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GRANT GERSHON KIKI & DAVID GINDLER ARTISTIC DIRECTOR JENNY WONG ASSOCIATE ARTISTIC DIRECTOR

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25 YEAR AN N IVE RS A RY / SEP TEM B ER 2 0 2 6

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MAGAZINE

contents P1 Program

Cast, performances, who’s who, director’s notes and donors

New conductor and new production of Carmen at L.A. Opera; BroadStage and Road Theatre Company offer Kaiju in North Hollywood.

10 Balancing Act

Those who plan performingarts seasons skillfully blend genres and visions, financial considerations and diverse audience preferences.

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6 In the Wings

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IN TH E W I N G S

New Season, New Conductor IN HIS FIRST APPEARANCE as new music director of L.A. Opera, Domingo OPERA Hindoyan leads the premiere of a new production of Bizet’s Carmen drenched in Spanish Gothic splendor; think saints, sinners and España Oculta. Rihab Chaieb stars as the iconic femme fatale, Joshua Guerrero as Don Jose, Liam James Karai as Escamillo. Design and direction are by Thaddeus Strassberger, choreography by Antonio Najarro, lauded for last season’s flamenco-infused Ainadamar. Six performances take place Oct. 17-Nov. 7 at Dorothy Chandler Pavilion (135 N. Grand Ave., downtown, 213.972.7211). Fall offerings also include Hercules vs Vampires, Oct. 30-31 at the gothic United Theater on Broadway (929 S. Broadway, downtown, 213.953.3680). The 1961 Italian cult fantasy film features ambitious special effects and cinematography; new music and adapted libretto by Patrick Morganelli features L.A. Opera singers and orchestra. laopera.org

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COURTESY L.A. OPERA

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Set design for Carmen by director/designer Thaddeus Strassberger. Opposite: Hercules vs Vampires at United Theatre on Broadway

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IN TH E W I N G S

E S F

Pianists Isata Kanneh-Mason and, below, Hiromi

Wh the

BroadStage Goes Big! SOMETHING VERY LARGE comes your way thanks to a co-production of BroadStage and The Road Theatre Company: Two 250-foottall monsters debate the morality of the destruction they just caused in Dan Caffrey’s Kaiju, Sept. 25-Nov. 1 at the Road Theatre in North Hollywood (10747 Magnolia Blvd.). Ken Sawyer directs; previews take place Sept. 22-24. The season continues at BroadStage itself. Events include Hiromi the Trio Project on Oct. 6; Grammy Awardwinning pianist Hiromi is joined by

legendary drummer Simon Phillips and virtuoso bassist James Genus. The Takács Quartet and pianist Jeremy Denk take the stage Oct. 9. The Celebrity Opera Series continues with British baritone Huw Montague Rendall and accompanist Malcolm Martineau Oct. 17. Scott Silven: Wonders, featuring the renowned illusionist, transports audiences Oct. 22-24, as do the Orpheus Chamber Orchestra and pianist Isata Kanneh-Mason on Nov. 12. 1310 11th St., Santa Monica, 310.434.3200, broadstage.org

At su me the po an JOHN DAVIS, TOP, AND MITSURU NISHIMURA

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FEATURE

BALANCING ACT

Those who program performing-arts seasons skillfully blend artistic genres and visions, financial considerations and diverse audience preferences.

by LIBBY SLATE

OM McCOY, WHO with wife Cathy Rigby McCoy has been executive producer of La Mirada Theatre’s Broadway theater series for more than 30 years, has a word in his social media posts to describe his programming endeavors for upcoming seasons: showbiz. As in “A lovely showbiz lunch today,” with a director and choreographer to discuss new works, or an exclamation on video at a new Broadway musical: “Go, showbiz!” “Showbiz” requires traveling to New York for shows, meetings and readings about every six weeks, says McCoy, himself a former performer; he and Rigby McCoy—a two-time Olympic gymnast turned Tony-

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nominated star of Peter Pan—met as cast members in a production of The Wizard of Oz. Then there’s seeing productions elsewhere at regional theaters, attending conferences and talking shop with other producers. Similarly, Music Center president/CEO Rachel S. Moore, who programs the Glorya Kaufman Presents Dance at the Music Center series downtown, travels the U.S. and internationally to scout dance companies. Colleague Snehal Desai, artistic director of the Center Theatre Group, just last month attended the Edinburgh International Festival and Fringe Festival, in search of, as on other trips, potential CTG productions and new artistic voices.

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Dance at the Music Center presents Spain’s Compañia Nacional de Danza. Opposite: Les Misérables at La MIrada Theatre

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FEATURE

“Whether we are presenting a Broadway touring production, a hit play or world premiere musical, a timely new work or family show, we want to be a place every theater lover can call home, whether they want to be challenged, entertained or embraced by their fellow community.”

Oh, Mary!, coming to Center Theatre Group. Below: Arcis Saxophon Quartett at Segerstrom Center

They, as well as Moore and Tomer, usually work one to two seasons ahead. The La Mirada season always opens and closes with “tent pole” shows sure to draw audiences— this season, Little Shop of Horrors (Sept. 18-Oct. 11) and a repeat from 2014, Les Misérables (June 4-27), respectively. The latter is a change of pace from the venue’s usual family-friendly June offering, such as Disney’s The Little Mermaid or Frozen, when kids are out of school. They try to include one play among the musicals each year; a reprise of the first show the couple produced for La Mirada in 1994, the play To Kill a Mockingbird, runs Feb. 5-28. Also this season: Dear Evan Hansen (Oct. 30-Nov. 22) and Hairspray (April 2-25). Through their company, McCoy Rigby Entertainment (MRE), the duo also develops new shows.

Programmers sometimes keep a theme in mind. For this Music Center dance season, Moore says, “We’re honoring women, but we’re also honoring the linkage between commercial dance, Broadway and concert dance.” Ballet Festival: Jerome Robbins at the Ahmanson Theatre (Oct. 23-25) opens the season. Known for West Side Story, Fiddler on the Roof and other Broadway hits, Robbins was also New York City Ballet’s longtime associate artistic director. Also at the Ahmanson, Jan. 15-17, is The Surge: An Ode to Sinéad

EMILIO MADRID, TOP, AND ARCIS VISUALS

And Limor Tomer, vice president of programming and production for the Segerstrom Center for the Arts in Costa Mesa, travels stateside and in Mexico to seek out artists for Segerstrom’s season. Their efforts pay off. McCoy estimates that he books at least half of each season via “showbiz” activities. In Moore’s case, dance aficionados can enjoy the return this season, for the first time in 20 years, of Spain’s Compañía Nacional de Danza. Performing arts programming requires not only such scouting jaunts, but a mix of artistic vision, instinct, relationship skills, knowing one’s audience and budgeting and other business savvy. “It’s a balancing act, financially and artistically,” says McCoy, who amasses a list of 15 to 20 potential productions that he and McCoy Rigby then whittle down to the season’s final five.

