson and Dr.
Diane Birnbaumer
Michael Frazier
Thompson
Michael Tyler
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Debra and John Warfel
Warner Bros. Discovery
Stasia and Michael Washington
Megan Watanabe and Hideya Terashima
Mindy and David Weiner
Lynn and Roger Zino
Zolla Family Foundation
Business and Professional Committee
Campagna Family Trust
Dominic Chan
Marlene Schall
Chavez, Ph.D
Chivaroli and Associates, Tiffany and Christian Chivaroli
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V.
Shannon Clyne
Faith and Jonathan Cookler
Cary Davidson and Andrew Ogilvie
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Malsi and Johnny Doyle
James and Andrea Drollinger
Van and Francine Durrer
Dr. and Mrs.
William M. Duxler
Michael Edelstein and Dr. Robin Hilder
Ms. Robin Eisenman and Mr. Maurice
LaMarche
Geoff Emery
Max Factor Family Foundation
Bonnie and Ronald Fein
Evelyn and Norman Feintech Family Foundation
E. Mark Fishman and Carrie N. Feldman
Foothill Philharmonic Committee
Tony and Elisabeth Freinberg
Joan Friedman, Ph.D. and Robert N. Braun, M.D.
Mr. and Mrs.
Josh Friedman
Gary and Cindy Frischling
Jane Fujishige
Beth Gertmenian
Mr. and Mrs.
Ronald Gertz
Carrie and Rob Glicksteen
Greg and Etty Goetzman
Goldman Sachs Co.
LLC
Mr. and Mrs.
Louis L. Gonda
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Vicken and Susan J. Haleblian
Laurie and Chris Harbert and Family
Lyndsay Harding
Mr. Sam Harris
Erin W. Hearst
Diane Henderson M.D.
Jackson N. Henry
Stephen F. Hinchliffe
Elizabeth HofertDailey Trust
K. Hohman Family International Committee of the LA Philharmonic Association
Mr. Gregory Jackson and Mrs. Lenora
Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Sharon and Alan Jones
Robin and Craig Justice
Mr. Eugene Kapaloski
Tobe and Greg Karns
Mr. and Mrs.
Robert A. Kasirer
Rizwan and Hollee Kassim
Sandi and Kevin Kayse
Diann Kim
Vicki King
Larry and Lisa Kohorn
Naomi and Fred Kurata
Arthur E. Levine and Lauren B. Leichtman
Allyn and Jeffrey L. Levine
Dr. Stuart Levine and Dr. Donna Richey
Ms. Agnes Lew
Marie and
Edward Lewis
Karen and Clark Linstone
Anita Lorber
Los Angeles
Philharmonic Committee
Bethany Lukitsch and Bart Nelson
The Mailman Foundation
Raulee Marcus
Incredible Events:
SEPTEMBER 18
Let’s Groove: Salsa Dancing
SEPTEMBER 20
Oktoberfest
SEPTEMBER 26
Friday Movie Night: Selena
NEFT Vodka Lounge in Orange Court
Every Friday & Saturday Night
Incredible Dining:
La Popular | Opening September 2025
The Win~dow Bopomofo Café
Oakberry Acai
Café de Leche Co ee Roasters
Incredible Experiences:
Dave & Buster’s
Lucky Strike
The Kookaburra Lounge
TCL Chinese 6-Plex Theatres
Mr. and Mrs.
Andrew W. Marlowe
Matt Construction Corporation
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and Margaret Mgrublian
Marcy Miller
Cynthia Miscikowski
Mrs. Judith S. Mishkin
Marc and Jessica Mitchell
Mr. John Monahan
Ms. Susan Morad at Worldwide Integrated Resources, Inc.
Mr. Brian R. Morrow
John Nagler
Ms. Kari Nakama
Mr. and Mrs.
Dan Napier
Mr. Jose Luis Nazar
NBC Universal
Shelby Notkin and Teresita Tinajero
Christine M. Ofiesh
Laura Owens
Melissa Papp-Green and Jeff Green
Gregory Pickert and Beth Price
Nancy and Glenn Pittson
Cathleen and Scott Richland
Ms. Anne Rimer
$10,000 TO $14,999
Anonymous (4)
B. Allen and Dorothy Lay
Debra and Benjamin Ansell
Tichina Arnold
Ms. Lisette Arsuaga and Mr. Gilbert Davila
Judy and Leigh Bardugo
Mr. Joseph A. Bartush
Catherine and Joseph Battaglia
Susan Baumgarten
Sondra Behrens
Phyllis and Sandy Beim
Mr. and Mrs.
