2026/27 SEASON
OCTOBER 2026
FC 000 LA Phil C1 1026.indd 1
9/4/26 5:55 PM
FH26 BARENIA_349,2x254_CALIFORNIA COUNTIES_USA_UK.indd 2 C1-C4_COVER_PLAYHOUSE_1026.indd 2
9/6/26 1:03 PM
04/09/2026 12:26 LA Phil Wrap 1026.indd 1
9/15/26 10:45 AM
OCTOBER 2026
“
Contents 6
Welcome Message
BOOK I • OCTOBER 2–14
BOOK II • OCTOBER 16–25
9
About the LA Phil
OCT 2–4 Los Angeles Philharmonic Kwamé Ryan Leads Mozart & Copland
OCT 16–18 Los Angeles Philharmonic Swan Lake & Liszt with Bronfman
14 FEATURE Two Masterpieces, Three Perspectives
OCT 6
CHAMBER MUSIC
16 FEATURE Crossing the Pond: The LA Phil and YOLA on Tour
OCT 9 & 11 Los Angeles Philharmonic Mälkki Conducts Bartók
12 FEATURE Meet Our New Musicians
22 Available Exclusively at the LA Phil Store 28 Support the LA Phil 30 Endowment Donors
★
OCT 20
Mendelssohn & Brahms
COLBURN CELEBRITY RECITAL
Lang Lang
OCT 22 & 24–25 Los Angeles Philharmonic Debussy & Stravinsky with Elim Chan OCT 23
OCT 9 Ludovico Einaudi
KCRW SERIES
Andrew Bird with the Los Angeles Philharmonic
OCT 14
COLBURN CELEBRITY RECITAL
Lisa Batiashvili, Gautier Capuçon, and Jean-Yves Thibaudet
OCT 25 ORGAN
Lucile Dollat
32 Annual Donors P1 Program Notes
BOOK III • OCTOBER 27–NOVEMBER 1 OCT 27
Cover images, clockwise from top left: Elim Chan, Kwamé Ryan, Susanna Mälkki, Ray Chen, Lila Downs, Teddy Abrams.
YEFIM BRONFMAN
OCT 30
COLBURN VISITING ORCHESTRAS
SONGBOOK
Orchestre Symphonique de Montréal with Rafael Payare
Lila Downs
OCT 29 & NOV 1 Los Angeles Philharmonic Seasons of America with Teddy Abrams & Ray Chen
KAREN GOMYO
OCT 31 Halloween Organ, Film & Music: Dr. Jekyll and Mr. Hyde OCT 31 Werewolf by Night & Headless
ANDREW BIRD
RAFAEL PAYARE
2 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 2
9/15/26 10:45 AM
W TH AN TI
PERF
“A F I L M O F S T A G G E R I N G G E N I U S. AN IMPOSSIBLE LOVE STORY FOR THE AGES. GRADE: A.”
★★★★★
★★★★★
IN MOVIE THEATERS OCTOBER 16 WATCH THE TRAILER AND GET TICKETS NOW
PERFORMANCES MAGAZINE - REVISION 1
LA Phil Wrap 1026.indd 3
9/15/26 10:45 AM
encore
A culinary for your theatre outing
Los Angeles Philharmonic Publications 2026 Editor Amanda Angel Editorial Specialist Tess Carges Editorial Coordinator Robert Alexander Art Director Natalie Suarez Design Studio Fuse Explore more at: laphil.com
Publisher Jeff Levy Art Director Carol Wakano Production Manager Glenda Mendez Production Artist Diana Gonzalez Digital Manager Lorenzo Dela Rama Advertising Director Walter Lewis Advertising Manager Liz Moore Account Directors Kerry Baggett, Jan Bussman, Jean Greene Circulation Manager Christine Noriega-Roessler Business Manager Leanne Killian Riggar
A PERFECT DINING EXPERIENCE TO PAIR WITH YOUR PERFORMANCE Indulge in a seasonal three-course prix fixe menu at Noé Restaurant & Bar, just a short walk from the theatre. Enjoy a stress-free meal with valet parking for $25 and receive 15% off your bill at Noé when you present your theatre program. Scan the QR code & reserve your table now for an unforgettable evening.