—Snehal Desai, artistic director of the Center Theatre Group

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EMILIO MADRID, TOP, AND ARCIS VISUALS

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FEATURE

explains, and the popular Ailey company easily fills its 3,000 seats. The Ahmanson is tapped often, as it can hold various company sizes. Walt Disney Concert Hall and Mark Taper Forum, neither of which has a proscenium, are used occasionally for site-specific works. Moore’s own ballet experience and world travels to see companies inform her choices; she mixes traditional and classic with contemporary and bold and seeks to uplift dancers and choreographers of color. “It’s a combination of what I think is really beautiful and compelling and well done, but also something that will resonate with Los Angeles County,” she says. “We’re very mindful of that lens, given that this is arguably one of the most diverse counties in the country. “We present work that speaks

At Segerstrom Center: Afro-Latin jazz leader Arturo O’Farrill; top, Sugar Skull

DAVE TITENSOR, TOP, AND COURTESY AFRO LATIN JAZZ ORCHESTRA

O’Connor, choreographed by Tony Award-winning Sonya Tayeh (Moulin Rouge the Musical). Twotime Tony-winning choreographer Christopher Wheeldon (MJ, An American in Paris) is the architect of the Joffrey Ballet’s West Coast premiere of The Sleeping Beauty at the Dorothy Chandler Pavilion (June 24-27). Also at the Chandler: perennial audience favorite Alvin Ailey American Dance Theater (March 31-April 4) and the North American premiere of Don Quixote by the aforementioned Compañía Nacional de Danza (July 15-18). Moore, a former American Ballet Theatre corps dancer who later became the company’s CEO, takes the Music Center’s various theaters into account when programming. The Chandler is ideal for fulllength ballets with large sets, she

to many communities.” CTG’s Desai agrees. “The big takeaway for our season is the scope and scale of it,” he says. Desai’s goal is the same whether presenting a Tony Award-winning Broadway touring production at the Ahmanson such as the comedy Oh, Mary! (Nov. 10-Dec. 6); a hit play or world premiere musical at the Taper such as John Proctor is the Villain (March 17-April 25) and The Turning (Sept. 8-Oct. 17), respectively; a timely new work or a family show at the Kirk Douglas Theatre in Culver City such as last spring’s Guac and the return of Dog Man: The Musical (Sept. 12-Oct. 18). “We want to be a place every theater lover can call home,” he says, “whether they want to be challenged, entertained or embraced by their fellow community. “My goal is for everyone who enters our spaces to see themselves reflected back at them and to have their stories told, celebrated and shared across L.A.” Representation is important as well at the /CONTINUED ON PAGE 30

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PERFORMANCES MAGAZINE

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O P E N I N G N I G H T F E AT U R I N G B R A H M S ’ R E Q U I E M

welcome

W I L L I A M T U L LY, I N T E R I M P R E S I D E N T & C H I E F E X E C U T I V E O F F I C E R

Dear Friends of the Master Chorale, As Grant Gershon was preparing for his first concert as Music Director of the Los Angeles Master Chorale in 2001, the world changed. September 11: one day, two planes, two towers, and unthinkable terror stirred fear and anxiety in human hearts near and far. While others reeled and pontificated, Grant Gershon knew what to do. He knew how to stir hearts in a healing way. He gathered 20 Chorale singers, and two days later they appeared under the rotunda of the historic Central Library downtown, and they sang to show that choral music can help work through grief and channel communal solidarity. Just 16 days later on opening night, he added an apt beginning to the concert, touching the American soul with “Amazing Grace,”“America the Beautiful,”and Mozart’s Ave Verum Corpus. Those inspired additions to the planned program announced to the world: here is a musician who knows what the moment requires and the heart needs. His 25 years bear that out, and then some. The evolution of the company turned quickly to a revolution, and by 2017 the Chorale had become a wholly professional ensemble of 100 singers, selected and maintained through a notoriously rigorous audition process.

commissions, and for advocating the groundbreaking 2020 decision to commit the Chorale to programming 50% of its performances with the works of underserved and under-recognized composers. It’s a commitment that rattles marketing teams, but it is the genius of a true Angeleno’s love for his hometown, one of the world’s most diverse. You will find many online reviews of Grant’s work with the Chorale. Two capture his particular influence:“The Master Chorale habitually avoids the sort of enthusiastic fuzziness you often encounter in symphonic choruses: the ensemble is thrillingly clear,” The New Yorker observed three years ago. And Mark Swed wrote in the Los Angeles Times that“the Master Chorale is the finest by far large chorus in America today.” And this 61st season of the Chorale, Grant’s triumphant 25th, will be a feast of his and the singers’ talents. Look forward to: Joining forces with the National Chorus of Korea for our Building Bridges concert in November, the Music of Las Posadas at Cathedral of our Lady of the Angels along with our renowned holiday concerts in Walt Disney Concert Hall; once-in-a-lifetime performances with beloved composer Eric Whitacre and with world-class violinist Anne Akiko Meyers, and don’t miss an evening of music by legendary Broadway composer Stephen Sondheim, who worked directly with Grant on several projects. Thank you, Maestro Gershon, for 25 years! Let the season begin.

Along the way his commitment to precise performance standards coupled with passion, feeling and shared joy became a hallmark.

Sincerely,

Critics have praised his widening repertoire, building on perennial classics with dozens of new

William Tully Interim President & Chief Executive Officer

LOS ANGELES MASTER CHOR ALE

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O P E N I N G N I G H T F E AT U R I N G B R A H M S ’ R E Q U I E M

a letter from grant gershon K I K I & DAV I D G I N D L E R A R T I S T I C D I R EC T O R

Dear Friends, It was almost exactly 25 years ago to the day that I stood in front of the Los Angeles Master Chorale on the stage of the Dorothy Chandler Pavilion for the first time. It was one of the most exhilarating (and frankly terrifying) moments of my life, and it began a musical journey that has fed my soul and filled my heart with overwhelming beauty. In my opening remarks that first night I referred to choral music as one of the richest and most complex expressions of the human spirit. As the world has changed over the last 25 years, that message has resonated more deeply and with more variations than I ever could have imagined. The two pieces on the program this evening have a special significance for me and for the Chorale. Anton Bruckner’s ecstatic Te Deum was one of the pieces we performed at that first concert together in September of 2001, and I’ll never forget the way that this music seemed to launch us like a rocket into a new era for the Chorale. Similarly, Brahms’ Requiem is a work that we have visited many times together over the years. Its deeply felt humanity and compassion speak to us clearly, especially in times of crisis and turmoil. The singers of the Chorale have a special affinity for this music, and this evening promises to be unforgettably powerful thanks to their phenomenal artistry. As we look ahead toward the rest of my Silver Anniversary with the Chorale, I’m reminded that there is so much for all of us to be proud of: from our recent Grammy Awards and Oscars telecast appearances to our international touring, our

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countless transcendent performances at Walt Disney Concert Hall and our many transformative Learning Programs. Of course, this anniversary provides an opportunity to reflect on these accomplishments, but more importantly, it points the way forward to new possibilities. One of the themes of our 2026/27 season is collaboration. Choral music is about bringing people together in harmony and shared purpose, and that mission has never felt as urgent as it does now. To that end, we are proud to share the stage this Fall with the National Chorus of Korea, the French Baroque ensemble Le Concert d’Astrée and Mariachi Reyna de Los Ángeles. I will share the podium with conductors Emanuel Haïm, In-Gi Min, Eric Whitacre and our own Associate Artistic Director Jenny Wong. We will also feature violinist extraordinaire Anne Akiko Meyers and the brilliant stage director Peter Sellars. Among our other special events this season will be an unforgettable tribute to the genius of Stephen Sondheim, a celebration of the tradition of Las Posadas at the Cathedral of Our Lady of the Angels and the return of our popular LA SINGS! where YOUR voice will fill Walt Disney Concert Hall with music and joy! We cannot wait to share all of this incredible music with you this coming season. Thank you for joining us on this beautiful ride! Warmly,

Grant Gershon Kiki & David Gindler Artistic Director

LOS ANGELES MASTER CHOR ALE

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Opening Night

Featuring Brahms’ Requiem S U N D AY S E P T E M B E R 2 7, 2 0 2 6 AT 7 P M W A LT D I S N E Y C O N C E R T H A L L GRANT GERSHON

Kiki & David Gindler Artistic Director

JENNY WONG

Associate Artistic Director LOS AN GELES MASTER CH O R ALE LOS AN GELES MASTER CH O R ALE O RCH ESTR A GRANT GERSHON, conductor ELIS SA JOHNSTON , soprano* WO OYO U N G K I M , m e z zo -s o p r a n o* JJ LOPEZ , tenor* DERRELL ACON , ba ss-baritone*

Te Deum I. Te Deum laudamus II. Te ergo quaesumus III. Aeterna fac IV. Salvum fac populum tuum V. In Te, Domine, speravi

Anton Bruckner (1824–1896)

INTERMISSION Ein deutsches Requiem I. Selig sind, die da Leid tragen II. Denn alles Fleisch, es ist wie Gras III. Herr, lehre doch mich IV. Wie lieblich sind deine Wohnungen V. Ihr habt nun Traurigkeit VI. Denn wir haben hie keine bleibende Statt VII. Selig sind die Toten

Johannes Brahms (1833–1897)

* 26/27 jennifer diener soloists This program is supported by the Colburn Foundation, the Dan Murphy Foundation, the Z. Wayne Griffin and Elinor Remick Warren Choral Classics Fund and the Jennifer Diener Soloist Fund.