Philip Bellomy
Mr. and Mrs.
Bill Benenson
Mark and Pat Benjamin
Ms. Gail K. Bernstein
Helen and
Peter S. Bing
Ken Blakeley and Quentin O’Brien
The Hon. Bob
Bowers and Mrs. Reveta Bowers
Oleg and Tatiana Butenko
Garrett Camp
Ms. Nancy Carson and Mr. Chris Tobin
Ms. Jessica Chen
Chien Family
Dr. and Mrs.
Lawrence J. Cohen
Jay and Nadege Conger
$5,500 TO $9,999
Anonymous (7)
Mechelle and Joe Adams
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
Thomas Safran
The SahanDaywi
Foundation
Ron and
Melissa Sanders
Santa MonicaWestside
Philharmonic Committee
Alexander and Mariette Sawchuk
Dena and Irv
Schechter/The Hyman Levine
Family Foundation: L’DOR V’DOR
Hillary and Weston Cookler
Alison Moore Cotter
Katie Danois
Dr. and Mrs.
Nazareth E. Darakjian
Lynette and Michael C. Davis
Rosette Delug
Nancy and Patrick Dennis
The Randee and Ken Devlin Foundation
Sean Dugan and Joe Custer
Victoria Dummer and Brion Allen
Emil Ellis Farrar and Bill Ramackers
Mr. Tommy Finkelstein and Mr. Dan Chang
Ella Fitzgerald
Charitable Foundation
Daniel and Maryann Fong
Mr. Michael Fox
Ms. Kimberly Friedman
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Mr. Peter A. Gelles and Mrs. Eve Steele Gelles
Kiki Ramos Gindler and David Gindler
Paige and David Glickman
Harriett and Richard E. Gold
Manuela Cerri Goren
Bobken and Hasmik Amirian
Art and Pat Antin
Evy and Fred Scholder Family
Howard and Linda Schwimmer
Samantha and Marc Sedaka
Mr. Murat Sehidoglu
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Marc Seltzer and Christina Snyder
Mr. James J. Sepe
Julie and
Bradley Shames
Mr. Steven Shapiro
Nina Shaw and Wallace Little
Jill and Neil Sheffield
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Tricia and Richard Grey
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Mr. William Hair
Ms. Marian L. Hall
Beth Fishbein Hansen
Mr. and Mrs. Irwin
Helford and Family
Betsydiane and Larry Hendrickson
Carol Henry
Liz Levitt Hirsch
Jessica and Elliot Hirsch
Elizabeth Hirsh
Mr. Raymond W.
Holdsworth
Joyce and Fredric Horowitz
Terry Huang
Mr. Frank J. Intiso
James Jackoway
Kristi Jackson and William Newby
Elizabeth Bixby
Janeway Foundation
Doug and Minda Johnstone
Mr. and Mrs. Steaven
K. Jones, Jr.
Dr. William B. Jones
Marilee and Fred Karlsen
Marty and Cari Kavinoky
Javi Arango
Dr. Mehrdad Ariani
Sandra Aronberg, M.D.
Lauren Shuler Donner
Grady and Shelley Smith
Mr. and Mrs. Richard Sondheimer
Angelina and Mark Speare
Terry and Karey Spidell
Stein Family FundJudie Stein
Zenia Stept and Lee Hutcherson
Tom Strickler
Akio Tagawa
Sue Tsao
Elinor and Rubin Turner
Charles Edward Uhlmann
Mr. and Mrs.
Stephen Keller
Jay T. Kinn and Jules B. Vogel
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs.
Scott Krivis
Nickie and Marc Kubasak
Hon. Ruth A. Kwan
Craig Kwiatkowski and Oren Rosenthal
Ellie and Mark Lainer
Mr. and Mrs.
Norman A. Levin
Randi Levine
Maria and Matthew Lichtenberg
Lynn Loeb
Kyle Lott
Mona and Frank Mapel
Milli M. Martinez and Don Wilson
Vilma S. Martinez, Esq.