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 303 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at performancesmagazine.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2026 California Media Group. All Rights Reserved.
Printed in the United States.
4 PERFORMANCES MAGAZINE
© 202
COH - P-AD LA Phil Wrap 1026.indd 4
9/15/26 10:45 AM
E N D I N G B R E A ST C A N C E R STA R T S W I T H H O P E Our singular focus on cancer leads to superior outcomes.
Angela, a motorcycle rider and rock climber, refused to let breast cancer slow her down. Today, she’s back to living at full speed. At City of Hope, we know every patient is different. That’s why our breast cancer specialists create a plan designed around you, with access to leading-edge treatments, clinical trials and compassionate support — and the goal of getting you back to the life you love.
© 2026 City of Hope
CityofHope.org/LA | 844-562-HOPE (4673)
COH - P-AD - LA Performances Magazine 10-Oct 01 26 - Ending Cancer BCAM Angela_v1.indd 1 LA Phil Wrap 1026.indd 5
Angela
City of Hope Patient
9/8/26 12:18 PM 9/15/26 10:45 AM
FROM THE PRESIDENT & CEO
WELCOME We are delighted to have you join us at Walt Disney Concert Hall for an exciting start to the 2026/27 season and a new chapter for the LA Phil. Since its founding, the LA Phil has been pushing the boundaries of symphonic music and nurturing the artists of the current moment as well as the future. This year we are building on that legacy with a new approach to artistic leadership, one that brings together luminaries from across genres to benefit from their diverse range of expertise and points of view. Many of these names will be familiar: Esa-Pekka Salonen begins his term as Creative Director, Gustavo Dudamel returns as our Artistic and Cultural Laureate and Founding Director and Conductor Laureate of YOLA (Youth Orchestra Los Angeles), and Anna Handler, a former Dudamel Fellow, becomes our Conductor-inResidence. They join the already established Creative Chair John Adams, Creative Chair for Jazz Herbie Hancock, Artist Collaborator Emmanuelle Haïm, and Conductor Emeritus Zubin Mehta. This team will expand in the 2027/28 season to welcome Daniel Harding as the 12th Music Director of the Los Angeles Philharmonic, along with the new positions of Creative Chair for Latin Music and Creative Chair for Film, as we continue to open new pathways for creativity, collaboration, and connection with our audiences and our city. As the LA Phil takes this bold step toward our future, our staff has also been hard at work designing a refreshed look and launching a new website to enhance your experience of all that’s ahead on this ambitious journey. Check out the new musician features along with streamlined routes to find all the information you need. At the Hall this month, we welcome artists from Lang Lang to Lila Downs and conductors including Kwamé Ryan, Susanna Mälkki, Elim Chan, and Teddy Abrams. We also spotlight several LA Phil principal musicians: Bing Wang and Ben Ullery perform Mozart’s Sinfonia Concertante for Violin and Viola, and Ryan Roberts takes on Martinů’s Oboe Concerto. Thank you for your support of the LA Phil! Warmly, Kim Noltemy President & Chief Executive Officer
David C. Bohnett Presidential Chair
Los Angeles Philharmonic Association
LOS ANGELES PHILHARMONIC ASSOCIATION
BOARD OF DIRECTORS CHAIR Jason Subotky* PRESIDENT & CEO David C. Bohnett Presidential Chair
Darioush Khaledi Winnie Kho Terri Kohl Joey Lee
Kim Noltemy
Francois Mobasser
VICE CHAIRS Thomas L. Beckmen*
Leith O’Leary
Reveta Bowers* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo* DIRECTORS Nancy L. Abell Gregory A. Adams Julie Andrews Camilo Esteban Becdach
Margaret Morgan Andy S. Park Sandy Pressman Marybeth Rehman-Dittu Laura Rosenwald Michael Saei Richard Schirtzer Stacy Shirk John Sinnema G. Gabrielle Starr Jay Stein* Christian Stracke*
Ranjit Bhatia
Ronald D. Sugar*
Jennifer Broder
Vikki Sung
Kawanna Brown
Jack Suzar
Andrea Chao-Kharma*
Sue Tsao
R. Martin Chavez Christian D. Chivaroli Jonathan L. Congdon Donald P. de Brier* Louise D. Edgerton Lisa Field David A. Ford Alfred Fraijo Jr. Hilary Garland Jennifer Miller Goff*
Megan Watanabe Regina Weingarten Jenny Williams Irwin Winkler Debra Wong Yang HONORARY LIFE DIRECTORS David C. Bohnett Lenore S. Greenberg
Tamara Golihew
PAST CHAIRS** Thomas L. Beckmen
Lori Greene Gordon
Jay Rasulo
David Greenbaum
Diane B. Paul
Carol Colburn Grigor
David C. Bohnett
Antonia Hernández*
Jerrold L. Eberhardt
Jonathan Kagan*
John F. Hotchkis†
In Memoriam Executive Committee Member as of September 25, 2026 From the opening of Walt Disney Concert Hall on October 24, 2003, to present †
*
**
6 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 6
9/16/26 4:05 PM
LA Phil Wrap 1026.indd 7
9/15/26 10:45 AM
Setting the tone for health care excellence For 80 years, it’s been our privilege to provide high-quality care to Southern California. And we’re committed to composing healthier futures for all.