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O P E N I N G N I G H T F E AT U R I N G B R A H M S ’ R E Q U I E M

Acknowledgments The Los Angeles Master Chorale acknowledges our presence on the ancestral and unceded territory of the Gabrieleno/Tongva people and their neighbors, including the Tataviam, Serrano, Kizh and Chumash peoples, whose ancestors ruled the region we now call Southern California for at least 9,000 years. We recognize that settler colonization led to dispossession, displacement and trauma, and that the impacts of these systems continue to affect Indigenous peoples today. We pay respects to the members and elders of these communities, past and present, who remain stewards, caretakers, and steadfast advocates of these lands, river systems and ocean waters. We thank the following 2026/27 Season presenting sponsors for their generous support: Joni and Miles Benickes; Bryant, Judi, and Debra Danner; the Jennifer Diener Soloist Fund; Kiki Ramos Gindler and David Gindler; the Z. Wayne Griffin and Elinor Remick Warren Choral Classics Fund; Terri and Jerry Kohl; the Los Angeles County Board of Supervisors through the Department of Arts and Culture; Tom Strickler; the Perenchio Foundation, and the Andrea and Gregory Williams Collaborating Artists Fund. 25 in 5 is made possible by the Joan and Jeff Beal Artistic Innovation Fund, Marla Borowski, and the Susan Erburu Reardon and George Reardon Commissioning Fund. The Los Angeles Master Chorale’s Swan Family Artist-in-Residence is made possible by Kristan and Philip Swan. AmaWaterways is the Official River Cruise Line of the Los Angeles Master Chorale.

I N - K I N D A N D M E D I A PA R T N E R S

Your use of a ticket acknowledges your willingness to appear in photographs taken in public areas of The Music Center and releases the Center and its lessees and others from liability resulting from use of such photographs. Use of any phones, cameras, or recording devices is prohibited during the performance. Program and artists subject to change. Latecomers will be seated at the discretion of House Management.

Members of the audience who leave during the performance will be escorted back into the concert hall at the sole discretion of House Management.

ARTIST MANAGEMENT

The Los Angeles Master Chorale is exclusively represented worldwide by Opus 3 Artists. P4 PERFORMANCES MAGAZINE

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O P E N I N G N I G H T F E AT U R I N G B R A H M S ’ R E Q U I E M

grant gershon K I K I & DAV I D G I N D L E R A RTI STI C D I R ECTO R

for motion picture soundtracks, including, at the request of John Williams, Stars Wars: The Last Jedi and The Rise of Skywalker. Gershon has performed at Carnegie Hall and Trinity Wall Street in New York, and has led concert performances with the San Francisco Symphony, the National Symphony, the Los Angeles Philharmonic, and operas for Houston Grand Opera, The Santa Fe Opera and Wolf Trap Opera. Gershon was named Outstanding Alumnus of the USC Thornton School of Music in 2002 and received the USC Alumni Merit Award in 2017.

Hailed for his adventurous and bold artistic leadership, Grant Gershon, Kiki & David Gindler Artistic Director, celebrates his 25th season with the Los Angeles Master Chorale, which he transformed into the “bestby-far major chorus in America” (Los Angeles Times). Grant and the Chorale received two Grammy Awards for Best Choral Performance in 2026 and 2022. He also received Chorus America’s 2022 Korn Founders Award for his career-spanning leadership in the field of choral music. Grant made his San Francisco Opera and Dutch National Opera debuts in 2017 and 2019, respectively, conducting the world premiere of John Adams’ Girls of the Golden West. As Resident Conductor of LA Opera, Grant conducted the West Coast premiere of Philip Glass’s Satyagraha in November 2018; and he led the world premiere of Daniel Catán’s Il Postino, which was subsequently released on DVD by Sony Classical. Among the highpoints of his time with the Chorale, they twice opened the famed Salzburg Festival—with Orlando di Lasso’s Lagrime di San Pietro in 2019 and Heinrich Schütz’ Music to Accompany a Departure in 2023. They have also performed these works to enormous acclaim around the world. In New York, Grant and the Chorale were the featured artists at Lincoln Center’s Great Performers Series. They also performed on the 2025 and 2026 Academy Awards, viewed by millions around the world. Grant’s discography includes Chorale recordings of music by Nico Muhly, Henrik Gorecki, David Lang, Steve Reich and for Decca, Nonesuch and Cantaloupe Records. He has also led the Chorale in performances LOS ANGELES MASTER CHOR ALE

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los angeles master chorale For over 60 years, the Grammy-Award winning Los Angeles Master Chorale has been a standard-bearer for choruses across America. Hailed for its powerful performances, technical precision and artistic daring, the Chorale reaches nearly 100,000 people a year through its concert series at Walt Disney Concert Hall, its international touring of innovative works and its performances with the Los Angeles Philharmonic and others. Led by Grant Gershon, Kiki & David Gindler Artistic Director; Associate Artistic Director Jenny Wong; and Interim President & CEO William Tully, the Master Chorale was named “the finest-by-far major chorus in America” by the Los Angeles Times. From intimate performances with just six or eight singers to full-scale collaborations featuring 100 voices, it consistently thrills audiences with its versatility and artistic depth, performing early choral works alongside pop classics and modern pieces as well as exclusive commissions from the world’s most innovative composers. Voices of Master Chorale singers have been featured on many major motion pictures as well as on the 2025 and 2026 Academy Awards, which were broadcast to over 19 million viewers around the world. Created by legendary conductor Roger Wagner in 1964, the Chorale is a founding resident company of The Music Center in Los Angeles and choir-in-residence at Walt Disney Concert Hall. It has an industry-defining commitment to fostering new music from modern composers and educating the next generation of choral music singers through its renowned learning programs. PERFORMANCES MAGAZINE P5

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Praise and Consolation T H O M A S M AY Anton Bruckner and Johannes Brahms approach sacred music from strikingly different directions. Bruckner’s Te Deum (1884) conveys a radiant certainty of faith; Brahms’ Ein deutsches Requiem (1868) turns away from conventional Christian dogma toward consolation for the living. For Grant Gershon, the contrast is between Bruckner’s “cosmic,” “bigger than life” scale and the “complete humanity” and intensely personal response to loss he finds in the Brahms. Bruckner’s sacred music was central to his development as a composer. During his years as organist at Linz Cathedral, large-scale choral works helped him emerge from an extended period of rigorous study of the intricate rules of counterpoint. For this “God-intoxicated,” devoutly Catholic composer, the spiritual contemplation of his sacred works carries over into his symphonic world. Gershon underscores that connection when he describes the Te Deum as “one of his symphonies … condensed, like a neutron star. It feels white-hot to me.” The Te Deum also has special significance for Gershon as he begins his 25th-anniversary season with the Los Angeles Master Chorale: it was part of the very first concert he programmed with the ensemble, almost exactly 25 years ago. Bruckner sets the ancient Christian hymn of praise in five connected movements, opening with a fiery blaze of C major as chorus and orchestra proclaim, “We praise thee, O God.” He moves between massed choral writing and more intimate passages for the soloists, accompanied by a beatific solo violin. Toward the end, independent choral lines gather and intertwine in a mounting surge before the work drives to its final plea: “Let me never be confounded.” Gershon points to Gustav Mahler’s famous response to the score. On his copy, Mahler wrote: “for the tongues of angels, heaven-blest, chastened hearts, and souls purified in the fire!” Mahler’s words capture the work’s white-hot fusion of spiritual conviction and musical exhilaration. That concentrated intensity allows the Te Deum to function, as Gershon puts it, “almost like a prelude” to Brahms’ much more expansive Requiem. Brahms called his work Ein deutsches Requiem—“A German Requiem”—because its texts come from Martin Luther’s German translation of the Bible rather than