Leslie and Ray Mathiasen
Cathy McMullen
Mr. Robert Merz
Lisa and Willem Mesdag
Ms. Marlane Meyer
Marc and Jessica Mitchell
Wendy Stark Morrissey
Carrie Nery
Dick and Chris Newman
/ C & R Newman
Family Foundation
Kenneth T. & Eileen L.
Norris Foundation
Ms. Judith A. Avery
Mr. Mustapha Baha
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Arnold Urquidez and Martha Shen-Urquidez
Nancy Valentine
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn Wagner
Mr. and Mrs.
Steven White
Libby Wilson, M.D.
Alana L. Wray
Karl and Dian Zeile
Kevork and Elizabeth Zoryan
Mr. John Nuckols
Irene and Edward Ojdana
Steve and Gail Orens
Ana Paludi and Michael Lebovitz
Loren Pannier
Mr. and Mrs.
Carl Pearlston
Ms. Debra Pelton and Mr.
Jon Johannessen
Julie and Marc Platt
Mark Proksch and Amelie Gillette
Lee Ramer
Susan Erburu
Reardon and George D. Reardon
Eduardo Repetto and Carla Figueroa
Risk Placement Services
Ernesto Rocco
Murphy and Ed Romano and Family
Mr. Steven F. Roth
Ms. Rita Rothman
Mr. and Mrs.
Stanford Rubin
Mr. David Rudy
Jesse Russo and Alicia Hirsch
Mr. and Mrs.
Paul Rutter
Dr. and Mrs.
Bernard Salick
Dr. and Mrs.
Heinrich Schelbert
Dr. Richard Bardowell, M.D.
Mrs. Linda E. Barnes
Dr. Donald Seligman and Dr. Jon Zimmermann
Jane Semel
Ruth and Mitchell Shapiro
Gloria Sherwood
The Sikand Foundation
Smart & Final
Charitable Foundation
Jennifer Speers
Joseph and Suzanne Sposato
Mr. and Mrs. Mark Stern
James C. Stewart
Charitable Foundation
Tammy E. Strome
Rose and Mark Sturza
Marcie Polier Swartz and David Swartz
Fran Sweeney
Priscilla and Curtis S. Tamkin
Christine Upton
Kathy Valentino
Bob and Dorothy Webb
Sheila and Wally Weisman
Abby and Ray Weiss
Bryan D. Weissman and Jennifer Resnik
Doris Weitz and Alexander Williams
Renae Williams Niles
Susan Winfield and Stephen Grynberg
Karen and Rick Wolfen
Bobbi and Walter Zifkin
Reed Baumgarten
Ms. Nettie Becker
Logan Beitler
CITY OF LOS ANGELES
Karen Bass Mayor
Hydee Feldstein Soto
City Attorney
Kenneth Mejia Controller
CITY COUNCIL
Bob Blumenfield
Marqueece Harris-Dawson President
Eunisses Hernandez
Heather Hutt
Ysabel J. Jurado
John S. Lee
Tim McOsker
Adrin Nazarian
Imelda Padilla
Traci Park
Curren D. Price, Jr.
Nithya Raman
Monica Rodriguez
Hugo Soto-Martínez
Katy Young Yaroslavsky
DEPARTMENT OF CULTURAL AFFAIRS
Daniel Tarica
General Manager
CULTURAL AFFAIRS COMMISSION
Robert Vinson President
Natasha Case Vice President
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
Tria Blu Wakpa
WALT DISNEY CONCERT HALL HOUSE STAFF
Marcus Conroy
Master Electrician, Steward
Charles Miledi
Master Props
Sergio Quintanar
Master Carpenter
Kevin F. Wapner
Master Audio/Video
Maria and Bill Bell
Carlo Bernardino
Mr. Alan N. Berro
Richard Birnholz
Mitchell Bloom
Thomas J. Blumenthal
Joan N. Borinstein
Greg Borrud
Mr. Ray Boucher
Dr. and Mrs.
Hans Bozler
Faith Branvold
Ms. Marie Brazil
Anita Brenner
Lynne Brickner and Gerald Gallard
Drs. Maryam and Iman Brivanlou
Jennifer Broder and Soham Patel
Ronald Brot
Mrs. Linda L. Brown
Lupe Burson
Mary Lou Byrne and Gary W. Kearney
Lisa Calderon
California Community Foundation
Mara and Joseph Carieri
CBS Entertainment
Dr. Kirk Y. Chang
Arthur and Katheryn Chinski
Dr. Stephanie Cho and Jacob Green
Mr. and Mrs.
