Performances Magazine | LA Phil, January 2026

JAN UARY 2026

A

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ESA-PEKKA SALONEN

CLARA-JUMI KANG

SUNWOOK KIM

ELIM CHAN

MASABANE CECILIA RANGWANASHA

VÍKINGUR ÓLAFSSON

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JANUARY 2026

CONTENTS 6

WELCOME MESSAGE

BOOK I • JANUARY 9–18

9

ABOUT GUSTAVO DUDAMEL

JAN 9–11 Los Angeles Philharmonic Prometheus with Esa-Pekka Salonen

10 ABOUT THE LOS ANGELES PHILHARMONIC 12 FEATURE A Whole Body Experience 16 FEATURE Green Umbrella: Inside the LA Phil’s Laboratory for New Music

JAN 17–18 Los Angeles Philharmonic Salonen & Levit Scale Busoni’s Masterpiece

PO

BOOK II • JANUARY 21–FEBRUARY 1 JAN 21

COLBURN CELEBRITY RECITAL

Clara-Jumi Kang & Sunwook Kim JAN 22

CHAMBER MUSIC

Dvořák & Shostakovich

P

JAN 23–25 Los Angeles Philharmonic Adams, Ólafsson & Copland JAN 27

COLBURN CELEBRITY RECITAL

Seong-Jin Cho JAN 29–FEB 1 Los Angeles Philharmonic Mahler, Bartók & Ravel

18 PHILANTHROPY Paying It Forward, Note by Note: David Lawrence and Faye Greenberg 21 SUPPORT THE LA PHIL 22 ENDOWMENT DONORS 24 ANNUAL DONORS P1 PROGRAM NOTES

JOHN ADAMS

IGOR LEVIT

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PORTUGAL STOPOVER

Add Portugal

to your Europe trip

Discover 2 destinations for the price of 1 — nonstop from LAX to Lisbon with connections to 60 other cities across Europe and Africa.

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Los Angeles Philharmonic Publications 2025 Editor Amanda Angel

YOU’RE HERE.

Editorial Specialist Tess Carges

Check out the interactive version of this theater program magazine and enjoy even more insight into the performers, creative talent and theater activities that are behind it all.

Explore more at: laphil.com

Congrats, You’ve Picked a Great Performance!

Art Director Natalie Suarez Design Studio Fuse

Publisher Jeff Levy LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS MULTI - MEDIA PRESENTATIONS ABOUT THE PERFORMANCE.

Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez

UNDERSTUDY UPDATES

Digital Manager Lorenzo Dela Rama

THEATER SUPPORT OPPORTUNITIES

Advertising Director Walter Lewis

UPCOMING SHOWS AND CONCERTS AROUND TOWN INSIDER SCOOPS FROM THEATER AND MUSIC PROFESSIONALS

Advertising Manager Liz Moore Account Directors Kerry Baggett, Jan Bussman, Jean Greene Circulation Manager Christine Noriega-Roessler Business Manager Leanne Killian Riggar

It’s the new way to read the program, it’s

Marketing/ Production Manager Dawn Kiko Cheng Contact Us Advertising Walter.Lewis@ CaliforniaMediaGroup.com Website Lorenzo.DelaRama@ CaliforniaMediaGroup.com Circulation Christine.Roessler@ CaliforniaMediaGroup.com Honorary President Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2026 California Media Group.

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PERF+ LAO 4 PERFORMANCES MAGAZINE

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ABOUT THE WELCOME FROM PROGRAM THE PRESIDENT & CEO

LOS ANGELES PHILHARMONIC ASSOCIATION

BOARD OF DIRECTORS CHAIR

Darioush Khaledi

Jason Subotky*

Winnie Kho Joey Lee

PRESIDENT & CEO

Daniel R. Lewis

David C. Bohnett Presidential Chair

Francois Mobasser

Kim Noltemy

VICE CHAIRS Thomas L. Beckmen* Reveta Bowers*

WELCOME! Happy 2026! Thank you for joining us as we enter this new year with wonder, hope, and joy at Walt Disney Concert Hall.

Our January begins with the simultaneous return of former Music Director and Conductor Laureate Esa-Pekka Salonen and the launch of our Body and Sound festival. For decades, Esa-Pekka’s boundless curiosity and innovative spirit have expanded our idea of what music can be and how it affects us.

These themes are at the heart of Body and Sound, which investigates how we encounter music—not just through our ears but with our entire being— featuring multisensory experiences in the concert hall and across Los Angeles. I hope you’ll join us on this illuminating journey.

Next season, Esa-Pekka will step into the newly created position of Judith & Thomas L. Beckmen Creative Director at the LA Phil. From here he will continue to push the boundaries of orchestral music and live performance, inspiring us through the power of art.

Coming up next month, Music & Artistic Director Gustavo Dudamel leads an ambitious exploration of Beethoven’s music. Over four weeks, he’ll find fascinating connections between Beethoven and contemporary composers, oversee Jeremy O. Harris’ reimagining of Egmont with Cate Blanchett, and conduct the great Missa Solemnis for the first time. It’s not to be missed!

Warmly, Kim Noltemy President & Chief Executive Officer David C. Bohnett Presidential Chair

Los Angeles Philharmonic Association

Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

DIRECTORS

Nancy L. Abell Gregory A. Adams Julie Andrews Camilo Esteban Becdach Linda Brittan Jennifer Broder

Margaret Morgan Leith O’Leary Andy S. Park Sandy Pressman Geoff Rich* Laura Rosenwald Michael Saei Richard Schirtzer John Sinnema G. Gabrielle Starr Jay Stein* Christian Stracke* Ronald D. Sugar* Vikki Sung Jack Suzar Sue Tsao Megan Watanabe

Kawanna Brown

Regina Weingarten

Louise D. Edgerton

HONORARY LIFE DIRECTORS

Andrea Chao-Kharma* Jenny Williams Alyce de Roulet R. Martin Chavez Williamson Christian D. Chivaroli Irwin Winkler Jonathan L. Congdon Debra Wong Yang Donald P. de Brier* Dotty Ewing Lisa Field David A. Ford

David C. Bohnett Frank Gehry †

Alfred Fraijo Jr.

Lenore S. Greenberg

Hilary Garland

Bowen H. “Buzz” McCoy

Jennifer Miller Goff* Tamara Golihew

PAST CHAIRS**

David Greenbaum

Thomas L. Beckmen

Lori Greene Gordon

Jay Rasulo

Carol Colburn Grigor

Diane B. Paul

Marian L. Hall

David C. Bohnett

Antonia Hernández*

Jerrold L. Eberhardt

Jonathan Kagan*

John F. Hotchkis †

In Memoriam Executive Committee Member as of September 26, 2025 ** From the opening of Walt Disney Concert Hall on October 24, 2003, to present †

*

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ABOUT ABOUT GUSTAVO THE PROGRAM DUDAMEL

GUSTAVO DUDAMEL

Music & Artistic Director, Walt and Lilly Disney Chair 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 on new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, offers 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 celebrated 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 fide pop-culture phenomenon and has worked tirelessly to ensure that music reaches an ever-greater audience.

He was the first 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 Coachella, and has worked with musical icons like Billie Eilish, Christina Aguilera, LL Cool J, Ca7riel & 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 film 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 official website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2025/26 season is the orchestra’s 107th.

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, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry.

The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global

Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season.

The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy-winning 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).

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ABOUT THE LA PHIL

LOS ANGELES PHILHARMONIC CELLOS

Walt and Lilly Disney Chair

Tianyun Jia Jordan Koransky Ashley Park Katherine Woo Weilu Zhang

Zubin Mehta Conductor Emeritus

SECOND VIOLINS

Ben Hong Associate Principal

Gustavo Dudamel Music & Artistic Director

Esa-Pekka Salonen Conductor Laureate Rodolfo Barráez Assistant Conductor Ann Ronus Chair

John Adams

John and Samantha Williams Creative Chair

Herbie Hancock Creative Chair for Jazz

FIRST VIOLINS [Position vacant] Concertmaster Marjorie Connell Wilson Chair

Bing Wang Acting Concertmaster Barbara and Jay Rasulo Chair

Melody Ye Yuan Principal Mark Kashper Associate Principal Isabella Brown Assistant Principal Kristine Whitson Johnny Lee Ingrid Chun Jin-Shan Dai Miika Gregg Chao-Hua Jin Jung Eun Kang Vivian Kukiel Nickolai Kurganov Varty Manouelian Emily Shehi Michelle Tseng Gabriel Esperon*

VIOLAS [Position vacant] Principal

John Connell Chair

[Position vacant] First Associate Concertmaster

Ben Ullery Associate Principal

[Position vacant] Assistant Concertmaster

Dana Lawson Richard Elegino Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong+ Minor L. Wetzel Bradley Parrimore*

Ernest Fleischmann Chair

Philharmonic Affiliates Chair

Rebecca Reale

Deanie and Jay Stein Chair

Justin Woo Rochelle Abramson Minyoung Chang I.H. Albert Sutnick Chair

Jenni Seo Assistant Principal

Pasadena Showcase House for the Arts LA Phil Resident Fellow Chair

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

On sabbatical

Robert deMaine Principal Bram and Elaine Goldsmith Chair

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 Keeon Guzman*

BASSES

Elise Shope Henry

HORNS

TUBA

Sarah Jackson

Andrew Bain Principal

Mason Soria Principal

Mari L. Danihel Chair

Piccolo Sarah Jackson

OBOES Ryan Roberts Principal

Carol Colburn Grigor Chair

John Cecil Bessell Chair

Alan Scott Klee Chair

Rauch Chair

Amy Jo Rhine

David Riccobono Assistant Principal

Loring Charitable Trust Chair

Marion Arthur Kuszyk Elyse Lauzon Associate Principal Ethan Bearman Anne Marie Gabriele Elizabeth Linares Montero* English Horn Nancy and Leslie [Position vacant] Abell LA Phil Resident

CLARINETS Boris Allakhverdyan Principal Michele and Dudley Rauch Chair

TIMPANI

David Cooper Joseph Pereira Associate Principal Principal Cecilia and Dudley Gregory Roosa

Fellow Chair

TRUMPETS Thomas Hooten Principal

M. David and Diane

PERCUSSION Matthew Howard Principal Wesley Sumpter Assistant Principal James Babor David Riccobono Jeremy Davis*

KEYBOARDS

Joanne Pearce Paul Chair Christopher Hanulik [Position vacant] Martin Principal Associate Principal James Wilt Katharine Bixby Diane Disney Miller Associate Principal Hotchkis Chair and Ron Miller Chair Andrew Lowy Nancy and Donald Taylor Eiffert de Brier Chair Kaelan Decman Associate Principal Oscar M. Meza Assistant Principal David Allen Moore Ted Botsford Jory Herman Brian Johnson Peter Rofé Matthew Peralta*

FLUTES Denis Bouriakov Principal

Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair

E-Flat Clarinet Andrew Lowy

Christopher Still

Ronald and Valerie Sugar Chair

Bass Clarinet Taylor Eiffert

Jeffrey Strong

BASSOONS

TROMBONES

Whitney Crockett Principal

David Rejano Cantero Principal

[Position vacant] Associate Principal Ann Ronus Chair

Michele Grego Evan Kuhlmann Contrabassoon Evan Kuhlmann

Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community

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

Koni and Geoff Rich Chair

HARP

Emmanuel Ceysson Principal Ann Ronus Chair

LIBRARIANS Stephen Biagini Benjamin Picard KT Somero

CONDUCTING FELLOWS

James Miller Associate Principal Kinga Głowacka Ana María Judith and Thomas Patiño-Osorio L. Beckmen Chair José Salazar Paul Radke Miguel Sepúlveda Bass Trombone John Lofton Miller and Goff Family Chair

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

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A WHOLE BODY EXPERIENCE Beginning this January, the LA Phil explores how music affects all five senses through its Body and Sound festival. By Sadie Sartini Garner For just a moment, think: What were you doing at the best concert you’ve ever been to? Did you close your eyes in rapture, allowing yourself to be carried into the world created by the music?

Maybe you felt the throb of the bass in your chest and it moved you to dance so hard you felt the warmth of everyone around you dancing, too. Maybe you were in a decommissioned church with light streaming through the stained glass and a hint of decades’ worth of incense clinging to the stone walls.

Or maybe it was as simple as sipping on a glass of wine on the Hollywood Bowl’s wooden seats next to someone you’ve just realized you’ll spend the rest of your life with.

Though we like to think of music as an invisible, nearly

mystical force, it is a fact of physics. When a rosined bow is pulled across violin strings, or when a speaker cone vibrates, the sound it transmits arrives in literal, measurable waves. Sound, in this way, has a body.

So do you. And when you encounter a piece of music, it’s not only your ears that are engaged, but all of your senses. You don’t merely hear music: You taste, smell, touch, and see it, too.

On an intuitive level, this is something we all know.

Consider how a song you might find beautiful in everyday circumstances becomes transcendent when it’s played as part of a wedding ceremony. It’s not simply that the declaration of love changes how the song is heard. It’s also the sensual

context: the boughs of the trees laced with streamers, the warm line drawn down your cheek by a tear. You may not even be paying attention to the music—another of your senses might take primacy in the moment—but you are hearing something fundamentally different from what you hear when the same song shuffles forward on your weekday playlist.

Composers and musicians have known for centuries about the ability of the other senses to alter music’s power and have long considered it another tool in their expressive kit. Opera, which takes for granted that sight and sound enhance one another, originated in the 16th century and was itself a revival of classical Greek musical theater. Beethoven’s

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Symphony No. 6, “Pastoral,” is meant to convey not only the sounds of a rural morning but the sights, too.

When the rolling timpani and tempestuous strings mimic a thunderstorm, Beethoven is relying on both your immediate experience of the music and your previous experiences of the weather to inform its effect. He wants to evoke the prickle of rain on your skin, the ground vibrating with thunder, the petrichor smell of damp earth, the mixture of fear and awe in your guts. When you hear an orchestra roll out the undulating waves of Debussy’s La mer, your body might feel itself bobbing with the memory of floating in the Pacific on an overcast day.

Experimental and nonclassical musicians have always incorporated the other senses into their composition and performances. The earliest Grateful Dead concerts featured elaborate projections, swirls of colored oily light slurping over one another and the band in a way that enriched the psychedelic exploration of the music being made. Industrial and shoegaze artists like Throbbing Gristle and My Bloody Valentine have played

with the audience’s visceral reaction to particular kinds of heaviness and noise; the influential drone-metal band Sunn O)))’s unofficial motto is “Ever tasted a frequency?”

Some artists’ approaches are less confrontational.

The experimental ambient musician Tim Hecker is heavily influenced by the architecture of medieval churches and the sound of classic hymnody. For a concert in Montreal in 2015, he commissioned a special scent—part frankincense, with an overtone of tarnished brass—that was pumped into the theater during a performance. The effect was doubled by the thick fog that delivered the scent and the pastel lights that were diffused throughout it. With these augmentations, Hecker’s ecclesiastical compositions felt freshly attuned to church history and suggested a new kind of sacred music for the 21st century.

For some composers and listeners, the relationship between sound, vision, taste, touch, and smell is overt.