the traditional Latin Mass for the Dead. Yet he once suggested that he might just as well have called it “A Human Requiem.” Brahms assembled his own sequence of passages from the Psalms, Isaiah, the Wisdom of Solomon, Ecclesiasticus, and the New Testament. Not a single movement corresponds directly to the familiar Latin Requiem, and he avoids a conventional account of Christ’s death and resurrection. His focus is consolation for the living rather than pleading for the dead. The work’s origins are generally linked to the death of Brahms’ mentor and father figure Robert Schumann in 1856. The death of his mother in 1865 provided another impetus; the fifth movement, for soprano solo, contains the promise “I will comfort you as a mother would.” The Requiem has been close to Gershon since adolescence. He recalls buying a score at about 13, playing it at the piano and singing through all the parts throughout high school, and wearing out the grooves on his LP. “It’s just been a piece that I have loved … forever,” he says. For this anniversary season, Gershon is drawn again to its “warmth,” “humanity,” “compassion,” and “tenderness.” Brahms balances reposeful lyricism and drama across a broad arch. The simple three-note idea F–A–B-flat, heard when the chorus first enters, becomes a unifying presence. The foreboding march of the second movement leads eventually to a powerful moment of existential dread in the sixth, while “How lovely are thy dwelling places” forms the serene center. Brahms offers no sentimental shortcut around mortality: consolation acquires its force because the music has also confronted fear and impermanence. In the final moments, music from the opening returns, now carrying the emotional weight of everything heard in between. Both works, Gershon notes, are deeply satisfying to sing. Brahms gives every vocal part “beautiful, satisfying lines”; in Bruckner, singers can “let it all hang out.” In both composers, the text and “the communication of the spirit behind the music” remain front and center. In Gershon’s words, “they speak to each other in a really beautiful way.”

Thomas May is the program annotator for the Los Angeles Master Chorale. P6 PERFORMANCES MAGAZINE

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los angeles master chorale SOPRANO April Amante Tamara Bevard Christina Bristow Hayden Eberhart Harriet Fraser Graycen Gardner Kelci Hahn Ayana Haviv Karen Hogle Brown JuHye Kim Youngjoo Lee Sarah Lonsert Caroline McKenzie Emily Reed Alina Roitstein Anna Schubert Holly Sedillos Sunmi Shin Kathryn Shuman Janet Todd Suzanne Waters Andrea Zomorodian

A LT O Lindsay Patterson Abdou Garineh Avakian Anna Caplan Janelle DeStefano Carmen Edano Zineb Fikri Michele Hemmings Callista Hoffman-Campbell Shabnam Kalbasi Sharon Chohi Kim Hannah Little Sarah Lynch Adriana Manfredi Cynthia Marty Julia Metzler Laura Smith Roethe Jessie Shulman Niké St. Clair Nancy Sulahian Ilana Summers Tracy Van Fleet Elyse Willis

TENOR Matthew Brown Bradley Chapman Adam Faruqi Michael Jones Jon Lee Keenan Dermot Kiernan Shawn Kirchner Joey Krumbein Bryan Lane Charles Lane Kyuyoung Lee Michael Lichtenauer Sal Malaki Matthew Miles David Morales Robert Norman Rohan Ramanan Evan Roberts Darita Seth Todd Strange Matt Thomas Matthew Tresler

BASS Michael Bannett John Buffett Dominic Delzompo Sean Gabel Dylan Gentile Will Goldman Abdiel Gonzalez Scott Graff Brandon Guzman James Hayden Jared Jones David Dong-Geun Kim Luc Kleiner Chung Uk Lee Connor Licharz Ben Han-Wei Lin Brett McDermid Steve Pence Adrien Redford Mark Edward Smith Lorenzo Zapata 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.

The Los Angeles Master Chorale would like to express our profound thanks to both Alto Monika Brucker (23 seasons) and Bass Mark Beasom (43 seasons) for their artistry and passion for choral music, that has strongly contributed to the success of this ensemble. They will forever remain a close part of the Master Chorale family.

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los angeles master chorale orchestra VIOLIN I Roger Wilkie Concertmaster Nina Evtuhov Associate Concertmaster Margaret Wooten Assistant Concertmaster Florence Titmus Leslie Katz Liliana Filipovic Nicole Bush Rafael Rishik Reina Inui Ina Veli Haesol Lee Myroslava Khomik VIOLIN II Elizabeth Hedman Principal Cynthia Moussas Associate Principal Linda Stone Anna Kostyucheck Mui-Yee Chu Julie Rogers Steven Zander Kathleen Robertson Colleen Coomber Kirstin Fife

VIOLA Shawn Mann Principal Andrew Picken Associate Principal Diana Wade Karolina Naziemiec Aaron Oltman Zachary Hamilton Colleen Sugata Kate Vincent CELLO Cécilia Tsan Principal Dane Little Associate Principal Nadine Hall Youna Choi Julie Jung Elizabeth Wright BASS Peter Doubrovsky Principal Tim Eckert Associate Principal Frances Wu

FLUTE Geri Rotella Principal Sarah Weisz Lisa Edelstein OBOE Leslie Reed Principal Michele Forrest CLARINET Laura Stoutenborough Principal Juan Gallegos, Jr. BASSOON Damian Montano Principal Alex Rosales Garcia HORN Allen Fogle Principal Danielle Ondarza Aija Mattson-Jovel Adrian Dunker

TRUMPET Ryan Darke Principal David Washburn TROMBONE William Booth Principal Al Veeh Terry Cravens TUBA Doug Tornquist Principal HARP Anya Garipoli Principal T I M PA N I / PERCUSSION Theresa Dimond Principal ORCHESTRA PERSONNEL MANAGER Brady Steel LIBRARIAN Mark Fugina

The players of the Los Angeles Master Chorale Orchestra are represented by the American Federation of Musicians Local 47.

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soloists ELISSA JOHNSTON SOPRANO

Cited by the New York Times for her “especially lovely” singing, Elissa Johnston has appeared as featured soloist with orchestras including the Los Angeles Philharmonic, L.A. Chamber Orchestra, Pacific Symphony, Atlanta Symphony, St. Paul Chamber Orchestra and Albany Symphony. Elissa recently sang the world premiere performances and recording of James MacMillan’s Fiat Lux with the Pacific Symphony. She has appeared with Long Beach Symphony singing Brahms Requiem, Mahler’s 4th Symphony and Barber’s Knoxville, Summer of 1915, with the Riverside Philharmonic in Berlioz’ Les Nuits d’été, with the National Symphony of Costa Rica singing Canteloube’s Chants d’Auvergne and at the Palau de la Musica in Barcelona singing Poulenc’s Gloria. She made her Carnegie Hall debut with the Pacific Symphony in Philip Glass’ The Passion of Ramakrishna, as part of Carnegie Hall’s celebration of Philip Glass’ 80th birthday.

WO OYO U N G K I M M EZ ZO -SO PR AN O

Korean-born Mezzosoprano Wooyoung Kim is recognized for her warm voice and classical artistry across oratorio, opera and contemporary music. As a soloist, she has appeared in major works including Handel’s Messiah, Rossini’s Gloria, Mendelssohn’s Elijah and most recently Haydn’s Nelson Mass, where she featured as the alto soloist at Walt Disney Concert Hall in July 2026. In addition, she has collaborated with the Beth Morrison Projects, the Handel Project, the Shakespeare Project, the Korean Cultural Center and often participates in Korean Art Song projects. Kim made her operatic debut with the Bucheon Philharmonic Orchestra in Mozart’s The Magic Flute and has since performed in a wide range of opera productions throughout Boston, Los Angeles and South Korea, steadily expanding her repertoire.