AD
LA Phil Wrap 1026.indd 8
9/15/26 10:45 AM
ABOUT THE LA PHIL
Guided by the belief that music and performance are foundational to the quality of our lives and the vitality and resilience of communities, the LA Phil presents nearly 300 events, along with vibrant educational and community programs, across its four iconic venues: Walt Disney Concert Hall, the Hollywood Bowl, The Ford, and the Judith and Thomas L. Beckmen YOLA Center. Both onstage and in the community, the organization is leading the way in groundbreaking and diverse programming. At its heart is the Los Angeles Philharmonic—recognized as one of the world’s outstanding orchestras and among the most prolific commissioners of new music. The 2026/27 season is the orchestra’s 108th. During its season at the Frank Gehry-designed Walt Disney Concert Hall, with approximately 160 performances, the LA Phil creates festivals, artist residencies, and other thematic programs conceived 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 LA Phil’s relationship with Los Angeles extends far beyond its venues through community and learning initiatives such as Neighborhood Concerts and YOLA (Youth Orchestra Los Angeles). Through YOLA—inspired by the training of Gustavo Dudamel, the Jane and Michael Eisner Founding Director and Conductor Laureate of YOLA—the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians each school year, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purposebuilt facility: the Beckmen YOLA Center at Inglewood. Beyond Los Angeles, the orchestra has undertaken annual tours, both domestically and internationally, since the 1969/70 season—its first tour was in 1921. The LA Phil also
reaches a worldwide audience through its array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy-winning albums featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz—whose Yanga received three Grammys in 2026. 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 (1927–29), Artur Rodziński (1929–33), Otto Klemperer (1933–39), Alfred Wallenstein (1943–56), Eduard van Beinum (1956–59), Zubin Mehta (1962–78), Carlo Maria Giulini (1978–84), André Previn (1985–89), Esa-Pekka Salonen (1992–2009), and Gustavo Dudamel (2009–26). Daniel Harding will become the 12th Music Director in the 2027/28 season, joining a leadership team that includes Creative Director Esa-Pekka Salonen, Artistic and Cultural Laureate Gustavo Dudamel, Conductor-inResidence Anna Handler, Conductor Emeritus Zubin Mehta, Creative Chair John Adams, and Creative Chair for Jazz Herbie Hancock.
PERFORMANCES MAGAZINE 9
LAP26_Oct_OW_F2.indd 9
9/17/26 11:37 PM
Invested in the power of art and culture Art brings communities to life, and investing in arts and culture helps create a place where more people can thrive. That’s why U.S. Bank Private Wealth Management is proud to support the LA Phil and Walt Disney Concert Hall. We’re grateful for your contributions to the arts and for enriching our local community for years to come.