Synesthesia is a phenomenon in which people are able to experience sensations through a seemingly unrelated sense, like tasting numbers or smelling sound. Olivier

OLIVIER MESSIAEN

Messiaen had what is known as chromesthesia, in which chords and notes would appear to him as specific colors—he said that his piece Couleurs de la cité céleste was meant to represent a heavenly glow “like crystalline jasper.” Alexander Scriabin, meanwhile, took things much further, developing an entire composition system based on the particular colors he associated with keys. His masterpiece Prometheus, Poem of Fire, which will be performed by the Los Angeles Philharmonic as part of the Body and Sound festival (see sidebar), calls for a color organ that projects the colors of the music as it’s being performed. continued

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It’s worth noting that synesthetes do not experience sensations in the same way. While Scriabin was sincere in the creation of his system, he apparently sparred with Nikolai Rimsky-Korsakov over precisely which notes produced precisely which color; they experienced the same notes in dramatically different ways, which means, in effect, that those notes produced different music for each of them.

It can be tempting at times to view extramusical affect as nothing more than spectacle or distraction from the music—a way of dressing up or masking lower-quality work. After all, we’re here to listen to music, not to watch

a film. But return to the thought exercise from a few moments ago. Consider that we are always experiencing music as a multisensory phenomenon. The late Frank Gehry didn’t intend Walt Disney Concert Hall to be an acoustical marvel only. He knew that the concertgoing experience, and thus the music itself, would feel different, set apart from daily life, in a space that transported the audience somewhere they’d never been before.

The temperature of the auditorium, the lighting of the stage, the preconcert drinks—every time you come to Walt Disney Concert Hall, they’re all factors that influence how

you hear what you hear.

Whether you’re at your favorite venue, stuck in traffic, or dining at your favorite restaurant, the next time you listen to music, look around you. Tune in to your senses. Try to hold on to what you’re hearing, but notice, too, what you see, what you feel, what you smell. How differently would your meal taste if you were eating in silence?

How much freer would your favorite song make you feel if you weren’t hearing it while jammed on the 405?

How might the orchestra sound in impenetrable darkness? Take these things in, be conscious of them, and you’ll never hear music the same way again.

ALEXANDER SCRIABIN’S DEVICE THAT COMBINED MUSICAL NOTES WITH COLORED LIGHTS IS ON DISPLAY AT HIS FINAL HOME, NOW A MUSEUM, IN MOSCOW.

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UPCOMING BODY AND SOUND EVENTS How does the color of the concert hall’s lighting change the way we hear a piece of music? Do we need to be in a concert hall at all? How well might a Michelin-approved meal pair with a consensus masterpiece? These are the Prometheus with Esa-Pekka Salonen kinds of questions we’re asking this JAN 9–11 | Walt Disney Concert Hall spring with Body and Sound, a series Scriabin’s Poem of Fire is presented as the master of multisensory concerts and events synesthetist intended, with mutlimedia artist like no other. Join us, and get a taste— Grimanesa Amorós reimagining the color organ’s visual spree through a large-scale light sculpture. or a glimpse—of what’s possible.

Symphonies for Youth: Sensory Symphony

JAN 17 & 24 | Walt Disney Concert Hall These special performances introduce young music fans to the sounds of the orchestra— the rumble of the organ, the bursting light and colors of Sibelius’ Finlandia, and more.

Ancestral Table

Turangalîla

APRIL 10–12 | Walt Disney Concert Hall Conductor Simone Young weaves together sounds of birdsong and imposing precolonial Mexican statues, punctuated by massive brass and percussion, the eerie electronic hum of an ondes martenot, and special lighting effects that nod to composer Olivier Messiaen’s synesthesia.

MARCH 19–20 | Millwick

Crossing Open Ground

Legendary local chef Jazz Singsanong of Jitlada joins with composer Mary Prescott (above)— and the composer’s mother’s recipes—for a performance accompanied by a family-style Thai meal that traces pathways of migration as revealed through food.

Musicians from USC Thornton School of Music perform John Luther Adams’ outdoor work for winds, brass, and percussion, a piece that allows performers and audience members to wander through the physical and musical landscape at will.

APRIL 18-19 | Elysian Park

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GREEN UMBRELLA: INSIDE THE LA PHIL’S LABORATORY FOR NEW MUSIC

Over the last four decades, Green Umbrella has been the Los Angeles Philharmonic’s trademark series for adventurous, ambitious new music. By Piper Starnes THE LOS ANGELES NEW MUSIC GROUP PERFORMS ITS INAUGURAL CONCERT, IN 1981.

ANGÉLICA NEGRÓN AND AMANDA HERNÁNDEZ

STRANGER LOVE

Expectations are challenged, sound is reimagined, and curious, open-minded music lovers get to witness outstanding compositions being born. Since its establishment in 1987, Green Umbrella has elevated works

by John Adams, Kaija Saariaho, Philip Glass, John Cage, Unsuk Chin, Gabriella Smith, and countless other composers who have and are continuing to shape the future of music.

Creative Producer Mark McNeill, who plays a large role in programming the series, says, “For most folks, this is a rare experience to be able to come into a real space of intentional listening…. People can dismiss new music as this chin-scratching academic exercise, but really, the composers that I’m blown away by and drawn to—there’s so much joy in what they do.”

Anything is possible at a Green Umbrella concert: Dylan Mattingly and Thomas Bartscherer’s worldpremiere opera Stranger Love

combined about six hours’ worth of music, dance, and theater with a dinner intermission and a shower of confetti in May 2023. Angélica Negrón played tropical fruits as instruments during this season’s Recovecos program centered around Latin American and Caribbean joy, healing, and heritage. In October 2013, Esa-Pekka Salonen brought the world premiere of Frank Zappa’s completed orchestral-rock experiment 200 Motels to life, fulfilling a dream project first attempted in 1970 by Zappa and thenMusic Director Zubin Mehta.

The Los Angeles Times described Green Umbrella as “a news outlet for new music, a place for discovery.” It was intentionally built to welcome people into that discovery.

McNeill’s guiding question is, “How do we open up space to new voices from a performance and composing perspective, but also for audiences to

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see themselves reflected in the work and in the Hall?”

That ongoing question traces back to the 1981/82 season, when Principal Timpanist William Kraft and LA Phil Executive Director Ernest Fleischmann founded the LA Phil New Music Group (LAPNMG). Fleischmann believed that “audiences must be provoked and excited to become active participants, and not just passive listeners.

It is our goal to create an environment that is open to every type of musical creativity.”

Over the next few years, Fleischmann, Kraft, and Pulitzer Prize-winning composer John Harbison—who became the LA Phil’s New Music Advisor, composer-in-residence, and LAPNMG director in 1985—laid the groundwork for Green Umbrella’s debut in 1987.

As for the series’ puzzling name, Fleishmann noted: “Green Umbrella means absolutely nothing; it was something I pulled out of the air.

There was a slight relationship with CalArts [California Institute of the Arts], and I thought, ‘There’s contemporary music being created at CalArts, we are creating contemporary music downtown, and this ‘green umbrella’ stretches

from downtown to Valencia.’”

The addition of Steven Stucky as composer-in-residence in 1988 and the appointment of composer-conductor EsaPekka Salonen as Music Director in 1992 boosted the LA Phil as the most prolific commissioner of new music of any American orchestra, establishing Green Umbrella as a leading series for cutting-edge talent.

By the time Walt Disney Concert Hall opened in 2003, Green Umbrella had presented 26 world premieres and 18 US premieres.

That trend would only amplify in the new venue, which, The Violinist said, “with its modern Frank Gehry design, inspires a sense of the new and makes a composer want to reach into the future.” When Green Umbrella celebrated its 20th anniversary in 2007, LAist deemed it “the best Los Angeles Philharmonic series there is.”

Today, under the leadership of Music & Artistic Director Gustavo Dudamel and Creative Chair John Adams (both of whom took on their roles in 2009), Green Umbrella continues to push classical music into new sonic territories and uplift the next generation of composers.

“My experiences with the Los Angeles Philharmonic are never

JOHN ADAMS

anything short of astonishing,” Adams says. “The audiences are among the most sophisticated and curious anywhere, and the orchestra itself is one of the most supple and flexible of any in the world. The chance to continue participating in the artistic evolution of this extraordinary musical institution is something that I hold very special.”

With at least 193 premieres and 160 commissions to date and ongoing projects like the Adams-curated LA Phil Etudes—a collection of solo pieces commissioned for the orchestra’s principals and written by today’s sharpest composers—the spirit of experimentation and collaboration is alive and well in Los Angeles.

As McNeill puts it, “Only at the LA Phil and only during Green Umbrella are you going to have the sort of experience that just pushes at the edges of what’s possible.”

COMING UP THIS SEASON FEB 3

MAR 7

MAR 24

John Adams curates a program presenting LA Phil Etudes: Book 3 with new works for trombone, bass, and harp; Anthony Cheung’s Respire, with pianist Gloria Cheng; and Sílvia Lanao’s Desert Bloom.

Inspired by the eponymous Judy Baca mural, Gustavo Dudamel and Gabriela Ortiz invite six composers to create a symphonic tribute to Angelenos, featuring an original film by director Alejandro G. Iñárritu.

Thomas Adès leads the US premiere of Barry’s Salome, a surreal and fantastical Oscar Wildeinspired opera full of madness, ecstasy, humor, and murder.

Adams, Cheung & Lanao

The Great Wall of Los Angeles

Gerald Barry’s Salome

MAY 5

Smith, Cabezas & Childs Gabriella Smith curates a night of natural wonder featuring cellist Gabriel Cabezas, jazz composer-pianist Billy Childs, and music for percussion, bassoon, and amplified cactus.

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PHILANTHROPY

PAYING IT FORWARD, NOTE BY NOTE David Lawrence and Faye Greenberg

For David Lawrence and Faye Greenberg, music isn’t just a profession—it’s the family language. David, the son of legendary duo Steve Lawrence and Eydie Gormé, grew up in studios and concert halls; Faye, a lyricist and writer, found her voice early by turning everyday moments into poetry set to music.

Together, they’ve built celebrated careers in film, television, and theater, with credits ranging from the High School Musical movie trilogy to Earth, Wind & Fire and everything in between. After decades of crafting songs that have reached millions around the world, David and Faye have found new joy in giving back—as donors, mentors, and champions of the next generation of musical voices.

That shared devotion to creativity and mentorship naturally led them to the LA Phil’s Composer Fellowship Program (CFP), a tuition-free initiative that nurtures young composers in grades 10 to 12.

Created by the late Pulitzer Prize-winning composer Steven Stucky and now led by twotime Pulitzer finalist Andrew

Norman, CFP gives students the rare opportunity to work directly with LA Phil musicians, hear their own compositions performed by professional ensembles, and attend more than 20 concerts each year at Walt Disney Concert Hall and the Hollywood Bowl. It’s a rigorous, joyful immersion in the art and discipline of composition—and entirely free for participants.

“When we went to a CFP presentation, we were so moved,” says Faye. “You’re sitting in the room with the very students your support will impact. You can literally see the cause and effect of your giving.” For David, the program recalls the generosity he once received from mentors like arranger Don Costa and composer Alf Clausen, who

FAYE GREENBERG AND DAVID LAWRENCE ONSTAGE AT THE HOLLYWOOD BOWL

gave him precious studio time to record orchestral demos early in his career. “That changed everything for me,” David says.

“It made me realize how essential mentorship is—someone opening a door and saying, ‘Try this.’”

Now, through CFP, the couple is opening that same door for a new generation. They hope their support will help expand the program to reach students even earlier, giving young musicians the confidence to imagine composing as a life path.

Their connection to the LA Phil is deeply personal, too. Subscribers since the days when the orchestra performed at the Dorothy Chandler Pavilion, they vividly remember driving down Grand Avenue as Walt Disney Concert Hall rose from its foundations.

“It was the moment Los Angeles finally had a true home for its orchestra,” David says. “Every time we walk into that hall, we feel that pride all over again.”

From the legacy of David’s family to the couple’s own decades of writing together, music has been the through line of their story. Through their support of CFP, David Lawrence and Faye Greenberg are ensuring that the creative spark endures— in the young composers who will shape the sound of the future.

To learn more about the Composer Fellowship Program and how to join Faye and David in supporting it, please contact Robert Albini at 213 972 3516 and visit laphil.com/cfp.

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“ n a b B I I a I s

W D I t r f

“On runways, in pageants, and in national campaigns. My face has always been a big part of who I am, both professionally and personally.

But when I reached my mid-fifties, I began to feel a disconnect.

Inside, I still felt vibrant, energetic, and full of life. But in the mirror, I saw someone who looked tired, someone I didn’t quite recognize.

With Dr. Kevin Sadati’s Preservation Deep Plane Face & Neck Lift, I regained my youthful contours and the confidence to step back onto the runway - refreshed, radiant, and fearless.”

Darlene, 57 Years Young

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LOS ANGELES PHILHARMONIC

Prometheus with Esa-Pekka Salonen Los Angeles Philharmonic Esa-Pekka Salonen, conductor Grimanesa Amorós, multimedia artist Jean-Yves Thibaudet, piano Liv Redpath, soprano Jingjing Xu, mezzo-soprano Los Angeles Master Chorale Grant Gershon, Artistic Director Jenny Wong, Associate Artistic Director

SIBELIUS

The Oceanides, Op. 73 (c. 10 minutes)

Gabriella SMITH

Rewilding (c. 25 minutes)

FRIDAY JANUARY 9, 2026 8PM SATURDAY JANUARY 10 8PM SUNDAY JANUARY 11 2PM

INTERMISSION DEBUSSY

La damoiselle élue (c. 22 minutes) Liv Redpath Jingjing Xu Los Angeles Master Chorale

SCRIABIN

Prometheus, Poem of Fire, Op. 60 (c. 23 minutes) Jean-Yves Thibaudet Los Angeles Master Chorale

These performances are generously supported in part by the Kohl Virtuoso Violin Fund.

Programs and artists subject to change.

BOOK I • JANUARY 9–18

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ABOUT THE PROGRAM

AT A GLANCE Music moves us; it inspires us, stimulates us, and nourishes us. For the composer Alexander Scriabin, it could also summon visions, which he attempted to incorporate—via a color keyboard—in his work Prometheus, Poem of Fire. Scriabin never realized the instrument that would project colors in sync with his music, but this weekend’s presentation, conducted

by Esa-Pekka Salonen, features Grimanesa Amorós’ large-scale light installation in a contemporary reimagining of the composer’s intent.

In a 2024 interview, Salonen said, “Scriabin somehow saw the act of Prometheus

THE OCEANIDES, OP. 73 Jean Sibelius (1865–1957) Composed: 1914 Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, 2 harps, and strings First LA Phil performance: July 24, 2003, Esa-Pekka Salonen conducting Finnish composer Jean Sibelius wrote The Oceanides for his one and only trip to the United States. In 1913, composer and church musician Horatio Parker, who was then dean of the Yale School of Music, commissioned a new work from Sibelius on behalf of

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stealing the fire and giving it to humankind as not only the ultimate gift but also the ultimate sacrifice.... The only reason Prometheus gives the fire to humans is because he loves them.”

The humanistic balance of love and ingenuity, represented by Prometheus, runs through this weekend’s program. Sibelius harnesses the adoration and awe of the ocean from an Atlantic crossing, Gabriella Smith evokes the joy of communal activism, and Debussy mines the all-consuming passion of a 19th-century heroine finding new means of expressing timeless subjects.