Elissa has often appeared as soloist with the LA Master Chorale, including recent performances of Beethoven’s Mass in C and Stravinsky’s Les Noces. She is a member of the ensemble in Peter Sellars’ production of Music to Accompany a Departure, which opened the 2023 Salzburg Festival.

She is currently an Alto with the Los Angeles Master Chorale and regularly performs with the Los Angeles Philharmonic. In 2026, she performed at the Oscars, appeared at Walt Disney Concert Hall, and joined the Los Angeles Philharmonic and Los Angeles Master Chorale on their Taiwan tour.

Elissa is delighted to have sung on over 100 film soundtracks, including recent releases Disclosure Day, The Mandalorian and Grogu, Avatar: Fire and Ash, both Wicked and Wicked: For Good, Nope and Superman (2025).

Kim holds a Bachelor of Music from Kyung Hee University, a Master of Music from the New England Conservatory, and a Graduate Certificate from the University of Southern California Thornton School of Music.

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soloists JJ LOPEZ TENOR

JJ Lopez is a Los Angelesbased tenor and professional session singer whose career spans opera, concert performance, film, and television. Recognized for his versatility and expressive artistry, he has established himself as a sought-after performer both on stage and in the recording studio. JJ made his Los Angeles Opera mainstage debut in El Gato Montés alongside Plácido Domingo and performs regularly as a member of the Los Angeles Opera Chorus and Los Angeles Master Chorale, with which he has appeared as a featured soloist for Messiah, Bruckner’s Great Mass, and Carmina Burana. His operatic repertoire includes leading roles such as Rodolfo (La Bohème), Don Ottavio (Don Giovanni), Alfredo (La Traviata), Tamino (Die Zauberflöte), and Ferrando (Così fan tutte). As a session vocalist, JJ has recorded for acclaimed composers including John Williams, J.J. Abrams, Brian Tyler, and John Powell, with credits on major motion pictures including Star Wars: The Rise of Skywalker, Toy Story 5, The Super Mario Bros. Movie, Venom, How to Train Your Dragon, Superman: Genesis, and Minions vs. Monsters, as well as television productions including The Wonderful World of Mickey Mouse and the Emmy Award-winning Elena of Avalor. JJ holds Bachelor of Music and Master of Music degrees from the Bob Cole Conservatory of Music and continues to enjoy a dynamic career performing on the concert stage, in the opera house, and on some of Hollywood’s most celebrated film and television soundtracks.

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DERRELL ACON BAS S-BARITONE

Fulbright scholar and award-winning bassbaritone Derrell Acon is a uniquely accomplished artist whose repertoire ranges from the comic to the tragic. His achievements and work in the performing arts, scholarship, and executive leadership have established Dr. Acon as a leading voice within discussions surrounding artistic activism through musical performance. His publications include “When the Curtain Falls on Equity” (National Black Law Journal), “From Without the Veil” (In Mourning and In Rage conference papers out of Rome, Italy), “Neglected Legacy” (OPERA America Magazine), “Whence Comes Black Art” (Lawrence University), and “This is Just My Job: Duty and Intervention in Our Fidelio” (Septentrion University Press out of Lille, France). Previous roles include Leporello in Don Giovanni, Escamillo in Carmen, the title role in Don Bucefalo, Rocco in Fidelio, Kaspar in Der Freischütz, Pangloss in Candide, Don Alfonso in Così fan tutte, Kecal in The Bartered Bride, Don Basilio in Il barbiere di Siviglia, Sarastro in Die Zauberflöte, Antron McCray in the Pulitzer Prize-winning production of The Central Park Five, and as a featured soloist in Peter Sellars’ production of Music to Accompany a Departure (Schütz) with the Los Angeles Master Chorale.

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donor recognition 2026/27 season The Los Angeles Master Chorale is honored to recognize the individuals and institutions that generously support our world-class professional choral ensemble and impactful education programs. We sincerely thank the following individual donors, who have contributed $600 or more to the annual fund as of July 31, 2026. Special thanks to our multi-year donors, whose gifts ensure a healthy base for our future. *In memoriam

LEADERSHIP CIRCLE The Leadership Circle ($100,000+) honors and celebrates the Los Angeles Master Chorale’s most distinguished donor community. Established in 2019 with a challenge grant from the Abbott L. Brown Foundation, the Leadership Circle enables transformative projects—from commissioning, recording, and artistic innovation, to ambitious learning programming and touring productions. Members receive exclusive recognition and event experiences throughout the year. Anonymous Jeff and Joan Beal Joni* and Miles Benickes Marla Borowski Jerrie Paula Ortega-Brown and Abbott L. Brown Dr. Kathy Cairo Margaret Sheehy Collins Bryant, Judi, and Debra Danner

Jennifer Diener Lisa Field William and Patricia Flumenbaum Kiki Ramos Gindler and David Gindler Denise and Robert Hanisee Terri and Jerry Kohl Lillian Pierson Lovelace* Diane Morton

James R. Mulally Molly Munger and Stephen English Steven P. Neiffer Courtland Palmer Cheryl Petersen and Roger Lustberg Susan Erburu Reardon and George Reardon Jennifer and Evan Rosenfeld

Laura Smolowe and Adam O’Byrne Tom Strickler Jason Subotky and Anne Akiko Meyers Kristan and Philip A. Swan Laney and Tom* Techentin Andrea and Gregory Williams

ARTISTIC DIRECTOR’S CIRCLE The Artistic Director’s Circle brings together generous Los Angeles Master Chorale donors in support of the bold vision of Grant Gershon, Kiki & David Gindler Artistic Director. As key stakeholders, members play a vital role in advancing our mission and programs through significant contributions of $50,000-$99,999. Enjoy special opportunities throughout the season to engage with artists, singers, and the music we love. Ron Myrick Marian and John* Niles

Catherine and Howard* Stone The Tollman Family

William M. Tully in loving memory of Jane W. Tully

ENSEMBLE CIRCLE ($25,000 –$49,999) Kathleen Elowitt Frank* and Berta Gehry The Estate of Margaret Parker Grauman Martha and Nora Groves

Jenny S. Kim and Chip W. Baik Terry Knowles and Marshall Rutter*

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Marjorie Lindbeck Casper Partovi and Jackie Petitto Phyllis and Larry Rothrock* Rudi Schreiner

Grace Sheldon-Williams and Greg Williams

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MADRIGAL CIRCLE ($15,000 –$24,999) Berkeley and Kristin Harrison

Robin and Craig Justice

Robert L. Mendow

Naseem Nixon

Dr. Clifford and Joyce Penner

SPONSORS CIRCLE ($10,000 –$14,999) Jane and Jennifer Hoang and Edward J.* McAniff Brian Krechman Stephen and Eileen Leech Carolyn L. Miller Diane and David Paul Sara Lewis

Anonymous (2) Robert J. Abernethy Kathleen and Jerry Eberhardt

John Perkins in memory of Ann Perkins Lisa Richardson

Ian and Barbara White-Thomson Alyce de Roulet Williamson*

$5,000–$9,999 Diane and Noel Applebaum Louise Bryson James Cronk Evelyn Feintech*

Linda May and Jack Suzar Sally and Robert Neely Bea Nemlaha Sonia Randazzo

Madison F. Richardson, Sue Stamberger Megan Watanabe and M.D. Hideya Terashima Ilean Yaghlegian Rogers and Steven Rogers* Rosemary Schroeder

James Lyerly and Tracy Van Fleet Martha and Jeff Melvoin in honor of Martha Groves

Estate of Robert W. Olsen Jane C. Parks Mary Rourke Robin Sukhadia in honor of Grant Gershon

Melanie and Bill Switzer Booker and Sarita White Rudolf H. Ziesenhenne

Irma Fitzgibbons Helen Hartel Linda J. Hodge Elissa Johnston and Grant Gershon David Kalifon Thomas and Gloria Lang Jennifer and Joey Li June and Simon Li