John Sinnema
California Regional Executive & Member of the LA Phil Board of Directors john.sinnema@usbank.com
Proud to be the official bank of the LA Phil usbank.com/privatewealth Member FDIC. ©2026 U.S. Bank CR-68009298 (9/26)
LA Phil Wrap 1026.indd 10
AGENCY: INTERCROSS (952-935-2994) CLIENT: U.S. Bank PROJECT: USW-17967
9/15/26 10:45 AM
ABOUT THE LA PHIL
Los Angeles Philharmonic Esa-Pekka Salonen Judith and Thomas L. Beckmen Creative Director Conductor Laureate
Jordan Koransky Ashley Park Katherine Woo Melody Ye Yuan Weilu Zhang
CELLOS
Anna Handler Ellen and Arnold Zetcher Conductorin-Residence
SECOND VIOLINS
Ben Hong◊ Associate Principal
[Position vacant] Principal
Gustavo Dudamel Diane and M. David Paul Artistic and Cultural Laureate
Mark Kashper Associate Principal Isabella Brown Assistant Principal
Zubin Mehta Conductor Emeritus
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*
John Adams John and Samantha Williams Creative Chair Herbie Hancock Creative Chair for Jazz
FIRST VIOLINS [Position vacant] Concertmaster Marjorie Connell Wilson Chair
VIOLAS
Bing Wang Ben Ullery Acting Concertmaster Principal Barbara and Jay Rasulo Chair
John Connell Chair
Soyoung Cho Associate Principal
[Position vacant] First Associate Concertmaster
Jenni Seo Assistant Principal
Ernest Fleischmann Chair
Dana Lawson Richard Elegino Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Bradley Parrimore*
[Position vacant] Assistant Concertmaster Philharmonic Affiliates Chair
Rebecca Reale
Deanie and Jay Stein Chair
Pasadena Showcase House for the Arts LA Phil Resident Fellow Chair
Jeongmin An Bianna Bell Minyoung Chang
I.H. Albert Sutnick Chair
Tianyun Jia
* Judith and Thomas L. Beckmen LA Phil Resident Fellow +
On Sabbatical
◊
On Leave
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*
Elise Shope Henry Mari L. Danihel Chair
Sarah Jackson Piccolo Sarah Jackson
OBOES Ryan Roberts Principal
Carol Colburn Grigor Chair
Marion Arthur Kuszyk Associate Principal Anne Marie Gabriele English Horn [Position vacant]
HORNS
Bass Trombone John Lofton
Andrew Bain Principal
Miller and Goff Family Chair
John Cecil Bessell Chair
David Cooper◊ Associate Principal Gregory Roosa Alan Scott Klee Chair
Amy Jo Rhine
Loring Charitable Trust Chair
PERCUSSION Matthew Howard Principal
Michele and Dudley Rauch Chair
Nancy and Donald de Brier Chair
Diane Disney Miller and Ron Miller Chair
Andrea Caputo Associate Principal
Christopher Still
Kaelan Decman Associate Principal
Andrew Lowy Taylor Eiffert
Oscar M. Meza Assistant Principal
E-Flat Clarinet Andrew Lowy
FLUTES Denis Bouriakov Principal
Virginia and Henry Mancini Chair
Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair
Ronald and Valerie Sugar Chair
Jeffrey Strong
TROMBONES David Rejano Cantero Principal
Whitney Crockett Principal
James Miller Associate Principal
Ann Ronus Chair
Evan Kuhlmann
Judith and Thomas L. Beckmen Chair
Paul Radke
Andrés Pichardo-Rosenthal David Riccobono Jeremy Davis*
KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair
Emmanuel Ceysson Principal
BASSOONS
Associate Principal
Wesley Sumpter Assistant Principal
HARP
Koni and Geoff Rich Chair
Rebecca Kalmus LA Phil Resident Fellow Chair [Position vacant]
Cecilia and Dudley Rauch Chair
Thomas Hooten Principal
Boris Allakhverdyan Principal
Bass Clarinet Taylor Eiffert
Joseph Pereira Principal
TRUMPETS
James Wilt Associate Principal
David Allen Moore Ted Botsford Jory Herman Brian Johnson Peter Rofé Matthew Peralta*
TIMPANI
David Riccobono Assistant Principal
M. David and Diane Paul Chair
Christopher Hanulik Principal
Mason Soria Principal
Elyse Lauzon Ethan Bearman
CLARINETS
BASSES
TUBA
Ann Ronus Chair
LIBRARIANS Stephen Biagini Benjamin Picard KT Somero
Contrabassoon Evan Kuhlmann
Mark Houston Dalzell and James DaoDalzell Chair for Artistic Service to the Community
The Los Angeles Philharmonic string section uses revolving seating on a systematic basis. Players listed alphabetically change seats periodically.