—Amanda Angel

Carl Stoeckel, a well-heeled arts patron; the result was The Oceanides. Sibelius drafted the score during a winter 1914 stay in Berlin and sent the completed project to Parker after putting the final touches on it that March. Unhappy with this first version, Sibelius recomposed the work before arriving in the US. This revised version had its premiere at Stoeckel’s music festival in Norfolk, CT, on June 4, 1914, with Sibelius conducting an orchestra convened especially for the occasion and consisting of players from the New York Philharmonic, the Boston Symphony, and the Metropolitan Opera.

(The first, Yale version was recently “rediscovered” and recorded.)

Sibelius’ American visit was one of the high points of his life. He got the star treatment with society receptions and lavish accommodations the norm during the trip. He met American luminaries such as conductor Walter Damrosch and composer George Chadwick, and the music critic of The Boston Post, Olin Downes, campaigned tirelessly on behalf of his music, a campaign that would continue after Downes’ move to The New York Times in 1924. Sibelius also got the grand tour of the Northeast, including a visit to Niagara Falls, which he remembered as one of the most tremendous sights he had ever beheld.

This sensibility, oriented acutely to nature, informs

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ABOUT THE PROGRAM

The Oceanides. The work is the rare Sibelius tone poem that does not take its subject from the Kalevala, the repository of Finnish mythology to which the composer often turned for inspiration. In Greek mythology, the Oceanides were the manifold daughters of Oceanus, the water that circled the earth. The Oceanides were associated with water in all of its forms—rain, rivers, streams, lakes, and the like—and they inspired Sibelius to compose one of the most organic and atmospheric orchestral works in his catalog.

The work’s organicism is subtle. After the opening— muted strings over rumbling timpani—Sibelius introduces two fragmentary themes, the first in the flutes, the second shared by oboes and clarinets. From this material, the composer derives much of what follows. The music itself proves to be an elaborate aquatic metaphor; Sibelius’ revised version of the score reveals the impression the sea had made on the composer during his Atlantic crossing.

Serene and subdued for much of its course, The Oceanides surges to a climax derived from the opening flute passage just before its closing moments, when the first theme returns, transformed, in the clarinets, bringing back the calm waters of the opening. —John Mangum

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REWILDING Gabriella Smith (b. 1991) Composed: 2025 Orchestration: 3 flutes (all=piccolo), 3 oboes, 3 clarinets (1st and 2nd=E-flat clarinet, 3rd=bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, percussion (2 used bicycles, metal mixing bowls, walnuts or chickpeas, twigs/branches, drumsticks, tala wands, found metal objects), and strings First LA Phil performances.

From the very first sounds you hear in Rewilding, a 2025 orchestral work by the prominent, widely admired composer Gabriella Smith, you know right away that you’re in for something extraordinary.

One percussionist swirls walnuts in metal mixing bowls. A second player taps on another set of bowls and various metal objects. Two more apply wooden mallets to the spokes of spinning bicycle wheels, the resultant clacking likely familiar to all past and present children in earshot.

However disorienting those sounds might seem when produced by classical musicians on a concert stage, they are meant to express joy—the fun of making noise using purely elemental sources and common implements turned to uncommon uses.

“I love the sound,” Smith said of the bikes, laughing,

during a recent interview. “I recorded it for a piece I wrote for the Kronos Quartet, and I liked the sound so much I thought, ‘I’m going to use this in an orchestral score.’”

Rewilding is filled with other such moments of delight. Smith compels players to be “messy,” to play “out of sync.” She regularly asks them to “wiggle” and “bend” notes. At one climactic point, her instruction to the string players is direct: “Be a frog.” (Smith provides the players with QR codes linked to videos in which she demonstrates on violin exactly what she’s after.)

The resulting reverie extends a long tradition of composers exulting in nature that reaches back to Vivaldi, Haydn, Beethoven, and Wagner, to name only a few. But for Smith—who grew up in the Bay Area exploring, backpacking, studying, and volunteering—the celebration is a call to action.

And importantly, she invites audiences to sense the joy and community she has found in ecological activism.

Rewilding takes its name from a specific approach to ecosystem restoration.

“Rewilding is turning the ecosystems all around us that have been degraded due to human activity back into healthy functioning ecosystems, largely by removing invasive plants and planting native ones,” Smith explains. “This is hugely beneficial for biodiversity, and also functions to capture carbon, mitigate the effects of climate disasters, improve

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ABOUT THE PROGRAM

air quality, and enhance the physical and mental health of humans who live in the area.”

She’s eager to address a common misconception about rewilding: that the goal is to erase or reverse human presence. “In fact,” she says, “rewilding requires human influence to get an ecosystem back into a healthy state, which I find really inspiring.”

In a brief note about the composition, Smith makes the process personal: Throughout my life, I’ve worked on many different rewilding projects around the world, the most recent being on a former airplane runway in Seattle. There are so many beneficial environmental results of rewilding, but the thing that keeps me coming back is pleasure: the pleasure of getting my hands in the dirt, of hearing northern flickers and Bewick’s wrens, of biking to and from the site (another climate solution that consistently brings me joy), and the pleasure of being part of something bigger.

Understanding Smith’s perspective provides a key to hearing Rewilding more deeply and profoundly. The bicycles in the score represent her joy in taking action. The chorus of frogs connotes a healthy ecosystem, of which flourishing amphibians are a leading indicator. Both the natural sounds and orchestral impressions of Rewilding are directly tied to Smith’s lived

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experience: the wild places near where she grew up and the places she’s visited since.

Yet even though Smith’s music is inextricably linked to her environmental activism, she doesn’t set out to create pieces that convey lessons literally. “Music is too abstract, and that’s okay,” Smith explains. “When I’m writing, I’m not thinking about the work I’ve done that week at the restoration site; I’m thinking about how to build a compelling musical arc and narrative.” Even so, she understands that her music provides an opportunity to connect with audiences about what drives her ecological work. “It’s important to me that people know they can be part of climate action in a way that is fun and joyful.”

Most people, she acknowledges, view the climate crisis as a cause for despair. “Those feelings are important, too,” Smith says, “and I feel all those things when I’m writing this music. But it’s also infused with joy, and the feeling that it’s actually enjoyable to be a part of this restoration work.” —Steve Smith Commissioned by the San Francisco Symphony, Cleveland Orchestra, Orchestre National de France, and Barcelona Symphony. Premiered on June 6, 2025, at Davies Symphony Hall, San Francisco, by the San Francisco Symphony, conducted by Esa-Pekka Salonen.

LA DAMOISELLE ÉLUE Claude Debussy (1862–1918) Composed: 1887–88; reorchestrated 1902 Orchestration: 3 flutes, 2 oboes, English horn, 3 clarinets (3rd=bass clarinet), 3 bassoons, 4 horns, 3 trumpets, 3 trombones, 2 harps, strings, vocal soloists, and chorus (sopranos, contraltos) First LA Phil performance: April 8, 1928, Georg Schnéevoigt conducting The cantata La damoiselle élue was Debussy’s third effort as a Prix de Rome scholar, although it was composed mostly after he had returned to Paris early in 1887; he completed it a year later. This was at the height of Debussy’s fascination with the work of Richard Wagner.

Debussy went to Wagner’s opera festival at Bayreuth in 1888 and 1889, and he regularly played Wagner’s scores at the piano in Parisian salons— according to his collaborator Pierre Louÿs, Debussy bet that he could play the three-act opera Tristan und Isolde from memory and won. This influence manifested in La damoiselle élue: “Evanescent, floating chromatic harmonies, evocatively veiled tonalities, Wagner-inspired endless melodies, and true Wagnerian leitmotifs permeate the composition to a degree not previously encountered in any dramatic composition of Debussy,” wrote Debussy scholar John R. Clevenger.

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ABOUT THE PROGRAM

The libretto is based on Dante Gabriel Rossetti’s 1847 poem “The Blessed Damozel,” about a young woman who cannot enjoy heaven while her lover is still on earth. Although Debussy also owned a copy of Rossetti’s subsequently painted, typically luminous pre-Raphaelite portrait of his heroine, the composer knew the poem in the French translation by Gabriel Sarrazin.

This translation omitted several stanzas of the original poem, and Debussy trimmed it even further, cutting some descriptions and the lover’s asides, keeping attention strictly on the Damozel.

The cantata opens with a radiantly expectant orchestral prelude. The chorus and a narrator set the scene, and then the Damozel has most of the rest of the piece to herself in the form of a rhapsodically developed monologue, with a short postlude for the chorus and narrator in poignant denouement.

Three of the important leitmotifs first appear in the prelude. The little chord pattern at the very beginning, known as the Circling Charm motive because it is a sort of musical circle and it later shapes the narrator’s line “out of the circling charm,” recurs at important points structurally and rounds the work off at the end. The melody first heard in a string chorale setting is the Hope theme, later associated with the Damozel’s prayers. The

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solo flute tune at the close of the prelude represents the Damozel herself.

Most Tristanian is the Wish motive, the descending phrase of the Damozel’s first words. It is a diminished chord of the same species as the Tristan chord and similarly expresses deep yearning. And like the Tristan chord, it is finally resolved: At the climax of her monologue, the Damozel vows to petition Christ to grant her wish, and that projected narrative resolution is subtly supported by the musical resolution of the Wish motive. —John Henken

PROMETHEUS, POEM OF FIRE, OP. 60 Alexander Scriabin (1872–1915) Composed: 1909–10 Orchestration: piccolo, 3 flutes, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bells, chimes, cymbals, tam-tam, triangle), 2 harps, organ, strings, color organ, solo piano, and chorus First LA Phil performance: August 8, 1935, Pierre Monteux conducting Like his good friend Rachmaninoff, Alexander Scriabin won a Gold Medal

for his piano playing upon graduation from the Moscow Conservatory in 1892 and embarked on the career of a young virtuoso, performing throughout Europe. His own early music was much in the manner of his idol, Chopin.

But in the first years of the new century, Scriabin transformed his life. He left his wife and children and ran off with a young music student. And—under the spell of Nietzsche, Madame Blavatsky, and theosophism—he came to believe that his music had the power to bring mystical unity to a fragmented world.

Scriabin’s extraordinary egocentrism (he had been raised by adoring aunts and a grandmother) and the fact that on the old-style calendar his birthday fell on Christmas Day contributed to his sense of messianic mission. He began to create a visionary music suited to this mission, one based on single-movement forms, chromatic harmonies, and daring ideas about its presentation.

Scriabin laid out a sequence of four symphonic works that he believed would lead to the transformation of human consciousness: The Divine Poem (1905); The Poem of Ecstasy (1908); Prometheus, Poem of Fire (1909–10); and Mysterium, the culmination of the sequence, which was to bring about the actual transformation.

(It was left incomplete when

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Scriabin died at 43 of a massive infection.) Scriabin envisioned a performance in India in which the audience and performers would be garbed in white and a fusion of the arts—including “the art of perfume”—would elevate humankind to a state of ecstatic consciousness.

Prometheus, first performed in Moscow on March 2, 1911, with Scriabin as piano soloist and Serge Koussevitsky conducting, forms a distinct chapter in this progression. Across its 20-minute span, Scriabin attempts to depict nothing less than the development of human consciousness, from primordial formlessness through the emergence of self-awareness to a final ecstatic union with the cosmos. In Greek mythology (and in Aeschylus and Shelley), Prometheus had been a rebel who battled the gods on behalf of man, but Scriabin saw in Prometheus’ fire the symbol of human consciousness and creative energy. He attempted to depict this musically in his “Poem of Fire,” and he envisioned not simply a “symphony of sound” but a “symphony of color rays.” Toward this end he conceived a new instrument—the tastiera per luce or “color keyboard”—that would project light of different

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colors on a screen behind the orchestra, reproducing visually what the orchestra was dramatizing in sound.

Scriabin never saw a performance with light (the premiere simply presented the orchestral piece), nor did there exist an instrument that could produce the light display he envisioned. In fact, Scriabin never developed his ideas about the correspondences between particular colors and tones (or ideas) in a systematic way, and those who create a light display at performances of Prometheus must formulate their own theory of light and its relation to this music.

Scriabin scores Prometheus for a huge orchestra with an important part for solo piano, but this is not a concerto—the piano is simply one of the characters in the unfolding drama of enlightenment.

The music itself begins ambiguously with what Scriabin called “the mystical chord,” a slightly discordant assemblage of fourths. Out of this soft tonal smear, marked “hazy” in the score, distinct musical forces begin to emerge. French horns intone a phrase depicting what one Scriabin scholar has called the “crepuscular, invertebrate state of Karmaless humanity,” a trumpet call represents the creative

will, the piano symbolizes man, and a gentle flute melody is the dawn of human consciousness; later the solo violin will be associated with human love. Many of the themes are built on an upward sweep, symbolic of man’s aspiring, yearning grasp for consciousness.

Musically, Prometheus may be described as a gradual crescendo and accelerando that moves from a quiet lento beginning to a thunderous prestissimo close. Scriabin covers the score with subjective instructions for the performers: voluptuous, almost with pain, with delight, with intense desire, with emotion and rapture, with restrained terror, defiantly, stormy, with radiant brilliance, piercing like a scream, suddenly very sweet, victorious, with blinding brilliance, in a whirl.

Such a progression evokes an erotic component, and that was very much a part of Scriabin’s ecstatic vision. At the climax (that word is used advisedly), an optional chorus enters singing only vowel sounds, the color organ generates an overpowering radiance, and the orchestra rushes Prometheus to its orgiastic fulfillment on a harmonically unambiguous (and very loud) F-sharp-major chord. —Eric Bromberger

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ABOUT THE ARTISTS

ESA-PEKKA SALONEN

Esa-Pekka Salonen is renowned as both a composer and a conductor. He was recently named Creative Director of the Los Angeles Philharmonic, effective 2026/27, and Creativity and Innovation Chair of the Philharmonie de Paris and Principal Conductor of the Orchestre de Paris, effective 2027/28. He is the Conductor Laureate of the Philharmonia Orchestra, the Los Angeles Philharmonic, and the Swedish Radio Symphony Orchestra, all of which he has led as Music Director or Principal Conductor, and formerly served as Music Director of the San Francisco Symphony.

He is the founder of the Colburn School’s Negaunee Conducting Program, which he directs as a member of the faculty. Salonen cofounded, and until 2018 served as the Artistic Director of, the annual Baltic Sea Festival.

In recent seasons, Salonen cofounded the statewide California Festival with Gustavo Dudamel and Rafael Payare and held residencies

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at the Berlin Philharmonic, Elbphilharmonie Hamburg, and Salzburg Easter Festival. He also led the Finnish Radio Symphony Orchestra in a Salzburg Easter Festival residency featuring a Simon McBurney production of Modest Mussorgsky’s unfinished opera Khovanshchina, with never-before-heard music compiled by Gerard McBurney from a recently rediscovered manuscript.

Salonen began the 2025/26 season on tour with the Orchestre de Paris, centered on the premiere of his new Horn Concerto, composed for Stefan Dohr. After a world premiere at the Lucerne Festival and performances in Berlin and Hamburg, he brought the piece to the Boston Symphony Orchestra, Filarmonica della Scala, and Hong Kong Philharmonic Orchestra. Other conducting highlights this season include a pair of Pierre Boulez centennial programs at the New York Philharmonic, featuring Notations with Pierre-Laurent Aimard and Rituel with choreography

by Benjamin Millepied; residencies with the Swedish Radio Symphony Orchestra and Bergen International Festival; and dates with the LA Phil, Philadelphia Orchestra, Chicago Symphony Orchestra, and Orchestre de Paris. He concludes the season at the Ojai Music Festival, which he curates as the 2026 Music Director.