Barbara and Joel Marcus Rob and Christie Martin Dr. Joseph Matthews in honor of Grant Gershon Kathleen McCarthy Mr. Robin Meadow and Ms. Margaret Stevens Matt Miles Sharon Morrill

Michelle Newberry Mary D. Nichols Christine M. Ofiesh Rodney and Ruth Punt Gary and Marina Raines Harold and Penny Ray Penelope C. Roeder, Ph.D. Elisabeth Salonen Laurie Samitaur Smith Nancy and Dick Spelke

J. Theodore Struck and Adrian H. Schreiber Paul and Catherine Tosetti Elizabeth Turner Betsey Tyler Marilene Wang Michele and David Wilson Karen Zfaty

Kadija Dada and Lee Wochner Jared Diamond, Ph.D. and Marie Cohen, Ph.D. Julia and John Eidsvoog Steven Fraider Steve Gilbreath in memory of Lauran Gilbreath Suzanne Gilman Janet Griswold Gordon Dianne Hantos and Dr. Peter Hantos Robert and Patricia Hayden Greg and Jill Hoenes Ann and Christine Horton Travis J. Howell in memory of James Howell

Cynthia Ison Frank Jarvis Richard P. Jensen Susan E. Kelsey Christopher W. Knight Mr. Ken Kwapis and Ms. Marisa Silver Rhonda Lawrence Edie and Michael Lehmann Boddicker John Lundgren, M.D. and Susan Jay, Ph.D. Frank* and Mona Mapel Lou and Denise Marchant Beverly Marksbury Patricia Martinez-Miller Jerilyn and Peter McAniff Steven D. McGinty Dennis Moeller

Louisa Moore Jaison and Molly Morgan Marsha Nakanishi Mahnaz and David Newman in honor of Anne Akiko Meyers Kim Noltemy Susan Olsen Eric Olson and Carol K. Broede Neil Olson Vic and Emilie Pallos Drea Pressley Kathleen Wilcox Reiss Maggie Rheinstein Carol and François Rigolot Carli V. Rogers in memory of Anthony Rogers

Melissa and Alex Romain Michael Rossetto Daniel Angus Ryan Kathleen Scheinfeld Marc Seltzer and Chris Snyder Brydon and Beverly Shirk Ray and Eleanor Siebert Eric Small Carol A. Smith Lucia Snowhill Tom and Susan Somerset Jim and Christy Suh Barbara Augusta Teichert Rick and Becky Thyne Jason Vierzba Barbara E. Wagner

Hon. Michael Fitzgerald and Arturo Vargas Mike and Christa Jacob Shawn Kravich

$3,000–$4,999 Craig and Mary Deutsche Dr. William and Mrs. Mary Duxler Richard and Charlotte Eberhart James Ellfeldt

Ms. Diana Gould and Dr. Kirsten Grimstad Lawrence and Mireya Jones Lisa Kaye Dr. Patricia A. Keating Susan and Bob Long

$1,500–$2,999 Dr. Christina Benson, M.D. and Dr. Kenneth Wells, M.D. Vince Bertoni and Damon Hein Graham Bothwell Dr. Lawrence and Jane Z. Cohen Kathleen and Terry* Dooley Patrick R. Fitzgerald

$600–$1,499 Kenneth and Laura Adler Rick and Susan Amante Gregory J. and Nancy McAniff Annick Louise J. Bahar Laura Berns Jennifer and Chris Bertolet Annette Billings Dr. Andrew Blaine and Dr. Leigh Lindsey Wade and JoAnn Bourne Rick and Christiane Braun Mandy and Steven Brigham Susan and David Choi John and Sue Clauss Judson and Lalo Crane Alison Crowell

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roger wagner society Named for Los Angeles Master Chorale’s founding music director, the Roger Wagner Society honors and recognizes individuals who have expressed their commitment to the art of choral music by making an endowment or planned gift benefitting the Master Chorale.

ra son t

Through this support, Roger Wagner Society members ensure the long-term fiscal stability of the Master Chorale by creating a legacy that preserves a vital cultural resource for future generations. The Master Chorale works with The Music Center Foundation as our partner in the secure investment and stewardship of your planned gift. To learn more about becoming a member of the Roger Wagner Society, please contact Michael Rossetto, Vice President of Advancement, at mrossetto@lamasterchorale.org or 213-972-3114.

Madge van Adelsberg* Jeff and Joan Beal Joni* and Miles Benickes James Arthur Bond in honor of Morten Lauridsen Michael Breitner Abbott Brown Linda McNeal Brown Jerry Burnham in memory of Raun MacKinnon Burnham Dr. Kathy Cairo Robert Churella Colburn Foundation Margaret Sheehy Collins Elizabeth Hofert Dailey* Bryant, Judi, and Debra Danner William Davis* Jennifer Diener Dr. Ann Graham Ehringer* Hon. Michael and Patrick Fitzgerald in honor of James P. Fitzgerald

Claudia* and Mark Foster Kathie and Alan Freeman Janice Roosevelt Gerard Kiki Ramos Gindler and David Gindler Ms. Diana Gould and Dr. Kirsten Grimstad Denise and Robert Hanisee Geraldine Healy* Violet Jabara Jacobs* Curtis Ray Joiner, Jr.* David Kalifon Stephen A. Kanter* Terry Knowles and Marshall Rutter* Joyce* and Kent Kresa Lesley Leighton Louise Lepley* Marjorie and Roger* Lindbeck Patricia A. MacLaren Drs. Marguerite and Robert Marsh* Jane and Edward J.* McAniff Nancy and Robert Miller* Diane Morton

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Ron Myrick Raymond R. Neevel* Steven P. Neiffer and Eric Lassiter* Joyce and Donald J.* Nores Robert W. Olsen* Courtland Palmer Cheryl Petersen and Roger Lustberg Hugh Ralston Susan Erburu Reardon and George Reardon Elizabeth Redmond* Penelope C. Roeder, Ph.D. Ronus Foundation Phyllis and Larry Rothrock* Carolyn and Scott Sanford Barbara and Charles Schneider* Dona* and David Schultz Martha Ellen Scott* Shirley and Ralph Shapiro in honor of Peter Mullin Anne Shaw and Harrison Price*

Nancy and Richard Spelke Sue Stamberger George Sterne and Nicole Baker Francine and Dal Alan* Swain Kristan and Philip A. Swan Dr. Jonathan Talberg Laney and Tom* Techentin William M. Tully in loving memory of Jane W. Tully Margaret White Robert Wood*

* In memoriam

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F O U N D AT I O N , G O V E R N M E N T, A N D C O R P O R AT E S U P P O R T $1,000,000+

$10,000–$19,999

The Ahmanson Foundation Perenchio Foundation

Akin Gump Strauss Hauer & Feld California Arts Council The Kenneth T. and Eileen L. Norris Foundation PNC Bank

$100,000–$999,999 AmaWaterways The Blue Ribbon Dan Murphy Foundation The Music Center Foundation

$50,000–$99,999 Anonymous Capital Group Corporate Charitable Giving Los Angeles County Department of Arts and Culture National Endowment for the Arts The Ralph M. Parsons Foundation Ann Peppers Foundation Edward A. & Ai O. Shay Family Foundation The Audre Slater Foundation

$1,000–$9,999 The Aaron Copland Fund for Music The E. Nakamichi Foundation Employees Community Fund of The Boeing Company California Friars Charitable Foundation William H. Hannon Foundation Ornest Family Foundation Lloyd E. Rigler-Lawrence E. Deutsch Foundation Pasadena Showcase House for the Arts The Lon V. Smith Foundation Los Angeles City Council District 14, Council Member Ysabel Jurado The John and Beverly Stauffer Foundation Sidney Stern Memorial Trust