Scan to learn more about the musicians of the Los Angeles Philharmonic.
The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
PERFORMANCES MAGAZINE 11
LA Phil Wrap 1026.indd 11
9/16/26 4:03 PM
FEATURE
Meet Our New Musicians Welcome to the five members of the class of 2026/27 Soyoung Cho Viola A native of Seoul, Cho has appeared in several major competitions, including the Johansen International Competition, where she was a prizewinner; the Primrose International Viola Competition; and the Tokyo International Viola Competition. “I’m especially excited for the programs with our new Music Director, Daniel Harding,” she said.
Andrea Caputo Clarinet Caputo’s studies have taken him to the Colburn School in LA, the Accademia Nazionale di Santa Cecilia in Rome, the Universität Mozarteum Salzburg, and the Conservatoire de Paris. “There are so many exciting commissions [this season]—it’s amazing how many new productions we will present,” he said.
12 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 12
9/15/26 10:45 AM
FEATURE
Bianna Bell First Violin At 20 years old, Bell is the youngest musician in the Los Angeles Philharmonic. A Colburn Conservatory of Music graduate, she was coconcertmaster of its orchestra. When she learned she had won the position, Bell said: “I wanted to cry tears of joy but couldn’t. I was just completely in awe.”
Jeongmin An First Violin A graduate of the Yale School of Music and Korea National University of Arts, An served as Concertmaster of the Tanglewood Music Center Orchestra in 2024 and 2025. Reflecting on the season ahead, An said: “I’m especially looking forward to performing Stravinsky’s The Rite of Spring with Esa-Pekka Salonen.”
Andrés Pichardo-Rosenthal Percussion Andrés Pichardo-Rosenthal was born in Managua, Nicaragua, and grew up in Los Angeles, where he first experienced live classical music watching the Los Angeles Philharmonic. After 12 years with the Detroit Symphony Orchestra, Pichardo-Rosenthal returns to his hometown with his wife, Shaina, and their three children, Léo, Maya, and Gabriel.
Scan to learn more about these new orchestra members.
Welcome to the LA Phil PERFORMANCES MAGAZINE 13
LA Phil Wrap 1026.indd 13
9/15/26 10:45 AM
FEATURE
Two Masterpieces, Three Perspectives
BING WANG
BEN ULLERY
RYAN ROBERTS
This month at Walt Disney Concert Hall, three principal musicians from the Los Angeles Philharmonic take the stage as featured soloists. Acting Concertmaster Bing Wang and newly appointed Principal Viola Ben Ullery share the spotlight on October 2, 3, and 4 for Mozart’s Sinfonia Concertante with conductor Kwamé Ryan. The following weekend, October 9 and 11, Principal Oboe Ryan Roberts plays a Martinů concerto under the baton of Susanna Mälkki.
By Piper Starnes
Ahead of their performances, Bing, Ben, and Ryan shared what makes these pieces special and what we should listen for as members of the audience.
Scan to read the extended interviews.
14 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 14
9/15/26 10:45 AM
FEATURE
BING WANG Acting Concertmaster
BEN ULLERY Principal Viola
RYAN ROBERTS Principal Oboe
How would you describe the relationship between the viola, violin, and orchestra in Mozart’s Sinfonia Concertante?
Which moments or characteristics should we listen for in the Sinfonia Concertante?
What are the most special aspects of Martinů’s Oboe Concerto?
Barbara and Jay Rasulo Chair
Mozart gives the two soloists equal voices, and the music moves between being playful and lighthearted and being very expressive and intimate. The second movement of the Sinfonia Concertante is my favorite. It’s simple but incredibly expressive. The violin and viola sometimes play together and sometimes pass ideas back and forth, with the orchestra joining in that conversation. Ben and I have played together in the Los Angeles Philharmonic for many years, and we have also played chamber music together throughout the years, though we haven’t played the Sinfonia Concertante together yet. There’s tremendous trust and familiarity between us that makes this collaboration with our dearest colleagues and conductor Kwamé Ryan especially exciting. We truly hope to share the joy and beauty with everyone in the audience!