Esa-Pekka Salonen has an extensive and varied recording career as a conductor and composer. Recent releases include the Grammy Awardwinning (Best Opera Recording) world-premiere recording of Kaija Saariaho’s Adriana Mater on Deutsche Grammophon and recordings of Bartók’s three piano concertos with Pierre-Laurent Aimard on Pentatone, as well as spatial audio recordings of Ligeti’s Clocks and Clouds, Lux Aeterna, and Ramifications on Apple Music Classical. His concertos for piano (composed for Yefim Bronfman), violin (for Leila Josefowicz, featured in an ad campaign for the Apple iPad), and cello (for Yo-Yo Ma) all appear on recordings conducted by Salonen himself.

GRIMANESA AMORÓS

Grimanesa Amorós is a Peruvianborn American multimedia artist whose work explores community connections intersecting history, technology, and architecture.

Her keen understanding of structure enables her to create monumental sculptures

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incorporating lighting and custom-made electronic components to produce immersive environments and connect the viewer to their surroundings. Technology complements the concepts of her work without defining it—a medium of expression.

She derives inspiration from cultural legacies, with a central theme revolving around the concept of time. Amorós’ artworks challenge individuals’ understanding of time, capturing a moment when viewers engage in the pursuit of questioning their initial grasp of a piece’s conceptual formation.

Invited as a keynote speaker at museums, foundations, and universities, Amorós empowers young professionals across various disciplines, attracting future artists, students, and faculty in visual arts, architecture, and technology.

Amorós has showcased her work extensively in the United States, Europe, Asia, the Middle East, and Latin America. She was a featured speaker at TEDGlobal, a recipient of NEA Visual Arts Grants Fellowships, a participant in the Art in Embassies Program, and a Civita Institute NE Chapter Fellowship Grant holder. Her art has graced the walls of numerous prestigious museums including the Ludwig Museum, CAFA Art Museum, Katonah Museum of Art, and Seoul National University Museum of Art. grimanesaamoros.com

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JEAN-YVES THIBAUDET

Through elegant musicality and an insightful approach to both contemporary and established repertoire, Jean-Yves Thibaudet has earned a reputation as one of the world’s finest pianists.

He is especially known for his diverse interests beyond the classical world; in addition to his many forays into jazz and opera—including works which he transcribed himself for the piano—Thibaudet has forged profound friendships around the globe, leading to fruitful collaborations in film, fashion, and visual art.

He is a devoted educator and the first-ever Artist-inResidence at the Colburn School, which awards several scholarships in his name.

Thibaudet opened the 2025/26 season with Saint-Saëns’ Piano Concerto No. 5 with the Royal Concertgebouw Orchestra in Amsterdam and in Bucharest.

He performs the SaintSaëns, alongside Guillaume

Connesson’s The Shining One—composed specifically for Thibaudet—with the Bern Symphony Orchestra.

A major contemporary champion of Khachaturian’s Piano Concerto, which he recently recorded for Decca, Thibaudet performed the piece with the St. Louis Symphony Orchestra and New York Philharmonic in November.

In 2026, Thibaudet bookends the LA Phil’s Body and Sound festival with two multisensory works—Scriabin’s Prometheus, Poem of Fire and Messiaen’s Turangalîlasymphonie. In January, he joins the Rochester Philharmonic Orchestra for the world premiere of a piano concerto by Aaron Jay Kernis.

He journeys to Australia to perform Qigang Chen’s Er Huang and Gershwin’s Variations on “I Got Rhythm” with the Sydney Symphony Orchestra, followed by Gershwin’s Concerto in F with the Melbourne Symphony Orchestra.

A prolific recording artist, Jean-Yves Thibaudet has appeared on more than 70 albums and six film scores; his extensive catalog has received two Grammy nominations, two ECHO Awards, the Preis der deutschen Schallplattenkritik, the Diapason d’Or, the Choc du Monde de la Musique, the Edison Prize, and Gramophone awards.

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LIV REDPATH

Hailed as possessing “such a radiant voice, effortless even in the highest register with breathtaking coloratura, the likes of which have not been heard for a long time” (Berliner Umschau), Liv Redpath is a leading soprano leggero who is quickly establishing herself in diverse operatic and symphonic repertoire around the world.

During the 2025/26 season, Redpath makes her Teatro Real debut in a new Deborah Warner production of A Midsummer Night’s Dream under the baton of Ivor Bolton. She returns to the Glyndebourne Festival for her role debut as Konstanze in the David McVicar production of Die Entführung aus dem Serail led by Evan Rogister and to Staatsoper Hamburg as Pamina in Die Zauberflöte with conductor Keren Kagarlitsky and director Jette Steckel. Orchestral engagements include return appearances with the Berliner Philharmoniker to sing Mater Gloriosa in Mahler’s Symphony No. 8 at the Salzburg Easter Festival under the baton of Kirill Petrenko; Orchestra of St. Luke’s at Carnegie Hall in Beethoven’s Symphony No. 9

with Raphaël Pichon at the helm; and Danish National Symphony Orchestra in Copenhagen for Mahler’s Symphony No. 8, led by principal conductor Fabio Luisi.

Redpath was one of 12 finalists at the 2019 Operalia competition and sang under the baton of Plácido Domingo in Prague for the final-round concert. She received second prize, as well as the special French opera prize and audience favorite, at the 56th Tenor Viñas International Contest at the Gran Teatre del Liceu in Barcelona and subsequently sang the winners’ concert held at Teatro Real in Madrid. She sang the role of Crobyle in concerts of Thaïs with the Toronto Symphony Orchestra conducted by Sir Andrew Davis and recorded for release on the Chandos label, subsequently winning a 2021 Juno Award for Classical Album of the Year.

A graduate of Harvard University and The Juilliard School, Redpath is a former Domingo-ColburnStein Young Artist with the Los Angeles Opera.

JINGJING XU

Jingjing Xu is a Chinese mezzo-soprano praised for

her expressive artistry and wide-ranging repertoire. A native of Wuhu, she completed her Master’s degree in 2023 at McGill University, where she won the Wirth Vocal Prize. The following year, she won the 2024 Mirjam Helin Competition as the youngest participant.

Xu made her operatic debut in 2022 in the title role in Handel’s Orlando at McGill University. She has since appeared in oratorio and recital performances, including Rossini’s Petite messe solennelle, Duruflé’s Requiem, and Handel’s Messiah. She has performed with the Canadian Opera Company, Montreal’s Société d’Art Vocal, and at the Organ Night & Aria Festival in Finland. In February 2025, she sang with the Oulu Symphony Orchestra, and in summer 2025, she made her debut at the Bregenz Festival, performing the title role in La Cenerentola.

Beyond opera and oratorio, Xu is recognized for her compelling interpretation of art song. She and her duo partner, Christopher Knopp, attended the Franz-SchubertInstitut in 2023, studying with Elly Ameling, Robert Holl, and Roger Vignoles.

Xu’s primary mentors and voice instructors are Annamaria Popescu and Jie Zhou, and she works closely with coaches Michael McMahon and Esther Gonthier. She has also participated in master classes with James Vaughan, Graham Johnson, Jeff Cohen, Pierre Vallet, and Helmut Deutsch. c ontinued

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SOPRANO

LOS ANGELES MASTER CHORALE The Grammy-winning Los Angeles Master Chorale is the “the finest-by-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.

Created by legendary conductor Roger Wagner in 1964, the Chorale is a founding resident company of The Music Center and choir-in-residence 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

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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 Pacific 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).

April Amante Tamara Bevard Christina Bristow Natalie Buickians Anna Crumley Hayden Eberhart Harriet Fraser Graycen Gardner Kelci Hahn Ayana Haviv Karen Hogle Brown Elissa Johnston Juhye Kim Caroline McKenzie Alina Roitstein Anna Schubert Holly Sedillos Sunmi Shin Addy Sterrett Chelsea Tan Chloé Vaught Suzanne Waters Andrea Zomorodian

ALTO

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 Alice Kirwan Murray Lindsay Patterson Abdou Laura Smith Roethe Jessie Shulman Niké St. Clair Nancy Sulahian Kimberly Switzer Tracy Van Fleet Elyse Willis

TENOR

Dongwhi Baek Casey Breves Matthew Brown Bradley Chapman Adam Faruqi Jon Lee Keenan Dermot Kiernan Charlie Kim Joey Krumbein Bryan Lane Charles Lane Kyuyoung Lee Michael Lichtenauer JJ Lopez Sal Malaki Matthew Miles David Morales Robert Norman Rohan Ramanan Evan Roberts Darita Seth Todd Strange Matt Thomas

BASS

Derrell Acon Michael Bannett Mark Beasom John Buffett Kevin Dalbey Sean Gabel Dylan Gentile Will Goldman Abdiel Gonzalez Scott Graff James Hayden Jared Jones David Dong-Geun Kim Luc Kleiner Chung Uk Lee Scott Lehmkuhl 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.

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LOS ANGELES PHILHARMONIC

Salonen & Levit Scale Busoni’s Masterpiece Los Angeles Philharmonic Esa-Pekka Salonen, conductor Igor Levit, piano Los Angeles Master Chorale Grant Gershon, Artistic Director Jenny Wong, Associate Artistic Director

BUSONI

SATURDAY JANUARY 17, 2026 8PM SUNDAY JANUARY 18 2PM

Piano Concerto, Op. 39, BV 247 (c. 70 minutes)

Prologo e Introito Pezzo giocoso Pezzo serioso All’Italiana Cantico

Saturday’s performance is generously supported by the Elaine and Bram Goldsmith Great Artists Fund.

Programs and artists subject to change.

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© Breitkopf & Härtel, Wiesbaden.

PIANO CONCERTO, OP. 39, BV 247 Ferruccio Busoni (1866–1924) Composed: 1903–04 Orchestration: piccolo, 3 flutes (3rd=piccolo), 3 oboes (3rd=English horn), 3 clarinets (3rd=bass clarinet), 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, triangle, tamtam, bass drum, snare drum, cymbals, tambourine), strings, chorus (tenors, baritones, basses), and solo piano First LA Phil performances.

Ferruccio Busoni’s Piano Concerto is one of the great outliers of classical music—a piece musicians speak of in awed tones but most audiences have

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never had the chance to experience in live performance. Its sheer scale and eccentric construction have kept it far from the mainstream repertory, even as those who know it regard it as one of the most audacious creations of its era.

The concerto seems almost to have been smuggled in from an alternative musical universe. The composer himself half-jokingly referred to it as his “Skyscraper Concerto,” a name that captures not only its sheer size and ambition but also the dizzying sense of height and symbolic architecture it aspires to. The piece is too large, too contradictory, too symbolically charged to behave like a “concerto”

in any normal sense. Yet Busoni did not dream it up as an act of provocation.

He left a remarkable clue to his intentions in a 1903 letter to his wife, Gerda, in which he enclosed a fantastical diagram of the concerto’s architecture.

In Busoni’s sketch ( above ), the first, third, and fifth movements rise as massive buildings, while the second and fourth unfold in symbolic landscapes—the scherzo as a miraculous flower visited by exotic birds (“freaks of nature”) and the tarantella as a volcanic scene of Vesuvius and cypress trees. The entire imaginary edifice has a single entrance marked by a rising sun—a symbol of revelation—its doorway sealed as if requiring initiation into the work’s inner world. At the

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far end stands a winged figure borrowed from the choral text he sets by the Danish writer Adam Oehlenschläger— Busoni’s emblem of what he called “mysticism in nature.”

An Artist Between Worlds This blend of myth, architecture, and inward symbolism reveals just how profoundly Busoni lived between worlds—two different kinds of “between,” each shaping the Piano Concerto in its own way.

He was, from the outset, shaped by two cultural heritages. Born in 1866 to touring virtuoso parents, Busoni emerged early as one of the great piano prodigies of his age—an astonishing natural technician whose career as a legendary virtuoso was already in motion. His father, Ferdinando Busoni, was a celebrated clarinetist whose fiery temperament and improvisatory instincts represented one side of Italian musical life. His mother, Anna Weiss Busoni, an Austrianborn pianist trained in the German classical tradition, gave young Ferruccio his first lessons and instilled in him a reverence for discipline, structure, and the canon.

From these two lineages— his father’s operatic flair and spontaneity, his mother’s rigor and depth—Busoni absorbed two different musical worlds before he was old enough to choose between them. Yet from childhood—he began composing at 7—he also felt

an independent pull toward the German tradition: Bach became a kind of religion, Beethoven a metaphysical ideal, and counterpoint a way of ordering the universe.

When he settled in Berlin in the 1890s, he embraced its intellectual clarity and became, in time, a revered teacher and thinker.

This split between Italian warmth on one side and German abstraction on the other was formative and became the central tension shaping his artistic identity.

But Busoni was also working at his peak in a moment of profound artistic upheaval, a time when the certainties of the 19th century were giving way to the radical experiments of the 20th.

He came of age in the fin de siècle, when the great Romantic inheritance still commanded devotion even as the early tremors of modernism were cracking the foundation. He revered the Baroque and Classical past yet kept imagining a future on the horizon. Tradition mattered to Busoni, but so did the freedom to question it. He kept his ears open to a musical language just beyond the edge of what anyone was writing, unbound by formal constraint.

The Piano Concerto became the place where these forces converged in a vast symbolic construction capable of holding contradiction, exuberance, discipline, fantasy, and spiritual longing under one roof.

A Concerto Built to Hold a Universe The “Skyscraper” also reflects a conviction Busoni shared, in a different way, with Gustav Mahler. Mahler was famously reported to have said that a symphony must “embrace the world.” Busoni arrived at a parallel idea: that even the concerto, a form long tied to showmanship, could become a vessel to convey the full reach of a composer’s imaginative universe. A few years later, in his Sketch of a New Aesthetic of Music (1907), he would put the principle into words: “Music was born free; and to win freedom is its destiny.” The Piano Concerto feels like the moment when he tried to embody that freedom on a monumental scale.

But if Mahler spread this aspiration across the orchestra, Busoni condenses it into the orbit of a single pianist. The result is a kind of super-concerto—clearly built for a virtuoso but stretched so far that it starts to feel philosophical. Busoni gathers the grand rhetoric of the German symphonic lineage, the restless playfulness of his Italian heritage, and the inward gravity of a thinker for whom Faust was a lifelong companion—a fixation so deep that he eventually composed his own opera, Doktor Faust, inspired by Goethe, which he left unfinished at his death in 1924. As with Mahler, the question is not what to include but how much such a structure can bear. c ontinued

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How the Music Moves Across the first four movements, Busoni keeps reshaping the scale of the world he is building, and the piano—never a gladiator battling the orchestra but a restless guide—pulls the music through each new terrain.

The opening movement lays out the grand facade with a sense of ceremony and weight, introduced by a bold orchestral proclamation to which the piano responds with granite-like chords.

Busoni shapes his themes in broad, architectural spans steeped in the German symphonic tradition. The scherzo flickers, quick in its turns and touched with a fantastical lightness.