Ronald Clements
Committee of Professional Women
Mr. and Mrs.
Richard W. Cook
Mr. and Mrs.
Bruce Corwin
Lloyd Eric Cotsen
Jessica and James Dabney
Mr. James Davidson and Mr. Michael Nunez
Julie and Stan Dorobek
Steven Duffy
$3,500 TO $5,499
Anonymous (5)
Mr. Robert A. Ahdoot
Ty Ahmad-Taylor
Ms. Rose Ahrens
Cary Albertsone
Adrienne S. Alpert
Mr. James P. Alstad
Edna R.S. Alvarez
Mr. Peter Anderson
and Ms. Valerie Goo
Mr. Robert C. Anderson
Mr. and Mrs.
Brack W. Duker
Anna Sanders Eigler
Alex Elias
John B. Emerson and Kimberly Marteau
Emerson
Janice Feldman, JANUS et cie
Mr. Gregg Field and Ms. Monica Mancini
Laura Fox, M.D., and John Hofbauer, M.D.
The Franke Family
Trust
Dr. and Mrs. Robert Freilich
Linda and James Freund
Ruchika Garga
Gibson, Dunn & Crutcher
Jon M. Gibson
Leslie and Cliff Gilbert-Lurie
Stephen and Renee Gingold
Tina Gittelson
Mr. and Mrs. Herbert Glaser Glendale
Philharmonic Committee
Dr. and Mrs.
Steven Goldberg
Jory Goldman
Carol Goldsmith
Mr. and Mrs.
Russell Goldsmith
Juan Carlos Gonzalez
Edith Gould
Lee Graff Foundation
Diane and Peter H. Gray
Mr. and Mrs.
Paul E. Griffin III
Rita and William Griffin
Mr. Frank Gruber and Ms. Janet Levin
Mr. and Mrs.
Paul Guerin
Dr. Philip Anthony
Victor and Iris Antola
Betsy and Harold E. Applebaum
Carlo and Amy Baghoomian
Tawney Bains and Zachary Roberts
Terence Balagia
Pamela and Jeffrey Balton
Howard Banchik
Rod Hagenbuch
Judith and Robert D. Hall
Dwight Hare and Stephanie Bergsma
Drs. Susan Hammar
and Rick Harrison
Myrna and Uri Herscher Family
Foundation
William Hewes
Tina and Ivan Hindshaw
Arlene Hirschkowitz
David and Martha Ho
Janice and Laurence Hoffmann
Eugene and Katinka Holt
Douglas Honig
Jill Hopper
Dr. and Mrs.
Mel Hoshiko
Deedie and Tom Hudnut
Michael Insalago
Mrs. Leonard Jaffe
Randi and Richard B. Jones
Mr. William Jordan
Meredith Jury
Hun and Jee Kang
Judith and Russell Kantor
Leigha Kemmett and Jacob Goldstein
Sharon Kerson
Daisietta Kim
Mr. Mark Kim and Ms.
Jeehyun Lee
Remembering Lynn
Wheeler Kinikin
Phyllis H. Klein, M.D.
Michael and Patricia Klowden
Alan S. Koenigsberg and John A. Dotto
Lee Kolodny
Lori Kunkel
Dr. and Mrs. Kihong Kwon
Carole and Norm La Caze
Lena and Mark Labowe
Mr. Richard
W. Labowe
Katherine Lance
Mr. and Mrs.
Jack D. Lantz
Joan and Chris Larkin
Mrs. Grace E. Latt
Ms. Jeanne Lawson
Mr. George Lee
Mr. Randall Lee and Ms. Stella M. Jeong
Mr. Stephen Leidner
Lennox Foundation
Lydia and Charles Levy
David and Meghan Licata
David and Rebecca Lindberg
Mr. Greg Lipstone
Ms. Diana Longarzo
Mr. Joseph Lund and Mr. James Kelley
Theresa Macellaro / The Macellaro
Law Firm
Kevin MacLellan and Brian Curran
Stephen Martinez
Pam and Ron Mass
Mr. and Mrs. Thomas E. McCarthy
Mr. and Mrs. William F. McDonald
Courtney McKeown
Lawry Meister
Carlos Melich
Mr. and Mrs.