John Connell Chair
Mozart was said to have liked playing the viola in chamber music, and you can definitely hear that coming through in the way he writes for the instrument. The second movement, in C minor, is the real gem of the piece. It’s always striking when Mozart writes in a minor key, like in his famous G-minor Symphony or the G-minor Viola Quintet. This movement is no exception. It has a ton of complexity of expression in the harmonies and solo lines, and it culminates in a cadenza for the two solo instruments that’s very emotional. The viola and violin are almost like two leading characters in an opera having a dialogue. They both introduce themes and comment on themes introduced by the other instrument. There’s a lot of back-and-forth. I’m looking forward to playing the piece with Bing to see what kinds of ideas she’ll bring to the conversation!
Carol Colburn Grigor Chair
I love this concerto above all for its variety and originality. It is full of so many colors and contrasts that give the piece a real emotional depth. Czech composer Bohuslav Martinů composed to “express the never-ending search for truth and the meaning of life,” and the result, in this case, is a piece that truly has it all! The first movement is ebullient and bubbling with jazzy rhythms; the second movement is introspective and dramatic, with an emotional climax that transitions into the joyful, dancing finale. My favorite moment in the concerto is when the jubilant, frolicking third movement takes a dark turn in the first solo cadenza. The oboe part quickly takes on an almost terrifying intensity, with virtuosic scales and arpeggios that flash up and down the range of the instrument. This contrast makes for one of the most dramatic and memorable sections of the piece.
PERFORMANCES MAGAZINE 15
LA Phil Wrap 1026.indd 15
9/15/26 10:45 AM
FEATURE
Crossing the Pond
This August the Los Angeles Philharmonic traveled to the UK—making its first appearance at the BBC Proms in over 20 years and participating in a residency at the Edinburgh International Festival—with Gustavo Dudamel leading his final tour programs as Music & Artistic Director.
The orchestra presented two concerts at each festival, pairing timeless Beethoven symphonies with acclaimed recent LA Phil commissions: The idyllic “Pastoral” Sixth Symphony preceded a descent
into Thomas Adès’ Inferno from Dante, while the buoyant Seventh Symphony led into Gabriela Ortiz’s sparkling ballet Revolución diamantina. “In both the Adès and the Ortiz there is orchestral
glitter to spare and the Los Angeles players shone. These were highly detailed, lived-in performances,” reported the Financial Times after the two concerts at London’s Royal Albert Hall.
Clockwise from top left: Assistant Principal Percussionist Wesley Sumpter and Principal Oboist Ryan Roberts received the good news that they were both granted tenure with the Los Angeles Philharmonic while in London. • Composer Gabriela Ortiz received a standing ovation after the performance of Revolución diamantina at the Proms. “[T]his new piece is an undoubted triumph,” wrote Opera Today. “Altogether, this is a score with boundless magic and emotional appeal.” • Bass trombone player John Lofton grabs a quiet moment outside Edinburgh’s Usher Hall. • Gustavo Dudamel leads a rehearsal at Usher Hall. Festival Director Nicola Benedetti said that the LA Phil residency “is very much the epitome of what I always wish for from a touring orchestra: bold programming that does not shy away from contemporary music being sat just alongside the likes of a Beethoven symphony.” • Violist Minor L. Wetzel retired, capping his 32-year tenure with the August 15 concert in Edinburgh. • While visiting Abbey Road Studios, musicians Ryan Roberts, Joanne Pearce Martin, and Christopher Still couldn’t resist the opportunity to re-create an iconic moment. Lead support for the LA Phil’s 2026 UK Tour was generously provided by Carol Colburn Grigor / Dunard Fund. Endowed support for the LA Phil on tour is generously provided by the Michele and Dudley Rauch Tour Fund and the Karl Loring Fund.
16 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 16
9/16/26 4:08 PM
PERFORMANCES MAGAZINE 17
LA Phil Wrap 1026.indd 17
9/15/26 10:45 AM
FEATURE
YOLA on Tour
As part of the LA Phil residency at the Edinburgh International Festival, YOLA (Youth Orchestra Los Angeles) partnered with Big Noise, an El Sistema-modeled music education program in Scotland, for a special Family Concert at Usher Hall.