At the center sits the extraordinary slow movement—the vast Pezzo serioso, the longest span in the entire concerto, where time seems to stretch and soften. Bare, almost hesitant motifs—first in the low strings, then in the woodwinds— accumulate a calm, steady force as they return, each repetition expanding the movement’s spacious outline. Busoni unfolds a long inward arc whose steady, architectural buildup recalls Bruckner, yet its suspended glow and emotional stillness belong to the same world as Mahler’s great adagios.

And then the spell breaks.

The fourth-movement tarantella erupts with volcanic force—Busoni’s vision of Vesuvius rendered

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as dance—driven by the whirling 6/8 rhythm familiar from Mendelssohn’s “Italian” Symphony, but blown up to operatic, almost hallucinatory proportions. This is the concerto’s wildest terrain, the moment when the piano seems to drag the entire orchestra into a Southern fever-dream of motion.

After all that volcanic brilliance, the tarantella thins almost imperceptibly; its fevered pulse drains away, and the music slips—without a break—into the strange, moonlit opening of the finale.

For a moment, it’s as if the concerto has forgotten its own momentum. The piano grows inward, the orchestra settles into a hush, and the air changes temperature.

After more than an hour of music anchored by the piano, Busoni introduces a male chorus that sings for only a few minutes. The scale recalls Mahler’s cosmic finales—especially the sudden emergence of voices at the end of the “Resurrection” Symphony—but the effect here is entirely his own.

The text comes from an unexpected place: a short chorus, “Hymn to Allah,” from Adam Oehlenschläger’s 1805 Danish play Aladdin, or the Wonderful Lamp, which Busoni set in its German translation. It invokes the divine not in a doctrinal sense but as an elemental force animating the universe. The winged figure in Busoni’s sketch is finally given breath:

Raise up your hearts to the eternal force; sense the closeness of Allah, behold his deeds!

Joy and grief alternate in earthly light, while the pillars of the world stand in repose. (trans. by Noam Cook) In its soft beginning, this choral invocation feels like the revelation the concerto has been circling for more than an hour. The male voices enter with an otherworldly calm, yet Busoni lets their presence grow steadily, gathering warmth and authority until the music swells into a radiant C-major proclamation. It is not triumph in the usual symphonic sense but a kind of alignment—the symbolic architecture he sketched for Gerda finally brought into balance—myth, nature, and human striving resonating in a single, blazing chord.

A work like this reveals its full stature only in live performance. Recordings can sketch its outlines, but they can’t convey its physicality— the way the piano seems to torque the orchestra into motion, the way the slow movement’s great arches accumulate weight, or the way the final chorus rises through the texture like a presence entering the space.

Only under these conditions does the “Skyscraper Concerto” become the visionary edifice Busoni imagined. —Thomas May

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ABOUT THE ARTISTS

ESA-PEKKA SALONEN

To read about conductor Esa-Pekka Salonen, please turn to page P7.

IGOR LEVIT

With an alert and critical mind, Igor Levit places his art in the context of social events and understands it as inseparably linked to them. The New York Times describes Levit as one of the “most important artists of his generation,” and The New Yorker as a pianist “like no other.” Since the 2022/23 season, Levit has been Co-Artistic Director of the Heidelberger Frühling Musikfestival. With the

Lucerne Festival, he initiated the Piano Fest in 2023.

In the 2025/26 season Levit performs in recital at the Elbphilharmonie Hamburg, La Fenice Venice, Théâtre des Champs-Élysées Paris, and Palau de la Música Catalana Barcelona, as well as in Luxembourg, Milan, and Tokyo. In fall 2025, he presented four concerts to mark Shostakovich’s 50th memorial year at the Musikverein Wien.

With five recital and chamber music performances, he helps to celebrate Wigmore Hall’s 125th anniversary season. To mark the 250th anniversary of the Declaration of Independence, he presents Beethoven’s Diabelli Variations and Frederic Rzewski’s The People United Will Never Be Defeated! for New York’s Carnegie Hall and Washington Performing Arts in early 2026. With the Budapest Festival Orchestra and Iván Fischer, Levit performs all Prokofiev concertos at the Philharmonie Berlin. Further highlights include a European tour with the Orchestra dell’Accademia Nazionale di Santa Cecilia and Daniel Harding, as well as concerts with the Tonhalle-Orchester Zürich and Paavo Järvi, the Vienna Philharmonic and Ádám Fischer, and the Staatskapelle Berlin and Christian Thielemann.

Igor Levit’s recordings for Sony Classical have been honored with countless awards, including four Opus Klassik Awards, Gramophone’s Artist of the Year 2020 Award, and Musical America’s Recording Artist of the Year 2020 as well as

the 2022 Recording of the Year Award and Instrumental Award of BBC Music Magazine. His latest album, a live recording of the acclaimed piano concertos of Brahms with the Vienna Philharmonic Orchestra and Thielemann, was awarded the Opus Klassik 2025 as Concert Recording of the Year.

Levit was the youngest participant in the 2005 Arthur Rubinstein International Competition in Tel Aviv, where he won silver, the special prize for chamber music, the audience prize, and the special prize for the best performance of contemporary pieces. In 2018, Levit was named the eighth recipient of the prestigious Gilmore Artist Award—conferred every four years to a classical pianist and recognized as the largest and one of the world’s most distinguished music awards.

For his political commitment, Levit was awarded the International Beethoven Prize in 2019 and the Statue B award, given by the International Auschwitz Committee in January 2020. His 53 Twitter livestreamed house concerts during the lockdown in spring 2020 garnered a worldwide audience, offering a sense of community and hope in a time of isolation and desperation. In October 2020, Levit was recognized with the Order of Merit of the Federal Republic of Germany. In Berlin, where he makes his home, Levit plays on a Steinway D Grand Piano kindly given to him by the Trustees of Independent Opera at Sadler’s Wells. c ontinued

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ABOUT THE ARTISTS

TENOR

LOS ANGELES MASTER CHORALE

To read about the Los Angeles Master Chorale, please turn to page P10.

Casey Breves Matthew Brown Bradley Chapman Adam Faruqi Michael Jones Jon Lee Keenan Dermot Kiernan Charlie Kim Joey Krumbein Charles Lane Kyuyoung Lee Michael Lichtenauer JJ Lopez Sal Malaki Matthew Miles David Morales Robert Norman Rohan Ramanan Evan Roberts Edmond Rodriguez Darita Seth Todd Strange Matt Thomas Matthew Tresler

BASS

Derrell Acon Michael Bannett Mark Beasom John Buffett Kevin Dalbey 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 Scott Lehmkuhl 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.

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SUPPORT THE LA PHIL

CORPORATE PARTNERS The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email corporatepartnerships@laphil.org.

ANNUAL GIVING

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 OF THE LA PHIL

Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA (Youth Orchestra Los Angeles), which provides free after-school music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil.

For more information, or to learn about membership benefits, please call 213 972 7557 or email friends@laphil.org.

PHILHARMONIC COUNCIL

Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination.

We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.

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ENDOWMENT DONORS

ENDOWMENT DONORS

We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of October 31, 2025.

Tom and Sharyl and $25,000,000 $1,000,000 $500,000 Janet Unterman Rafael Mendez, M.D. Terence Van Vliet and John Millard AND ABOVE TO $2,499,999 TO $999,999 Jan Keller National Endowment $100,000 Walt and Lilly Linda and Ann and Martin Albert Magda and Frederick for the Arts Disney Foundation Robert Attiyeh Abbott Brown R. Waingrow Alfred and TO $249 ,999 Cecilia and Judith and Mr. George L. Cassat Wasserman Foundation Arlene Noreen Mr. Robert J. Abernethy Robert Wood Dudley Rauch Thomas Beckmen Kathleen and Occidental Petroleum William A. Allison Gordon Binder and Jerrold L. Eberhardt Syham Yohanna and Corporation Rachel and Lee Ault Adele Haggarty Valerie Franklin James W. Manns Dr. M. Lee Pearce $20,000,000 W. Lee Bailey, M.D. Helen and Peter Bing Yvonne and Lois Rosen Angela Bardowell Gordon Hessler Anne and TO $24,999,999 William H. Brady, III $25,000 Deborah Borda Linda and Barbara Leidenfrost James Rothenberg David Bohnett The Eli and Edythe Maynard Brittan Ernest Mauk and Donald Tracy Rumford TO $99,999 Foundation Broad Foundation Richard and Doyce Nunis Family Trust Mr. and Mrs. Norma Camp Mr. and Mrs. David Meline Jane Carruthers The SahanDaywi Karl J. Abert Pei-yuan Chia and Mr. and Mrs. Sandy and Foundation $10,000,000 Marie Baier Foundation Mrs. Nancie Schneider Katherine Shen Michael J. Connell Barry D. Pressman Dr. Richard Bardowell, James and Paula Earl and Victoria Pushee TO $19,999,999 Mark Houston William and M.D. Coburn Foundation Dalzell and James William and Sally Rutter Luiginia Sheridan The Annenberg Jacqueline Briskin Dao-Dalzell Nancy and Barry Sanders The Geraldine P. Virginia Skinner Foundation Dona Burrell Coombs Trust Mari L. Danihel Kenneth D. Sanson Living Trust Colburn Foundation Ying Cai & Wann S. in memory of Nancy and Richard and Nancy and Lenore S. and Bernard Lee Foundation Gerie P. Coombs Donald de Brier Bradley Seeley Richard Spelke A. Greenberg Fund Ann and Tony Cannon Mary H. Statham Mr. and Mrs. Terry Cox The Rafael & Luisa Christian Stracke Silvia and Kevin Dretzka Dee and Robert E. Cody Ms. Fran H. Tuchman de Marchena-Huyke Donna Swayze The Colburn Fund Allan and Judy Ungar and Foundation Rhio H. Weir $5,000,000 Margaret Sheehy Collins Mrs. Joseph F. Diane Eisenman Adrienne Fritz The Walt Disney TO $9,999,999 Mr. Allen Don Cornelsen Westheimer Christine and Lee and Hope Company Ginny and Daniel Ewell Landis Warner Fairchild-Martindale Jean Willingham Anonymous John Cushman Diane Futterman YOLA Student Fund Foundation Winnick Family Dunard Fund USA Marilyn J. Dale Arnold Gilberg, M.D., Ph.D. Eris and Larry Field Edna Weiss Foundation Carol Colburn Grigor Mrs. Barbara A. Davis David and Paige Glickman Max H. Gluck Cheryl and Terri and Jerry M. Kohl Nicholas T. Goldsborough Dr. and Mrs. Foundation Peter Ziegler Los Angeles $250,000 Gonda Family Foundation Roger DeBard Reese and Lynn and Roger Zino Philharmonic Jennifer and Margaret Grauman Doris Gothie TO $499,999 Affiliates Royce Diener Kathryn Kert Green and Joan and Diane and Ron Miller Nancy and Leslie Abell LA PHIL Jane B. and Mark Green John Hotchkis Charitable Fund Mr. Gregory A. Adams Michael D. Eisner Freya and Mark Ivener Janeway Foundation M. David and MUSICIANS Baker Family Trust The Englekirk Family Ruth Jacobson Bernice and Diane Paul Kawanna and Jay Brown Estate of Anonymous Claudia and Mark Foster Wendell Jeffrey Ann and Robert Ronus Leah Danberg Kenneth Bonebrake Lillian and Mary Calfas Janos Carrie and Ronus Foundation Veronica and Nancy and Stephen Frank Stephen A. Kanter, M.D. Stuart Ketchum John and Robert Egelston Martin Chalifour Margaret E. Gascoigne Jo Ann and Kenneth N. and Samantha Williams Gordon Family Dr. Suzanne Gemmell Brian Drake Charles Kaplan Doreen R. Klee Foundation Perry Dreiman Paul and Yates Keir B. Allen and Ms. Kay Harland Barry Gold Florence Glaser Susanne and Paul Kester Dorothy Lay $2,500,000 Joan Green Harris Trust Vicki King Christopher Hanulik Good Works Los Angeles TO $4,999,999 Philharmonic Bud and Barbara Hellman Sylvia Kunin John Hayhurst Foundation Gerald L. Katell Jory and Ann and Edward Leibon Anne Heineman Committee Peggy Bergmann YOLA Norma Kayser Selina Herman Ann and Jean Horton Ellen and Mark Lipson Estate of Judith Lynne Endowment Fund in Joyce and Kent Kresa Ingrid Hutman Drs. Judith and Ms. Gloria Lothrop Maddocks-Brown Memory of Lenore Raymond Lieberman Andrew Lowy Herbert Hyman Vicki and Foundation Bergmann and John Mr. Kevin MacCarthy Gloria Lum Albert E. and Kerry McCluggage Ginny Mancini Elmer Bergmann and Ms. Lauren Lexton Joanne Pearce Martin Nancy C. Jenkins Heidi and Steve McLean Raulee Marcus Lynn Booth/The Otis Alfred E. Mann Charities Kazue Asawa McGregor Robert Jesberg and of in memory Barbara and Booth Foundation Glenn Miya and Michael J. Carmody Oscar and Diane Meza Katharine Lamb Buzz McCoy Elaine and Bram Steven Llanusa Mitchell Newman William Johnson and David and Merle and Peter Mullin Goldsmith Jane and Peter Rofé Daniel Meeks Margaret Mgrublian William Powers and Norman and Marc B. Nathanson Meredith Snow and Ms. Ann L. Kligman Diane and Leon Morton Carolyn Powers Sadie Lee Foundation Miguel A. Navarro Mark Zimoski Mary Pickford Foundation Sandra Krause and Koni and Geoff Rich Karl H. Loring Y & S Nazarian Barry Socher William Fitzgerald Sally and Frank Raab H. Russell Smith Alfred E. Mann Family Foundation Paul Stein Michael and Mr. David Sanders Foundation Elise Mudd Leticia Oaks Strong Emily Laskin Malcolm Schneer and Jay and Deanie Stein Nancy and Marvin Trust Sidney Petersen B. and Lonis Liverman Lyndon and Beth Cathy Liu Foundation Trust Barbara and Rice Family Foundation David and Linda Johnston Taylor Sarah and Ronald and Jay Rasulo Robert Robinson Dennis Trembly Ira R. Manson Shaheen Foundation Valerie Sugar Flora L. Thornton Katharine and Allison and Jim Wilt Carole McCormac William E.B. and I.H. Sutnick Thomas Stoever Suli Xue Meitus Marital Trust Laura K. Siart Sue Tsao

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Alyce and Warren Williamson

We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

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Los Angles Ballet and The Wallis present

20 Years of Los Angeles Ballet

Rubies Frank Bridge Variations World Premiere January 29-31, 2026 A Triple Bill of Iconic Works and Bold New Beginnings

2025/2026 Season losangelesballet.org All performances at Wallis Annenberg Center for the Performing Arts

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ANNUAL DONORS

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The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between November 1, 2024 and October 31, 2025. $1,000,000 AND ABOVE Anonymous (2)

Dunard Fund USA

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Anne Akiko Meyers and Jason Subotky

$500,000 TO $999,999 Anonymous (2) Ballmer Group

Jennifer Miller Goff

Music Center Foundation

Pasadena Showcase House for the Arts

Jay and Deanie Stein

Max H. Gluck Foundation GRoW @ Annenberg The Hearthland Foundation The Hillenburg Family Tylie Jones

Terri and Jerry M. Kohl Los Angeles County Metropolitan Transit Authority County of Los Angeles