Dana Messina
Mr. Weston F. Milliken
Linda and Kenneth Millman
Mrs. Lillian Mueller
Sheila Muller
Loretta Munoz
Craig and Lisa Murray
Ms. Yvonne
Nam and Mr. David Sands
Rachel Nass
Mrs. Cynthia Nelson
John W. Newbold
Ms. Kimberly Nicholas
Ms. Mary D. Nichols
Mr. Michael B. Nissman
Amelia and Joe Norris
Kim and P.F. James Overton
Alicyn Packard and Jason Friedman
Cynthia Patton
Alyssa Phaneuf
Peggy Phillips
Lyle and Lisi Poncher
Robert J. Posek, M.D.
James S. Pratty, M.D.
William “Mito” Rafert
Hon. Ernest M. Robles
Maria Rodriguez and Victoria Bullock
Mr. and Mrs.
William C. Roen
Peter and Marla Rosen
Bill Rowland
Andrew E. Rubin, and Roberta and Stanley Bogen
Dr. Michael Rudolph
Thomas C. Sadler and Dr. Eila C. Skinner
Dr. Marlene M. Schultz and Philip M. Walent
Sue and Don Schuster
Dr. and Mrs.
Ronald Schwartz
Michael Sedrak
Dr. and Mrs. Hervey Segall
Laurie Selik
Mr. Chris Sheridan
Pamela and Russ Shimizu
Mr. Adam Sidy
Scott Silver
Loraine Sinskey
Mr. and Mrs.
Peter R. Skinner
Cynthia and John Smet
Mr. Douglas
H. Smith
Pamela J. Smith
Mr. and Mrs.
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Mr. Andrew Tennenbaum and Dr. Ali Strocker
Ms. Jennifer
Cannon Terry
Suzanne Thomas Thomson
Technicolor
Jeremy Thurswell
Judith and Dr. John Uphold
Ellen GoldsmithVein and Jon Vein
Joan Velazquez and Joel Kozberg
Noralisa Villarreal and John Matthew Trott
Christopher V. Walker
Robert and Nancy Wallan
Lisa and Tim Wallender
Walter and Shirley Wang
Mr. Darryl Wash
Fredda and Bruce Wasserman
Megan Watanabe and Hideya Terashima
Mr. and Mrs.
Bradley Wayne
Mr. and Mrs.
Stephen Weber
Mr. Beryl Weiner
Mindy and David Weiner
Mr. Joel Weiner
Mr. Alex Weingarten
Gelena and Seth
Weissman
Western Health Insurance
Services, Inc.
Alyce de Roulet
Williamson
Willkie Farr & Gallagher LLP
Mr. Dylan Yolles
Mrs. Lillian Zacky
Edward and Terrilyn Zaelke
Ms. Seeta Zieger
If the behavior of a patron or patrons near you becomes disruptive, the incident should be reported to the nearest usher or security person. To report an incident discreetly during an event, a text can be placed to the Customer Courtesy Line using the keyword BOWL sent to 69050 For the full Code of Conduct, visit hollywoodbowl.com/houserules.
By law (LACC 17.04.645), smoking is not permitted on the Hollywood Bowl grounds, except in designated areas. Violators are subject to removal. Smoking in any other areas could lead to arrest and would be considered a misdemeanor.
In case of illness or injury, please see an usher, who will escort you to the First Aid Station.
Any lost articles found on concert nights may be claimed at the Operations O ce the next morning. Unclaimed articles are kept for 30 days from the date they are found. For information, call 323 850 2060
PHOTOGRAPHS
Your use of a ticket constitutes acknowledgment of willingness to appear in photographs taken in public areas of the Hollywood Bowl and releases the Los Angeles Philharmonic Association, its lessees, and all others from liability resulting from the use of such photographs.
For information detailing accessible seating, restrooms, dining, onsite transportation, assistive listening devices, or any further information, visit hollywoodbowl.com/access For additional information, call Accessibility Services at 323 850 2125
More than 75 years ago...
Hollywood Bowl - Summer 1948
José Iturbi conducting with his sister Amparo at the piano in rehearsal - Rachmaninoff Piano Concerto #2