Forty YOLA musicians traveled to Scotland for a concert honoring Gustavo Dudamel’s long-standing commitment to young musicians. They joined approximately 50 members of
Big Noise, a music education and social change program, from across the country. Works performed ranged from 2026’s On Becoming by Beauregard Chiasson, a member of the LA Phil’s Composer Fellowship Program and its Sue Tsao Chair, to a finale of Beethoven’s Ode to Joy. In its writeup on the concert, The Scotsman exclaimed that the performance “was near perfect, a programme of truly inventive music.” “One of the greatest gifts music gives young people is the
opportunity to connect with one another and the broader world,” said Camille DelaneyMcNeil, LA Phil Vice President of Learning. “Bringing together the musicians of YOLA and Big Noise is about so much more than performing a concert, creating an experience that reminds these students they are part of a global community connected through a shared love of music.”
Endowed support for YOLA on tour is generously provided by The Rafael & Luisa de Marchena-Huyke Foundation.
18 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 18
9/15/26 10:45 AM
KEEP ON WRITING COMEBACK STORIES New chapters that defy every expectation. Second acts that redefine what’s possible. We’ve helped thousands turn diagnoses into determination, and seemingly impossible odds into victory. When it comes to giving patients a much-needed win, we’re not just here for the crisis. We’re here for the comeback.
LA Phil Wrap 1026.indd 19
9/15/26 10:45 AM
P
C E ESA-PEKKA SALONEN ANNA HANDLER
YUJA WANG
LILA DOWNS GUSTAVO DUDAMEL
HERBIE HANCOCK
JENSEN MCRAE
DANIEL HARDING
Tickets On Sale Now!
Get Your Tickets Today! laphil.com/calendar
2627_PROGRAMBOOK_OCT_V2.indd 1 LA Phil Wrap 1026.indd 20
English/Español: 323 850 2000 Groups (10+) laphil.com/groups
Programs, artists, prices, and dates subject to change. Ticket limits may apply. All sales are final.
8/21/26 2:41 PM 9/15/26 10:45 AM
Private Client Group
Concierge banking. Exclusive access.
NEN
Elevate your experience with a well-resourced national bank that delivers white-glove service and the exclusivity you expect. The Western Alliance Private Client Group brings you tailored banking and mortgage services designed to meet your exacting standards and timelines. Discover the distinction.
westernalliancebank.com/privateclientgroup
WNS
DING
ow!
Western Alliance Bank, Member FDIC.
21/26 2:41 PM LA Phil Wrap 1026.indd 21
9/15/26 10:45 AM
NEWS
Available Exclusively at the LA Phil Store
Bring home your favorite performances with exclusive Los Angeles Philharmonic recordings, available only at the LA Phil Store.
Wild Nights / Noches Locas Recorded live at Walt Disney Concert Hall from June 4 to 7, 2026, Wild Nights / Noches Locas: Celebrating 17 Years of Gustavo Dudamel and the Los Angeles Philharmonic features two landmark works—John Adams’ Harmonium and Antonio Estévez’s Cantata Criolla, performed by the Los Angeles Philharmonic, tenor Anthony León, baritone Eleomar Cuello, and the Los Angeles Master Chorale. Led by Gustavo Dudamel, the recording celebrates his extraordinary tenure as the orchestra’s Music & Artistic Director. “Antonio Estévez’s Cantata Criolla was one of the first works I brought to Los Angeles.... I grew up with this music, and it is a joy to perform it once again with these amazing musicians.” —Gustavo Dudamel
ORTIZ Box Set Featuring the triple-Grammy Award-winning albums Revolución diamantina (2024) and Yanga (2025), this new four-LP box set showcases six works by Mexican composer Gabriela Ortiz performed by the Los Angeles Philharmonic and Gustavo Dudamel. The set also includes performances by violinist María Dueñas, cellist Alisa Weilerstein, the Los Angeles Master Chorale, and Tambuco Percussion Ensemble. “...Ortiz’s music, again in the hands of Dudamel, is among the most vibrant—and booty-shaking, for classical music at least—you’ll hear today.” —NPR
Fandango Fandango features the Los Angeles Philharmonic and Gustavo Dudamel with baritone Gustavo Castillo performing Alberto Ginastera’s Estancia and violinist Anne Akiko Meyers joining for Arturo Márquez’s violin concerto, Fandango, both recorded at Walt Disney Concert Hall in 2022. Released the following year, the album received two Latin Grammy Awards: Best Classical Album and Best Classical Contemporary Composition for Márquez’s Fandango. “The joyful, soulful music has thrilled audiences from Mexico City to Carnegie Hall, and this live recording will undoubtedly touch your heart and make you fall in love with [Márquez’s] music, much like I did.” —Anne Akiko Meyers
Find Wild Nights / Noches Locas, ORTIZ, Fandango, and more exclusively at the LA Phil Store and at laphilstore.com.