M. David and Diane Paul Barbara and Jay Rasulo The Rauch Family Foundation Koni and Geoff Rich

Rolex Watch USA, Inc. Maria Seferian Linda and David Shaheen Mrs. Jessica Valentine

Faye Greenberg and David Lawrence The José Iturbi Foundation Kaiser Permanente Winnie Kho and Chris Testa Alfred E. Mann Charities Ms. Irene Mecchi

Michael and Lori Milken Family Foundation John Mohme Foundation Maureen and Stanley Moore James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation

Michael Ritz The Rose Hills Foundation Rosenthal Family Foundation James and Laura Rosenwald/Orinoco Foundation Snap Foundation Christian Stracke

Alyce de Roulet Williamson Margo and Irwin Winkler Ellen and Arnold Zetcher

Mr. Philip Hettema Alexa Hong and Derek Reeves Barbara and Amos Hostetter Frank Hu and Vikki Sung Monique and Jonathan Kagan Linda and Donald Kaplan Terri and Michael Kaplan W.M. Keck Foundation Darioush and Shahpar Khaledi Dr. Ralph A. Korpman

Mr. and Mrs. Keith Landenberger The Norman and Sadie Lee Foundation Live Nation-Hewitt Silva Concerts, LLC Roger Lustberg and Cheryl Petersen The Seth MacFarlane Foundation Linda May and Jack Suzar Barbara and Buzz McCoy Mr. and Mrs. David Meline Peninsula Committee

Ms. Linda L. Pierce Sandy and Barry D. Pressman Katy and Michael S. Saei Richard and Diane Schirtzer John Sinnema and Laura Sinnema Audre Slater Foundation Smidt Family Foundation Trust Sony Pictures Entertainment, Inc. Marilyn and Eugene Stein

Ronald and Valerie Sugar Cecilia Terasaki Sue Tsao David William Upham Foundation Bob and Michelle Valentine Ellen Goldsmith-Vein and Jon Vein Mr. Alex Weingarten John and Marilyn Wells Family Foundation Jenny Williams Debra Wong Yang and John W. Spiegel Ms. Marilyn Ziering

California Arts Council Andrea Chao-Kharma and Kenneth Kharma Chevron Products Company Chivaroli and Associates, Tiffany and Christian Chivaroli Esther S.M. Chui Chao & Andrea Chao-Kharma Mr. Richard W. Colburn

Mr. and Mrs. Robert Cook Mr. Lawrence Doyle and Dr. LuAnn Wilkerson Malsi and Johnny Doyle Mike Dreyer and Hannah An James and Andrea Drollinger Dr. and Mrs. William M. Duxler

East West Bank Edison International Emil Ellis Farrar and Bill Ramackers 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 Alexandra S. Glickman and Gayle Whittemore Francis Goelet Charitable Lead Trusts Mr. Gregg Goldman and Mr. Anthony DeFrancesco

$200,000 TO $499,999 Mr. Gregory A. Adams Judith and Thomas L. Beckmen The Blue Ribbon Canon Insurance Service Colburn Foundation

Valerie Dillon and Daniel Lewis Lisa Field/Robyn Field and Anthony O’Carroll Gordon P. Getty Ms. Erika J. Glazer

$100,000 TO $199,999 Anonymous (5) Nancy and Leslie Abell Kawanna and Jay Brown Michael J. Connell Foundation R. Martin Chavez De Marchena-Huyke Foundation

Jane B. and Michael D. Eisner The Eisner Foundation Mary Fisher and David Kessler Estate of Joseph Garcia Lori Greene Gordon Lenore S. and Bernard A. Greenberg Fund

$50,000 TO $99,999 Anonymous (2) Amazon Studios Ms. Kate Angelo and Mr. Francois Mobasser Linda and Phil Becker Jr. Mr. Joe Berchtold Linda and Maynard Brittan California Community Foundation Dan Clivner Becca and Jonathan Congdon Nancy and Donald de Brier

The Rafael & Luisa de Marchena-Huyke Foundation The Walt Disney Company Joseph Drown Foundation Kathleen and Jerry L. Eberhardt Louise and Brad Edgerton/Edgerton Foundation Dr. Paul and Patti Eisenberg Mr. James Gleason Goldman Sachs Co. LLC Yvonne Hessler

$25,000 TO $49,999 Anonymous (8) Mr. Robert J. Abernethy 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

Tracey BoldemannTatkin and Stan Tatkin The Otis Booth Foundation Philippe Browning Michele Brustin Gail Buchalter and Warren Breslow Steven and Lori Bush Business and Professional Committee

24 PERFORMANCES MAGAZINE

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Chicago Symphony Orchestra

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Riccardo Muti, Conductor

Sacredness

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Gerald Clayton Honors Duke Ellington’s Concert of Sacred Music Featuring Michael Mayo, Christie Dashiell, Tonality, and Josette Wiggan

Arturo O’Farrill Trio ONSTAGE JAZZ CLUB

Cécile McLorin Salvant ONSTAGE JAZZ CLUB

Anat Cohen Quartetinho

Featuring Vitor Gonçalves, Tal Mashiach, and James Shipp ONSTAGE JAZZ CLUB

Love Inside Out SAT

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Veronica Swift

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Valentine’s Day With Veronica Swift Featuring Pacific Jazz Orchestra Chris Walden, conductor

Preservation Hall Jazz Band

Mardi Gras Celebration

Alonzo King LINES Ballet

Ode to Alice Coltrane

MEDIA SPONSOR

Arturo O’Farrill ENJOY THE BEST OF JAZZ

ONSTAGE AND AT HOME

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ANNUAL DONORS Ms. Susanne H. Goldstein Kate Good Liz and Peter Goulds The Green Foundation David Greenbaum Marnie and Dan Gruen Renée and Paul Haas Vicken and Susan J. Haleblian Harman Family Foundation Sam Harris Lynette Maria Carlucci Hayde Donna and Walter Helm Stephen D. Henry and Rudy M. Oclaray Marion and Tod Hindin Mr. Tyler Holcomb Thomas Dubois Hormel Foundation

David and Michelle Horowitz Ms. Teena Hostovich and Mr. Doug Martinet Jim and Joanne Hunter Rif and Bridget Hutton Mr. Gregory Jackson and Mrs. Lenora Jackson Robin and Gary Jacobs Stephen E. Jones Julia Kalmus and Abe Lillard Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Tobe and Greg Karns Paul Kester Margaret Klinkow Hartmann and Thomas Hartmann Elizabeth Kolawa

Delores M. Komar and Susan M. Wolford Mrs. Grace E. Latt David Lee Ms. Agnes Lew Simon and June Li Charlene and Vinny Lingham Ms. Judith W. Locke City of Los Angeles, Department of Cultural Affairs Los Angeles Philharmonic Affiliates Renee and Meyer Luskin The Mailman Foundation Mrs. Beverly C. Marksbury Matt Construction Corporation Ms. Kim McCarthy and Mr. Ben Cheng Dwayne and Eileen McKenzie

Heidi and Steve McLean Marcy 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 Estate of Robert W. Olsen Tye Ouzounian Mr. Ralph Page and Patty Lesh Ellen Pansky Bruce and Aulana Peters Madeline and Bruce Ramer Mr. Bennett Rosenthal

Ross Endowment Fund Bill and Amy Roth Linda and Tony Rubin The Ruby Family The SahanDaywi Foundation Mr. Lee C. Samson San MarinoPasadena Philharmonic Committee Ron and Melissa Sanders Ellen and Richard Sandler Elizabeth and Justus Schlichting Howard and Stephanie Sherwood Ms. Pilar Simmons Melanie and Harold Snedcof Randy and Susan Snyder

Terry and Karey Spidell Jeremy and Luanne Stark Eva and Marc Stern Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson Michael Tyler Vhernier USA LLC Jennifer and Dr. Ken Waltzer Walter and Shirley Wang Debra and John Warfel Stasia and Michael Washington Mindy and David Weiner Alana L. Wray and Chase Thomas Lynn and Roger Zino Zolla Family Foundation

Goodman Family Foundation Robert and Lori Goodman The Gorfaine/ Schwartz Agency Rob and Jan Graner Mr. Bill Grubman Laurie and Chris Harbert and Family The Harding-Huth Family Paul Hastings LLP Erin W. Hearst Madeleine Heil and Sean Petersen Diane Henderson, M.D. Jackson N. Henry Antonia Hernandez and Michael L. Stern Ms. Julia Huang Deedie and Tom Hudnut International Committee of the LA Philharmonic Association Harry and Judy Isaacs Meredith Jackson and Jan Voboril Meg and Bahram Jalali Sharon and Alan Jones Robin and Craig Justice Mr. Eugene Kapaloski Rizwan and Hollee Kassim Marty and Cari Kavinoky Sandi and Kevin Kayse Diann Kim Vicki King

Mr. and Mrs. Elmar and Katrina Klotz Larry and Lisa Kohorn Naomi and Fred Kurata Joey Lee Arthur E. Levine and Lauren B. Leichtman Allyn and Jeffrey L. Levine Saul Levine Dr. Stuart Levine and Dr. Donna Richey Karen and Clark Linstone Mr. Steven Llanusa and Dr. Glenn Miya Anita Lorber Bethany Lukitsch and Bart Nelson Raulee Marcus Mr. and Mrs. Andrew W. Marlowe Jonathan and Delia Matz David and Margaret Mgrublian Mrs. Judith S. Mishkin Mr. John Monahan The Morad Family 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 Laura Owens Melissa PappGreen and Jeff Green Andy S. Park Gregory Pickert and Beth Price

Nancy and Glenn Pittson Mark Proksch and Amelie Gillette Eduardo Repetto and Carla Figueroa Cathleen and Scott Richland John Peter Robinson and Denise Hudson Mimi Rotter Ann M. Ryder Thomas Safran Alexander and Mariette Sawchuk Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Evy and Fred Scholder Family Howard and Linda Schwimmer Samantha and Marc Sedaka Mr. Murat Sehidoglu In Memory of Joan and Arnold Seidel Neil Selman and Cynthia Chapman Marc Seltzer and Christina Snyder Mr. James J. Sepe Ava Shamban Julie and Bradley Shames Ruth and Mitchell Shapiro Mr. Steven Shapiro Nina Shaw and Wallace Little Jill and Neil Sheffield Lauren Shuler Donner Grady and Shelley Smith Mr. and Mrs. Richard Sondheimer

Joseph and Suzanne Sposato Stein Family Fund Judie Stein Zenia Stept and Lee Hutcherson James C. Stewart Charitable Foundation Katharine and Thomas Stoever Tom Strickler Akio Tagawa Priscilla and Curtis S. Tamkin Megan Watanabe and Hideya Terashima Warren B. and Nancy L. Tucker Elinor and Rubin Turner Charles Edward Uhlmann 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 Warner Bros.

Discovery Steven and Angela White Renae and Greg Niles Libby Wilson, M.D. Karen and Rick Wolfen Mahvash and Farrok Yazdi Karl and Dian Zeile Kevork and Elizabeth Zoryan

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$15,000 TO $24,999 Anonymous (6) Drew and Susan Adams Honorable and Mrs. Richard Adler Tichina Arnold Ms. Michelle Ashford and Mr. Greg Walker Ms. Elizabeth Barbatelli Karen Barragan Mr. Joseph A. Bartush Camilo Esteban Becdach Joni and Miles Benickes Josh and Jeanie Bertman Robert and Joan Blackman Family Foundation Mr. Ronald H. Bloom David Bohnett Foundation Mr. and Mrs. Wade Bourne Ms. Janet Braun Jennifer Broder and Soham Patel Thy Bui Campagna Family Trust Mara and Joseph Carieri Dominic Chan Marlene Schall Chavez, Ph.D Ms. Jessica Chen Sarah and Roger Chrisman Larison Clark Mr. and Mrs. V. Shannon Clyne Dr. Lawrence J. Cohen and Mrs. Jane Z. Cohen Mr. Garrett Collins and Mr. Matthew McIntyre

Faith and Jonathan Cookler Cary Davidson and Andrew Ogilvie Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Jennifer Diener and Eric Small Van and Francine Durrer Michael Edelstein Ms. Robin Eisenman and Mr. Maurice LaMarche Geoff Emery Bonnie and Ronald Fein Evelyn and Norman Feintech Family Foundation E. Mark Fishman and Carrie N. Feldman Ella Fitzgerald Charitable Foundation 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 Lisa Fung Roberta and Conrad Furlong Beth Gertmenian Mr. and Mrs. Ronald Gertz Leslie and Cliff Gilbert-Lurie Carrie and Rob Glicksteen Greg and Etty Goetzman

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2025-2026 SEASON

WITHOUT LIMITS 20 YEARS OF LOS ANGELES BALLET RUBIES FRANK BRIDGE VARIATIONS WORLD PREMIERE

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BROADWAY FAVORITE

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FEB 19-21

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ANNUAL DONORS

$10,000 TO $14,999 Anonymous (5) Debra and Benjamin Ansell Van Cleef and Arpels Ms. Lisette Arsuaga and Mr. Gilbert Davila Audrey & Sydney Irmas Charitable Foundation Aversa Foundation Stephanie Barron Susan Baumgarten Sondra Behrens Mr. and Mrs. Philip Bellomy Mr. and Mrs. Bill Benenson Mark and Pat Benjamin Suzette and Monroe Berkman Ms. Gail K. Bernstein Helen and Peter S. Bing Kenneth Blakeley and Quentin O’Brien Mitchell Bloom Thomas J. Blumenthal Mr. and Mrs. Hal Borthwick Mr. and Mrs. Steven Bristing Drs. Maryam and Iman Brivanlou

Oleg and Tatiana Butenko Garrett Camp The Capital Group Companies Charitable Foundation Ms. Nancy Carson and Mr. Chris Tobin Chien Family Jay and Nadege Conger Hillary and Weston Cookler Alison Moore Cotter Jessica and James Dabney Dr. and Mrs. Nazareth E. Darakjian Lynette and Michael C. Davis Rosette Delug Nancy and Patrick Dennis The Randee and Ken Devlin Foundation Michael Dreyer Mr. Tommy Finkelstein and Mr. Dan Chang Mr. Michael Fox Ms. Kimberly Friedman Dr. and Mrs. David Fung Dr. and Mrs. Bruce Gainsley

Kiki Ramos Gindler and David Gindler Tina Warsaw Gittelson Sharon and Herb z”l Glaser Harriett and Richard E. Gold Mr. and Mrs. Louis L. Gonda Manuela Cerri Goren Mr. and Mrs. Daniel M. Gottlieb Mr. and Mrs. Ken Gouw Diane and Peter H. Gray Tricia and Richard Grey Cindi Griffith Beverly and Felix Grossman Beth Fishbein Hansen Mr. and Mrs. John R. Harbison Mr. and Mrs. Irwin Helford and Family Betsydiane and Larry Hendrickson Carol Henry Mr. and Mrs. Enrique Hernandez, Jr. Liz Levitt Hirsch Elizabeth Hirsh Elizabeth HofertDailey Trust

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 Mr. and Mrs. Steaven K. Jones, Jr. Dr. William B. Jones Marilee and Fred Karlsen Estate of Yates Keir Mr. and Mrs. Stephen Keller Sharon Kerson Remembering Lynn Wheeler Kinikin Jay T. Kinn and Jules B. Vogel Mr. and Mrs. Kenneth N. Klee Nickie and Marc Kubasak Hon. Ruth A. Kwan Craig Kwiatkowski and Oren Rosenthal Ellie and Mark Lainer Joan and Chris Larkin The Laufey Foundation

Mr. and Mrs. Norman A. Levin Randi Levine Maria and Matthew Lichtenberg Loeb and Wilson Family Los Angeles County Department of Arts and Culture Milli Martinez and Donald Wilson Vilma S. Martinez, Esq. Leslie and Ray Mathiasen Forrest McCartney Janis B. McEldowney Cathy McMullen Lisa and Willem Mesdag Ms. Marlane Meyer Cynthia Miscikowski Marc and Jessica Mitchell Wendy Stark Morrissey Carrie Nery Dick and Chris Newman / C & R Newman Family Foundation Kenneth T. & Eileen L. Norris Foundation Amelia and Joe Norris Steve and Gail Orens

Ana Paludi and Michael Lebovitz Loren Pannier Ms. Debra Pelton and Mr. Jon Johannessen Debbie and Rick Powell Risk Placement Services Robert Robinson Ernesto Rocco Murphy and Ed Romano and Family Ms. Rita Rothman Bill Rowland Jesse Russo and Alicia Hirsch Dr. and Mrs. Heinrich Schelbert The Sikand Foundation Smart & Final Charitable Foundation Angelina and Mark Speare Lael Stabler and Jerone English Mr. and Mrs. Mark Stern Tammy E. Strome Rose and Mark Sturza Mark G. and Kathryn Sullivan CONTINUED ON PAGE 30

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28 PERFORMANCES MAGAZINE

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Jan 15-25, 2026 GET TICKETS TODAY!