$20,000–$49,999 Anonymous Chorus America Music Education Partnership City of Los Angeles Department of Cultural Affairs Dwight Stuart Youth Fund PNC Foundation The SahanDaywi Foundation Ronus Foundation Walter J. and Holly O. Thomson Foundation, Bank of America, N.A., Co-Trustee

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B OA R D O F D I R EC TO R S OFFICERS Susan Erburu Reardon

William Tully

Interim President & CEO

Vice Chair

D I R EC TO R S Bryant Danner Jennifer Diener Grant Gershon* Kiki Ramos Gindler William Goldman** Martha Groves Robert Hanisee Kristin Techentin Harrison

Jenn Hoang Jenny Soonjin Kim Shawn Kravich Courtland Palmer Casper Partovi Rudi Schreiner Laura Smolowe Philip A. Swan Tracy Van Fleet**

Andrea D. Williams

Chair

Tom Strickler

Miles Benickes Treasurer

H O N O R A RY Morten J. Lauridsen Lillian Pierson Lovelace*** EMERITUS David Gindler Edward J. McAniff***

Naseem Nixon Secretary

Albert J. McNeil*** Clifford A. Miller*** Marshall A. Rutter*** Laney Techentin

* Ex-officio ** Chorale Representative ***In Memoriam

A D M I N I S T R AT I O N E X EC U T I V E & ARTISTIC LEADERSHIP William Tully

Interim President & Chief Executive Officer

Grant Gershon

Kiki & David Gindler Artistic Director

Jenny Wong

Associate Artistic Director

Mark Fugina

Orchestra Music Librarian

A DVA N C E M E N T Michael Rossetto

Vice President of Advancement

Lulu Maxfield

Advancement Operations Manager

Joanna Elliott

Special Gifts Officer

ARTISTIC & PRODUCTION

LEARNING

Kevin Koelbl

José Meza

Vice President of Artistic Operations

Associate Director of Education

Susie McDermid

Sarah Gonzalez

Director of Production

Director, Youth Chorus LA

Anthony Crespo

Xochitl-Julisa Bermejo

Production & Personnel Manager

Teaching Artist

Lisa Edwards

Teaching Artist

Pianist/Musical Assistant

Jeff Wallace

Technical Director

Adam Noel

Supertitle Operator

Saunder Choi

Alice Kirwan Murray

FINANCE & A D M I N I S T R AT I O N

Singer Lewak

Jim Suh

Jackson Lewis

Vice President of Finance/ Chief Financial Officer

Counsel

Aileen Hermoso

Digital Marketing Consultant

Interim Controller

Kelsi McGlothlin

Executive Assistant/ Board Liaison

Roey Yitzhary

Staff Accountant

MARKETING & P U B L I C R E L AT I O N S Tom Michel

Vice President of Marketing & Communications

Nicole Doll

Marketing Specialist

Laura Ferreiro

Marketing Manager

Gabe Zuniga

Videographer

Teaching Artist

Zach DeChance

Youth Chorus LA Accompanist

Brady Steel

Orchestra Manager

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Public Accountant

C O N S U LTA N T S Corey Field Counsel

Capacity Interactive

Dream Warrior Group Web Design

Opus 3

Artist Management

Studio Fuse, Inc. Design Firm

WA LT D I S N E Y CONCERT HALL Greg Flusty

House Manager

Serge Quintanar

Master Carpenter

Charlie Miledi

Property Master

Marcus Conroy

Master Electrician

Kevin F. Wapner

Master Audio/Video

Mike Wilson

Conservator of the Organ

Terry Knowles

Executive Consultant

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D ESIGN

Fireplace detailing at a 1912 property in Sierra Madre. Opposite: Reimagined kitchen, above, and deck in a vintage Craftsman

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Concept to Completion Architecture, interior design, custom construction and historic restoration are specialties of leading design/build firm HartmanBaldwin. by ROGER GRODY COMMITTED TO SOPHISTICATED aesthetics and artisanal craftsmanship, HartmanBaldwin brings together design and construction services for greater Los Angeles homeowners, a valuable resource for the restoration and/or remodeling of historic properties. “Nobody was doing ‘design/build’ in Southern California when we founded the company in 1984,” recalls CEO Bill Baldwin. “For clients, the greatest advantage of the concept is that there’s a single point of accountability.” The Pasadena-based firm integrates

PHOTOS ZEKE RUELAS

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Above: HartmanBaldwin CEO Bill Baldwin. Left: passageway in custombuilt modern farmhouse in Brentwood.

builders who possess expertise in craftsmanship and construction,” Baldwin says. “That distinctive fusion of talents continues until the final switch plate goes on.”

HartmanBaldwin has designed spaces, crafted custom furniture and introduced eco-conscious technologies to complement its architectural expressions from the start.

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PORTRAIT CHRISTOPHER MORTENSEN, HOME MEGHAN BOB PHOTOGRAPHY

architecture, landscape architecture and interior design with custom residential construction. “An incredible synergy results from artistic designers working with

A leader in updating historic properties, one of HartmanBaldwin’s early projects was a comprehensive renovation of a Greene & Greene-designed property in Claremont, a turn-ofthe-century Craftsman masterpiece. “Owners of vintage homes are looking to update infrastructure without compromising aesthetics,” says Baldwin, “Often, we can reconfigure floorplans into more dynamic spaces without the need for additional square footage.” In Hancock Park, HartmanBaldwin executed an extensive remodel of a stately 1923 residence, returning the nearly

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PORTRAIT CHRISTOPHER MORTENSEN, HOME MEGHAN BOB PHOTOGRAPHY

Akhnaten; photo by Cory Weaver | LA Opera

Music Center Foundation was established in 1973 by Dorothy Chandler to provide endowment support for the performing arts in Los Angeles. By making a gift through the Foundation, you can support performances that thread our community together.

To learn more about how to leave a lasting legacy with Music Center Foundation, contact our team: 213-972-8046, support@musiccenterfoundation.org

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For more information on Music Center Foundation musiccenterfoundation.org

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12,000-square-foot property to its original Italianate grandeur for renowned television producer Shonda Rhimes. The transformation of the estate, which required meticulous craftsmanship,

landed the project on the cover of Architectural Digest. Collaborating with sophisticated, creative clients is a welcome part of the process, notes Baldwin. “Their involvement elevates the quality of the project.”

Congenial outdoor and, opposite, living spaces at custom modern farmhouse in Brentwood by HartmanBaldwin

The renovation of a 1912 Craftsman residence in Sierra Madre further reflects the firm’s attention to historical detailing while creating a more airy living environment. A totally reconstructed and expanded kitchen retains its Craftsman detailing while accommodating state-of-the-art amenities. It now opens directly onto an idyllic deck shaded by an old coast live oak painstakingly preserved during construction. HartmanBaldwin was commissioned to design and build a 6,300-squarefoot home on the campus of a local educational institution, a modern

farmhouse design featuring soaring, lightfilled spaces. The firm finessed two distinct roles for the property: a private residence for the school administrator and a venue for official receptions. The popularity of accessory dwelling units (ADUs), encouraged by municipalities to increase housing supply, has created a new market for HartmanBaldwin. Eschewing simple garage conversions, the company specializes in more elaborate, selfcontained suites—usually for family members— that exhibit the same elevated aesthetics as the primary residences.

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for these projects, he says. “For some people, it’s healing to move forward quickly. Others need to mourn first.” A Southern California native, Baldwin finds the region’s rich legacy of residential architecture and its spirit of creativity endlessly inspiring. “Since the pandemic, clients have a newfound relationship with their properties. It’s a privilege for us to help change their lives for the better.” With the Eaton Fire devasting an area the firm has long been active in, HartmanBaldwin is committed to contribute to the rebuilding of Altadena. The studio

is currently working with multiple families in various stages of the design or construction process. “Clients seeking to build or renovate a home are typically filled with joy.