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ANNUAL DONORS Marcie Polier Swartz and David Swartz Tamara L. Harris Foundation, Inc. Christine Upton Kathy Valentino

Jack VanAken and Kathy Marsailes Valerie Vanaman Kathleen and Louis Victorino Christopher V. Walker

Lisa and Tim Wallender Bob and Dorothy Webb Sheila and Wally Weisman

Abby and Ray Weiss Bryan D. Weissman and Jennifer Resnik Doris Weitz and Alexander Williams

Estate of Ronald Wilkniss Susan Winfield and Stephen Grynberg Shelley and Richard Wynne

Edward and Terrilyn Zaelke Mr. and Mrs. Howard Zelikow David Zuckerman and Ellie Kanner

Mr. William Hair Ms. Marian L. Hall Dwight Hare and Stephanie Bergsma Jeff Hasler Mr. Rex Heinke and Judge Margaret Nagle Myrna and Uri Herscher Family Foundation Tina and Ivan Hindshaw Matthew Hinks Arlene Hirschkowitz David and Martha Ho Linda Joyce Hodge Janice and Laurence Hoffmann Glenn Hogan Rachel Hollis Douglas Honig Dr. Louise Horvitz and Carrie Fishman Dr. and Mrs. Mel Hoshiko Ms. Christine Houser Jonathan Howard Brian J Burka and Jerry W Hussong Mrs. Carole Innes Michael Insalago Libby and Arthur Jacobson Mrs. Leonard Jaffe Gordon M. Johnson and Barbara A. Schnell Randi and Richard B. Jones Mr. William Jordan Meredith Jury Hun and Jee Kang Judith and Russell Kantor Leigha Kemmett and Jacob Goldstein Nona Khodai Daisietta Kim Mr. Mark Kim and Ms. Jeehyun Lee Brian and Molly Kirk Phyllis H. Klein, M.D. Lee Kolodny

Mr. and Mrs. Scott Krivis Dr. Kihong and Mrs. Wonmi Kwon Lena and Mark Labowe Mr. Richard W. Labowe Katherine Lance Mechelle LawrenceAdams and Joe Adams Craig Lawson and Terry Peters Mr. George Lee Mr. Randall Lee and Ms. Stella M. Jeong Mr. Benjamin Lench Lennox Foundation Mr. and Mrs. Russ Lesser Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Marie and Edward Lewis Ms. Diana Longarzo Kyle Lott Crystal and Elwood Lui Mr. Joseph Lund and Mr. James Kelley Theresa Macellaro / The Macellaro Law Firm Ronald Manzani Samantha Grant Marsh Pam and Ron Mass Mr. and Mrs. William F. McDonald Jeffrey and Tracy McEvoy Courtney McKeown Lawry Meister Carlos Melich Mr. Robert Merz Mr. and Mrs. Dana Messina Linda and David Michaelson Mr. Weston F. Milliken Linda and Kenneth Millman Mr. Alexander Moradi Mrs. Lillian Mueller

Malika Mukhamedkulova Sheila Muller Craig and Lisa Murray Ms. Yvonne Nam and Mr. David Sands Mrs. Cynthia Nelson Ms. Mary D. Nichols Mr. Michael B. Nissman Mr. and Mrs. Charles R. Norman Irene and Edward Ojdana Mr. Dale Okuno Cynthia Patton Alyssa Phaneuf Peggy Phillips Lorena and R. Joseph Plascencia Julie and Marc Platt Lyle and Lisi Poncher James S. Pratty, M.D. Mr. Albert Praw William “Mito” Rafert Marcia and Roger Rashman Susan Erburu Reardon and George D. Reardon Maria Rodriguez and Victoria Bullock Mr. and Mrs. William C. Roen Peter and Marla Rosen Mr. Steven F. Roth Nancy and Michael Rouse Andrew E. Rubin, and Roberta and Stanley Bogen Mr. and Mrs. Paul Rutter Thomas C. Sadler and Dr. Eila C. Skinner Dr. and Mrs. Bernard Salick Mr. Brian Sandquist and Mr. James R. Kisel Schlatter Sang Family

Santa MonicaWestside Philharmonic Committee Miguel Santana Mr. and Mrs. Conrad Schweitzer Michael Sedrak Dr. and Mrs. Hervey Segall Mr. Chris Sheridan Mr. and Mrs. Michael S. Shore Mr. Adam Sidy Scott Silver Loraine Sinskey Peter and Kay Skinner Mr. Douglas H. Smith Pamela J. Smith Mr. and Mrs. Michael G. Smooke Adam Snyder Ms. Katherine Sohigian Michael and Millie Sondermann Dr. Michael Sopher and Dr. Debra Vilinsky William Spiller Jennifer Taguchi Andrew Tapper and Mary Ann Weyman Mr. Stephen S. Taylor Mrs. Elayne Techentin Ms. Evangeline M. Thomson Mrs. Bonnie K. Trapp Carol and Andrew Valdivia Olga Vidueira Terry and Ann Marie Volk Mr. Nate Walker Darryl Wash and Heidi Durrow Jeffrey Westheimer Ms. Jill Wickert Mr. Robert E. Willett David and Michele Wilson Mr. Steve Winfield Bill Wishner Ms. Eileen Wong Emiko Wong Mr. Nabih Youssef

Clare Baren and David Dwiggins Ken and Lisa Baronsky Kay and Joe Baumbach Newton and Rochelle Becker Charitable Trust

Ellis N. Beesley, Jr., M.D. Ms. Barbara Beezy Garrett Bell and Catherine Simms Ms. Karen S. Bell and Mr. Robert Cox Patricia Bellinger

Benjamin Family Foundation Dr. and Mrs. Gerald Berke Mr. and Mrs. Elliot S. Berkowitz Mr. and Mrs. Gregg and Dara Bernstein Mr. Alan N. Berro

Timothy Bigelow Mr. and Mrs. Dan Biles Dr. Andrew C. Blaine and Dr. Leigh Lindsey Ms. Leslie Botnick Anita and Joel Boxer

$5,500 TO $9,999 Anonymous (11) Mr. Robert A. Ahdoot Bobken and Hasmik Amirian Art and Pat Antin Dr. Mehrdad Ariani Sandra Aronberg, M.D. Ms. Judith A. Avery Mr. Mustapha Baha Terence Balagia Dr. Richard Bardowell, M.D. Mrs. Linda E. Barnes Catherine and Joseph Battaglia Reed Baumgarten Ms. Nettie Becker Logan Beitler Maria and Bill Bell Carlo Bernardino Richard Birnholz Michael Blake Ms. Marjorie Blatt Joan N. Borinstein Greg Borrud The Hon. Bob Bowers and Mrs. Reveta Bowers Dr. and Mrs. Hans Bozler Faith Branvold Ms. Marie Brazil Anita Brenner and Len Torres Lynne Brickner and Gerald Gallard The Eli and Edythe Broad Foundation Ryan and Michelle Brown Lupe Burson Lisa Calderon CBS Entertainment Mr. Jon C. Chambers Mr. Louis Chertkow 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. Michael Corben and Ms. Linda Covette Mr. and Mrs. Bruce Corwin Lloyd Eric Cotsen Mrs. Nancy A. Cypert Felicia Davis and Eric Gutshall Orna and David Delrahim Elizabeth and Kenneth M. Doran Dody Dorn and Kevin Hughes Julie and Stan Dorobek Bob Ducsay and Marina Pires de Souza Sean Dugan and Joe Custer Mr. and Mrs. Brack W. Duker Victoria Dummer and Brion Allen Anna Sanders Eigler John B. Emerson and Kimberly Marteau Emerson Janice Feldman, JANUS et cie Michael Firestein and Deborah Krakow The Franke Family Trust Lynn Franklin Linda and James Freund Mrs. Diane Futterman Ruchika Garga Mr. and Mrs. Alan M. Gasmer Gibson, Dunn & Crutcher Dr. and Mrs. Steven Goldberg Carol Goldsmith Mr. and Mrs. Russell Goldsmith Edith Gould Lee Graff Foundation Mr. and Mrs. Paul E. Griffin III Mr. and Mrs. Paul Guerin

$3,500 TO $5,499 Anonymous (12) Ty Ahmad-Taylor Cary Albertsone Edgar Aleman Adrienne S. Alpert Lynne Alschuler Juliette Ambatzidis Mr. Peter Anderson and Ms. Valerie Goo Dr. Philip Anthony

Victor and Iris Antola Javi Arango Linda and Robert Attiyeh Myla Azer Carlo and Amy Baghoomian Pamela and Jeffrey Balton Howard Banchik

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ANNUAL DONORS Mrs. William Brand and Ms. Carla B. Breitner Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Carrie Brillstein Kevin Brockman and Dan Berendsen Ronald and Linda Brot Dwight Buchanan Diana Buckhantz Ken Bunt Mary Lou Byrne and Gary W. Kearney Cardinal Industrial Susan Chait Charities Aid Foundation of America Adam Chase Dr. Hai S. Chen Mr. and Mrs. Joel T. Chitea Ms. Barbara Cohn Mr. and Mrs. Michael Colby Susan and David Cole Ms. Ina Coleman Cox Family— Pernell, Keila, and Harper Q. Dr. Carey Cullinane Ms. Laurie Dahlerbruch Katherine d’Arbeloff

Mr. and Mrs. Leo David Jim Davidson and Michael Nunez Howard and Francee Davine Gloria De Olarte Jeremy Dee Ms. Mary Denove Wanda Denson-Low and Ronald Low Tim and Neda Disney R. Stephen Doan and Donna E. Doan Mr. Gregory C. Drapac Ray Duncan and Lauren Crosby Miguel Duran Robert and Betsy Eaton Dr. David Eisenberg Susan Entin Bob Estrin Joshua Feffer and Jessica Nadel Jen and Ted Fentin Lyn and Bruce Ferber Robyn Field and Anthony O’Carroll Dr. Walter Fierson and Dr. Carolyn Fierson A.B. Fischer Mr. and Mrs. Robert T. Flesh Mrs. Diane Forester

Bruce Fortune and Elodie Keene Mr. and Mrs. Michael Freeland Dr. and Mrs. Robert Freilich Ms. Alisa J. Freundlich Friars Charitable Foundation Mr. Jerry Friedman Steven Friednam Susan and David Gersh Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs Jon M. Gibson Jason Gilbert Mr. and Mrs. David A. Gill William and Phyllis Glantz Rockland Glenn Madelyn and Bruce S. Glickfeld Sheila Golden Dr. Patricia Goldring Elliot Gordon and Carol Schwartz Mr. James Granger Dr. Stuart and Adrienne Green Mr. and Mrs. Carl C. Gregory Rita and William Griffin Barrie Grobstein

Mr. Frank Gruber and Ms. Janet Levin Mr. Gary M. Gugelchuk Judith and Robert D. Hall Fred Hameetman Mr. Robert T. Harkins Trish Harrison and John Runnette Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Lewis K. Hashimoto Kaitlin and Jonathan Hawk Byron and DeAnne Hayes Mr. Donald V. Hayes Peter and Nicolette Hebert Gail and Murray E. Heltzer Jim Herzfeld Mr. Bruce Heymont The Hill Family Dr. and Mrs. Hank Hilty Fritz Hoelscher Eugene and Katinka Holt In Hong Dr. Timothy Howard and Jerry Beale Hung Foundation Jackie and Warren Jackson

Mr. and Mrs. Richard Jacobs Mr. Channing Johnson Mr. Sean Johnson Doug and Minda Johnstone Ratna Jones Mr. Ken Kahan Lawrence Kalantari Catherine and Harry Kane Karen and Don Karl Mr. and Mrs. David S. Karton Jonathan and Christine Kaunitz Dr. and Mrs. David Kawanishi Kayne, Anderson and Rudnick Mary and Stephen Kayne Mr. and Mrs. Michael C. Kelley Richard Kelton Mr. and Mrs. Jon Kirchner Michael and Patricia Klowden Mr. and Mrs. Bruce Konheim Mr. and Mrs. Lyn Konheim Carla and Archy Kotoyantz Sandra Krause and William Fitzgerald

Sharon and Joel Krischer Brett Kroha and Ryan Bean Mr. and Mrs. Howard A. Kroll Carole and Norm La Caze Gary Lachman Tom Lallas and Sandy Milo Thomas and Gloria Lang James Laur and Peter Kongkasem Rick Lax Mr. Les Lazar Ms. Leerae Leaver Mr. Robert Leevan Dr. Bob Leibowitz Mr. Stephen Leidner Alan J. Levi and Sondra Currie-Levi Lydia and Charles Levy Mr. and Mrs. Bertram Lewitt David and Meghan Licata David and Rebecca Lindberg Ms. Elisabeth Lipsman Mr. Greg Lipstone Mr. and Mrs. Lewis Lipstone Robert and Susan Long CONTINUED ON PAGE 32

common ground The Music of Górecki and Jeff Beal

FEBRUARY 1, 2026 | 7PM Five-time Emmy Award winner Jeff Beal (House of Cards) accompanies the Master Chorale in a World Premiere of his newest creation, The Beatitudes.

The program includes Miserere, a government-banned work of compassion and humanity by Henryk Górecki, performed by 80 singers, inspired by the 1980s Polish Solidarity movement.

JENNY WONG conductor , JEFF BEAL, piano, trumpet

T I C K E TS O N S A L E N O W !

LAMASTERCHORALE.ORG

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ANNUAL DONORS Los Angeles Philharmonic Committee Kristine and David Losito Mr. and Mrs. Boutie Lucas Jane and Bob Lurie Dr. Jamshid Maddahi Malibu Music Mona and Frank Mapel Dorrie and Paul Markovits Allan Marks and Dr. Mara Cohen Barbara Marshall Phillip and Stephanie Martineau Stephen Martinez Mr. Gary J. Matus David McGowan Ms. Paula Meichtry Professors Anne and Ronald Mellor Dr. Yolanda Mendoza Marcia Bonner Meudell and Mike Merrigan MA Mielke Dr. Gary Milan Coco Miller Mr. and Mrs. Simon Mills Janet Minami Mr. and Mrs. William Mingst

Mr. Lawrence A. Mirisch Maria and Marzi Mistry Robert and Claudia Modlin Katherine Molloy Linda and John Moore Kathy and Michael Moray William Morton Gretl and Arnold Mulder Munger, Tolles & Olson Mr. James A. Nadal and Amelia Nadal Rachel Nass Bruce Needleman Robert and Sally Neely Mr. Liron Nelik Lorraine Nelson Mr. Jerold B. Neuman John W. Newbold Sabraj Nijjar Steven A. Nissen Ms. Jeri L. Nowlen Mr. and Mrs. Oberfeld Mr. and Mrs. Arthur J. Ochoa Ms. Margo Leonetti O’Connell Mr. Frank O’Dea Mr. John O’Keefe

David Olson and Ruth Stevens Michael Olson Susan Oppenheimer Mr. and Mrs. Richard Orkand Adriana Ortiz Kim and P.F. James Overton Q-Mark Manufacturing, Inc. Alicyn Packard and Jason Friedman January Parkos-Arnall Mrs. Ethel Phipps Ms. Virginia Pollack Ms. Eleanor Pott Joseph Powe Joyce and David Primes John R. Privitelli Ms. Marci Proietto Ms. Miriam Rain Bradley Ramberg Mr. and Mrs. Wayne Ratkovich Mr. and Mrs. Harold Ray Gay and Ronald Redcay David and Mary Beth Redding Diana Reid and Marc Chazaud Kirk and Cathy Reynolds Susan F and Donald B Rice

Mrs. Barrie Richter and Mr. Charles Richter Mr. Ronald Ridgeway Mr. and Mrs. Kenneth Riley Anne Rimer Amy Ritz Mr. and Mrs. Norman L. Roberts Mr. Jed Robinson Ernest M. Robles Rock River Ms. Kristina Rodgers In memory of RJ and JK Roe Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen Michelle and Mark Rosenblatt Mr. Richard Rosenthal and Ms. Katherine Spillar Mr. Bradley Ross and Ms. Linda McDonough Joshua Roth and Amy Klimek Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough Mrs. Ferrel Salen Valerie Salkin Ms. Allison Sampson Curtis Sanchez Mr. and Mrs. Charles M. Sarff

THIS VALENTINE’S DAY WEEKEND, CELEBRATE MUSIC BORN OF LOVE AND DEVOTION.

PASSION + MYSTERY:

Ms. Maryanne Sawoski Claudia and John Schauerman Dr. and Mrs. Ronald Schwartz Mr. Alan Scolamieri John L. Segal Cyrus Semnani Dr. and Mrs. Hooshang Semnani Ms. Amy J. Shadur-Stein Shamban Family Emmanuel Sharef Hope and Richard N. Shaw Dr. Alexis M. Sheehy Muriel and Neil Sherman Dr. Stephen and Mrs. Janet Sherman Pamela and Russ Shimizu Mr. and Mrs. Elliot Shoenman Mr. Murray Siegel Andrew Silver Nancy and Bruce Silverman June Simmons Leah R. Sklar Donna and Charles Slavik Professor Judy and Dr. William Sloan Cynthia and John Smet

Steven and Oreet Smith Virginia Sogomonian and Rich Weiss Michael Soloman and Steven Good Mr. Hamid Soroudi SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel David and Michelle Spiegel Lev L. Spiro and Melissa Rosenberg Ian and Pamela Spiszman Ms. Angelika Stauffer Mr. and Mrs. Joseph Stein Jeff and Peg Stephens Hilde Stephens-Levonian Ms. Margaret Stevens and Mr. Robin Meadow Sugimoto Family Deborah May and Ted Suzuki Mr. and Mrs. Larry W. Swanson Fran Sweeney Mr. and Mrs. Randall Tamura Judith Taylor Mr. Nick Teeter CONTINUED ON PAGE 35

Jaime Martín MUSIC DIRECTOR

MARTÍN + SAY + BEETHOVEN SAT, FEB 14 | 7:30 PM | ZIPPER HALL SUN, FEB 15 | 4 PM | THE WALLIS Jaime Martín, Music Director Fazıl Say, Piano

Michael Abels, Meraki WORLD PREMIERE G. Fauré, Pelléas et Mélisande L. Beethoven, Piano Concerto No. 3 in C minor

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32 PERFORMANCES MAGAZINE

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WE ALL DESERVE TO LIVE

LARGER THAN LIFE

CITY OF LOS ANGELES Karen Bass Mayor Hydee Feldstein Soto City Attorney Kenneth Mejia Controller

Our state-of-the-art community blends timeless elegance with graceful therapeutic excellence.

CITY COUNCIL

Bob Blumenfield Marqueece Harris-Dawson President Eunisses Hernandez Heather Hutt Ysabel J. Jurado John Lee Tim McOsker Adrin Nazarian Imelda Padilla Traci Park Curren D. Price, Jr. Nithya Raman Monica Rodriguez Hugo Soto-Martínez Katy Yaroslavsky

retirement. Arrange your private tour today.

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License No. 197610714

DEPARTMENT OF CULTURAL AFFAIRS Daniel Tarica General Manager

CULTURAL AFFAIRS COMMISSION

Robert Vinson President Tria Blu Wakpa Vice President Natasha Case Thien Ho Ray Jimenez Asantewa Olatunji Christina Tung

WALT DISNEY CONCERT HALL HOUSE STAFF

KASIMOFF-BLÜTHNER PIANO CO. 337 N. Larchmont Blvd., Hollywood 323 466 7707 • kasimoffpianoslosangeles.com

L.A.’s oldest piano store Concert and Home Rentals

Blüthner Pianos (since 1853) Neupert Harpsichords (since 1868) Schiedmayer Celesta (since 1890)

Marcus Conroy Master Electrician, Steward Charles Miledi Master Props Sergio Quintanar Master Carpenter Kevin F. Wapner Master Audio/Video The stage crew is represented by the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators of the United States and Canada, Local No. 33.

PERFORMANCES MAGAZINE 33

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Passion Meets Purpose

Los Angeles Unified is looking for passionate and talented educators to help students express their creativity.

Music Dance Theater Visual Arts Scan the QR Code to learn more.

Inspire creativity; start teaching today! teachinla.co/applynow

County of Los Angeles BOARD OF SUPERVISORS Hilda L. Solis Chair Holly J. Mitchell Lindsey P. Horvath Janice Hahn Kathryn Barger

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 Diana Diaz Eric R. Eisenberg Brad Gluckstein Helen Hernandez Constance Jolcuvar Alis Clausen Odenthal Anita Ortiz Tara L. Taylor Liane Weintraub 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 Affairs.

34 PERFORMANCES MAGAZINE

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ANNUAL DONORS Mr. Todd H. Temanson Mr. Michael Thaxton Suzanne Thomas Mr. and Mrs. Harlan H. Thompson Tichenor & Thorp Architects, Inc. Mr. and Mrs. Harris Toibb Richard Turkanis and Wendy Kirshner Ingrid Urich-Sass Mr. and Mrs. Peter J. Van Haften Vargo Physical Therapy Dorrit Vered and Jerome Vered Jenny Vogel Elliott and Felise Wachtel Rachel Wagman Mr. and Mrs. Carl R. Waldman James R. and Robin J. Walther Mr. Martin Washton Mr. Robert Waters and Ms. Catherine Waters J. Leslie Waxman Robert Weingarten Mr. and Mrs. Doug M. Weitman Robert and Penny White Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Mr. and Mrs. Kenneth Williams Mr. and Mrs. Irwin Wong Scott Lee and Karen Wong Linda and John Woodall Dan Woods Paul and Betty Woolls Robert Wyman Ms. Stacie Yee Kevin Yoder and Jeffrey Hall Susan Young Yust Family Trust Mrs. Lillian Zacky Mr. William Zak Zamora & Hoffmeier, A Professional Corporation Rudolf H. Ziesenhenne Mr. Sanford Zisman and Ms. Janis Frame Rachel and Michael Zugsmith

HERE’S TO YOU

97%

of audiences read the program.

6.2

million readers annually.

65%

support advertisers who support the arts.

Friends of the LA Phil at the $500 level and above are recognized on our website.

Please visit laphil.com.

If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org.

Thank you.

Call us to advertise 310-280-2880 We entertain great ideas.

PERFORMANCES MAGAZINE 35

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Welcome to The Music Center!

This is your place to experience the magic of live performances and special events, experiencing the joy that moves you, the stories that unite us and the moments that remind us why the arts matter. Across our theatres, on Jerry Moss Plaza and in Gloria Molina Grand Park, there is always something to inspire and connect us all.

We are dedicated to ensuring you have the best possible experience here. Help us keep The Music Center safe, inclusive and welcoming for everyone by visiting musiccenter.org/guestagreement.

2025/2026 BOARD OF DIRECTORS

OFFICERS

Robert J. Abernethy Chair Cary J. Lefton Darrell D. Miller Vice Chairs Rachel S. Moore President & CEO Michael J. Pagano Secretary

Rollin A. Ransom

William Taylor Assistant Treasurer and Chief Financial Officer

DIRECTORS EMERITI

Find out what’s happening next at musiccenter.org—your guide to performances, celebrations and events across our campus. #BeAPartOfIt @musiccenterla General Information (213) 972-7211 | musiccenter.org

John McCoy for The Music Center.

Support The Music Center (213) 972-3333 | musiccenter.org/support

Charlene Achki Repko Charles F. Adams William H. Ahmanson Romesh Anketell Jill C. Baldauf Phoebe Beasley Kristin Burr Dannielle Campos Alberto M. Carvalho Elizabeth Khuri Chandler Terri B. Childs William E. Dolan Amy R. Forbes Greg T. Geyer Joan E. Herman Jeffrey M. Hill Jonathan B. Hodge Mary Ann Hunt-Jacobsen Maria Rosario Jackson Ronald D. Kaplan Richard B. Kendall Lily Lee Keith R. Leonard, Jr. Kelsey N. Martin Elizabeth Michelson Cindy Miscikowski Teresita Notkin Karen Kay Platt Susan Erburu Reardon Joseph J. Rice Beverly P. Ryder Thomas L. Safran

C

Su an

GENERAL COUNSEL

Susan M. Wegleitner Treasurer

MEMBERS AT LARGE

B

Maria S. Salinas Corinne Jessie Sanchez Mimi Song Johnese Spisso Michael Stockton Jason Subotky Timothy S. Wahl Jennifer M. Walske

Peter K. Barker Judith Beckmen Darrell R. Brown Ronald W. Burkle John B. Emerson ** Richard M. Ferry Bernard A. Greenberg Stephen F. Hinchliffe, Jr. Kent Kresa Mattie McFaddenLawson Fredric M. Roberts Richard K. Roeder Claire L. Rothman Joni J. Smith Lisa Specht ** Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp ** Thomas R. Weinberger Alyce de Roulet Williamson

As we an Ch eld the We sei pro ack com ele inh

** Chair Emeritus Current as of 11/17/25

TAKE A FREE TOUR! Step behind-the-scenes of one of the world’s leading performing arts centers.

Our free, 90-minute docent-led tours invite you to discover the stories, architecture and art that bring the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum, Walt Disney Concert Hall and Jerry Moss Plaza to life.

Tours run daily—visit musiccenter.org to check the schedule and make a day of it in Downtown L.A.!

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Alvin Ailey American Dance Theater's James Gilmer and Samantha Figgins. Photo by Andrew Eccles.

12/8/25 11:32 PM

BOARD OF SUPERVISORS

COUNTY OF LOS ANGELES

Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.

Hilda L. Solis Chair, First District

Holly J. Mitchell Chair Pro Tem, Second District

Lindsey P. Horvath Supervisor, Third District

Janice Hahn Supervisor, Fourth District

Kathryn Barger Supervisor, Fifth District

LAND ACKNOWLEDGMENT As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters.

We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.

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We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the: • Fernandeño Tataviam Band of Mission Indians • Gabrielino Tongva Indians of California Tribal Council • Gabrieleno/Tongva San Gabriel Band of Mission Indians • Gabrieleño Band of Mission Indians-Kizh Nation • San Manuel Band of Mission Indians • San Fernando Band of Mission Indians To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go

12/8/25 11:32 PM

Happening at The Music Center

JANUARY 2026

FRI 9 JAN / 6:00 p.m.

The Music Center’s Innovation Social THE MUSIC CENTER / TMC ARTS @Dorothy Chandler Pavilion

@musiccenterla

FRI 9 JAN / 8:00 p.m.

Prometheus with Esa-Pekka Salonen LA PHIL @ Walt Disney Concert Hall Thru 1/11/2026 WED 14 JAN / 7:30 p.m.

Music 101: The Symphony: From the Beginnings to Beethoven LA PHIL @ Walt Disney Concert Hall SAT 17 JAN / 11:00 a.m.

Symphonies for Youth: Sensory Symphony LA PHIL @ Walt Disney Concert Hall Also 1/24/26

Visit musiccenter.org for additional information on all upcoming events.

SAT 17 JAN / 8:00 p.m.

Salonen & Levit Scale Busoni's Masterpiece LA PHIL @ Walt Disney Concert Hall Also 1/18/2026 TUE 20 JAN / 8:00 p.m.

Dvořák & Shostakovich LA PHIL @ Walt Disney Concert Hall WED 21 JAN / 8:00 p.m.

Clara-Jumi Kang • Sunwook Kim LA PHIL @ Walt Disney Concert Hall

TUE 27 JAN / 8:00 p.m.

Seong-Jin Cho LA PHIL @ Walt Disney Concert Hall THU 29 JAN / 8:00 p.m.

Mahler, Bartók & Ravel LA PHIL @ Walt Disney Concert Hall Thru 2/1/2026

SCAN TO VIEW FULL CALENDAR

FRI 23 JAN / 8:00 p.m.

Adams, Ólafsson & Copland LA PHIL @ Walt Disney Concert Hall Thru 1/25/2026

The Th Suz Su L.A L. ins in imp im this th bea be

Pla P Photo by John McCoy for The Music Center.

bro br

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at atThe TheMusic MusicCenter Center

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Feel the joy. Feel the movement. Feel Ailey.

March 25–29, 2026 This groundbreaking company embodies African American strength and resilience through mixed repertory programs featuring beloved classics and new works, including Alvin Ailey’s soul-stirring Revelations.

The Music Center’s Dorothy Chandler Pavilion musiccenter.org/ailey | (213) 972-0711 BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.

2025/2026 Season Dedicated to the Memory of Glorya Kaufman Alvin Ailey American Dance Theater's Xavier Mack. Photo by Andrew Eccles.

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12/8/25 11:32 PM

Start the New Year Center Stage with a mini package

FEB 3-15, 2026

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MAY 26 - JUN 21, 2026

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JUN 24 - AUG 9, 2026

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12/17/25 10:25 AM

Performances Magazine • Ful Pg 6.875” x 10” • January 2026

MAY 5-24, 2026

APR 21- MAY 3, 2026

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