Clients rebuilding after a fire have lost the museums of their lives,” says Baldwin with heartfelt poignancy. Providing emotional support is a requisite skill

HartmanBaldwin 300 S. Raymond Ave., Pasadena, 626.486.0510; 100 W. Foothill Blvd., Claremont, 909.670.1344; hartmanbaldwin.com

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Trio of ceviches at Javier’s. Below: piña margarita

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A new installation from a wildly popular collection of upmarket Mexican restaurants arrives in Pasadena. by ROGER GRODY eight locations, was founded by entrepreneur Javier Sosa, Sr. who began his career as a dishwasher in Laguna Beach. Though still familyowned, Javier’s is most definitely not your mom-and-pop taquería. Consistent with the brand, the new restaurant at Old Pasadena’s pedestrian-friendly One Colorado development is sleek and showy. Undulating whitewashed walls

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IMAGES COURTESY JAVIER’S

A COMBINATION OF chic indoor-outdoor environments, lively bar scenes and polished presentations of relatable Mexican cuisine made Javier’s an Orange County favorite for years before the owners’ expansion to Los Angeles, La Jolla, Las Vegas, and Los Cabos. The latest edition recently debuted in Pasadena. Javier’s, which now encompasses

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JAIME MARTÍN

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MOVEMENT(S)! SAT, SEP 26, 2026 | 7:30 PM | ZIPPER HALL SUN, SEP 27, 2026 | 4 PM | THE WALLIS Lina González-Granados CONDUCTOR John Holiday COUNTERTENOR Conductor Lina González-Granados leads a vibrant celebration of dance, from Kodály’s Hungarian folk melodies and Gabriela Lena Frank’s Peruvian-inspired sound world to de Falla’s flamenco-fueled ballet. Countertenor John Holiday joins LACO for the world premiere of Carlos Simon’s The After Party!, honoring the birth of the Harlem Renaissance. KODÁLY Dances Of Galánta CARLOS SIMON The After Party!* WORLD PREMIERE GABRIELA LENA FRANK Elegía Andina (Andean Elegy) DE FALLA The Three-Cornered Hat, Suite No. 1 *The After Party! is co-commissioned by the Festival Orchestra of Lincoln Center, the San Francisco Chamber Orchestra, and the Boston Symphony Orchestra.

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CONRAD TAO

SAT, OCT 17, 2026 | 7:30 PM | ZIPPER HALL SUN, OCT 18, 2026 | 4 PM | THE WALLIS Jaime Martín MUSIC DIRECTOR Conrad Tao PIANO

IMAGES COURTESY JAVIER’S

Music Director Jaime Martín leads a program of sweeping contrasts: Strauss’s poignant Metamorphosen, a profound elegy for 23 solo strings; Ravel’s jazz-infused Piano Concerto in G, showcasing Conrad Tao’s fearless technique and poetic sensibility in his LACO debut; and Beethoven’s heroic and revolutionary Symphony No. 3, “Eroica.” R. STRAUSS RAVEL BEETHOVEN

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Metamorphosen Piano Concerto in G major Symphony No. 3 in E-flat major, “Eroica”

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tender pulpo (octopus) spiked with habanero chile. For entrees, consider Dungeness crab or Maine lobster enchiladas in tomatillo sauce, scallops in an understated chipotle cream, or wild Mexican shrimp in pasilla pepper sauce. Meat dishes include classic mole poblano—chicken bathed in a rich, mahogany-colored mole—and carnitas in salsa verde. Chicken is also offered with a green-hued sauce—a cousin of the more common red mole—created primarily from pumpkin seeds. Additional meat dishes include a quartet of lamb chops, USDA Prime filet mignon in chipotle sauce, and pork chop with potato purée. Vegetable enchiladas are topped with a smooth,

satisfying poblano chile cream. As might be expected from the upscale setting, prices are elevated vis-à-vis neighborhood Mexican restaurants, and for a particularly

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and ceilings cascade through the restaurant like ocean waves. Circular cream-colored leather booths and armchairs, and a lively wraparound bar, provide a supper club vibe. Generous palm fronds hint of the tropics, and decorative tequila bottles are showcased throughout the restaurant, reinforcing the spirit of Mexico. Seating spills onto a glass atrium patio, a more relaxed space than the bustling scene inside. The menu is expansive. Worthy pairings for an initial margarita—the well-crafted cocktail contributes to the popularity of the restaurant’s bar—include guacamole, empanadas and a skirt steak quesadilla. Seafood is prominently featured. An artistically plated trio of ceviches may include butter-

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Tropical-themed patio. Below: New York steak with enchilada de camarón

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Celebrate John Coltrane Featuring the Branford Marsalis Quartet

Gershwin and the Golden Age

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ambitious splurge consider a sharable 32-ounce Australian wagyu tomahawk ribeye. A must-have side dish is the creamy esquites, street corn with stillcrunchy white kernels. The bar skillfully executes an extensive cocktail menu, and the restaurant’s proprietary tequila—from the family that formerly distilled Don Julio—is among the scores of labels available. A global wine list includes representation from Mexico’s centuries-old Parras Valley region. Among desserts are contemporary presentations of iconic Mexican favorites such as churros, a creamierthan-usual flan and an at once sumptuous yet surprisingly light tres leches cake. Mexican restaurants come in all shapes and sizes, from crave-worthy zero-frills taco stands to Oaxacan eateries that have spent decades mastering their mole. With its lavish design, lively scene and wideranging menu, Javier’s addresses our obsession with Mexican cuisine in its own distinctive way. Other L.A. locations are downtown and in Century City. Javier’s, 24 W. Union St., Pasadena, 626.773.3579 javiersfinestfoods.com

Rend

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MORE MUSIC, MORE DANCE

MORE COLBURN Opening in Fall 2027, a remarkable Frank Gehry-designed space for performance and learning at Colburn. Terri and Jerry Kohl Hall, an extraordinary 1,000-seat concert hall, will immerse audiences in an intimate in-the-round concert experience. The Dance Center, a vibrant new home for the Trudl Zipper Dance Institute, will bring students and professionals together to learn, create, and perform. Imagine, with us, the future of the performing arts in Los Angeles.

LEARN MORE

Rendering courtesy of Frank O. Gehry & Gehry Partners, LLP

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Segerstrom Center. Celebrating its 40th anniversary Sept. 13 and throughout the 2026-27 season, the Center unveils an expanded commitment to Hispanic and Latino arts and culture. A new initiative, ¡VIVA! The Spenuzza Series, named for Segerstrom supporters Connie and Peter Spenuzza, features music, dance, theater, jazz and other offerings. It’s anchored by Grammy Award-winning composer and bandleader Arturo O’Farrill, the center’s inaugural artist in residence. The series “highlights, celebrates and reinscribes the brilliance and impact of Hispanic culture here in America, and especially in Southern California,” Tomer explains. “In everything we’ll be doing this year, there will be a representation of the best and brightest artists from the Hispanic world.” That includes a dream project for O’Farrill, Rumba para Monk Revisited at the Samueli Theater (May 7), highlighting a 1989 recording by Jerry González and the Fort Apache Band. The program resulted from one of Tomer’s core programming tenets. “My general approach is always to lead with the artist, with the creative impulse,” says Tomer,

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a pianist and graduate of the Juilliard School. “What’s going on in artists’ minds? What are they thinking about?” O’Farrill told Tomer he was fascinated with the Rumba album, and an idea was born. Another first—naming frequent Center performers the Takács Quartet as Segerstrom’s official chamber music ensemble —reflects Tomer’s desire to foster deeper relationships with artists. The quartet’s Valentine’s Day concert in Samueli Theater speaks to another programming goal: engaging with the audience as well as the artists. The program explores Beethoven as a flawed and complicated human being who struggled with deafness and other demons. “What story are we going to tell? What new scholarship do we bring to the table, what will people leave with that they didn’t come in with?” Tomer ponders. “My primary question is whether an artist delivers an exceptional and connecting live experience.” The other arts programmers share that passion for providing memorable performance experiences. As Moore says, “The Music Center is able to bring very large international and national dance companies, and we think that L.A. deserves to see the very best.… It’s a thrill.”

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