22 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 22
9/15/26 10:46 AM
LA Phil Wrap 1026.indd 23
9/15/26 10:46 AM
COLBUR N Frank Gehry’s Latest Masterpiece Opening 2027
Terri & Jerry Kohl Hall
Colburn’s New Dance Center
Colburn Dance Academy student Sylvie Watts photographed by Hope Spears under the acoustic clouds installation
LA Phil Wrap 1026.indd 24
9/15/26 10:46 AM
LOS ANGELES PHILHARMONIC
Kwamé Ryan Leads Mozart & Copland Los Angeles Philharmonic Kwamé Ryan, conductor Bing Wang, violin Ben Ullery, viola
FRIDAY OCTOBER 2, 2026 8PM SATURDAY OCTOBER 3 8PM SUNDAY OCTOBER 4 2PM
John ADAMS
Short Ride in a Fast Machine (c. 4 minutes)
MOZART
Sinfonia Concertante in E-flat major for Violin and Viola, K. 364 (c. 30 minutes)
Allegro maestoso Andante Presto
Bing Wang Ben Ullery
INTERMISSION COPLAND
Symphony No. 3 (c. 43 minutes)
Molto moderato: with simple expression Allegro molto Andantino quasi allegretto Molto deliberato—Allegro risoluto
Programs and artists subject to change.
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 1
PERFORMANCES MAGAZINE P1
9/15/26 3:03 PM
ABOUT THE PROGRAM
AT A GLANCE John Adams and Aaron Copland have both been anointed “Dean of American Composers” of their respective times and as such have been called upon periodically to assess the state of orchestral music in the United States. They each have cited the influences of jazz and Black music, with their syncopations and blue notes, as identifiably American. In addition, Adams often points to a driving pulse, such as the irrepressible rhythm that races out of the gates in Short Ride in a Fast Machine. Nearly a half-century earlier, Copland molded an American sound with wide-open
SHORT RIDE IN A FAST MACHINE John Adams (b. 1947) Composed: 1986 Orchestration: 2 flutes (1st & 2nd=piccolo), 2 oboes, (2nd=English horn), 4 clarinets, 3 bassoons (3rd=contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (woodblock, triangle, xylophone, crotales, glockenspiel, suspended cymbal, sizzle cymbal, snare drum, pedal bass drum, bass drum, tam-tam, tambourine), 2 synthesizers, and strings First LA Phil performance: August 27, 1987, Edo de Waart conducting The most famous American fanfare is Hail to the Chief. Next comes Aaron Copland’s thumping huff and puff in honor of “the Common Man.” Most fanfares are brilliant, some
P2 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 2
chords evoking stretches of prairies and limitless horizons in works such as Appalachian Spring and Fanfare for the Common Man, the latter of which is embedded in the Third Symphony. Between these two iconically American voices is Mozart’s exquisite Sinfonia Concertante. Copland wrote: “Mozart tapped the source from which all music flows, expressing himself with a spontaneity and refinement and breathtaking rightness,” and the work, his most profound string concerto, epitomizes this brilliance. —Amanda Angel
even aggressive (etymologists disagree on whether the word “fanfare” is onomatopoetic or actually connected with the verbal family that gives us “fanfaronade,” meaning blustering and bragging behavior), though John Adams has also explored the possibilities of the restrained and pianissimo fanfare (in his Tromba Lontana). Short Ride in a Fast Machine is a joyfully exuberant piece, brilliantly scored for a large orchestra. The steady marking of a beat is typical of Adams’ music. Short Ride begins with a marking of quarter notes (woodblock, soon joined by the four trumpets) and eighths (clarinets and synthesizers); the woodblock is fortissimo and the other instruments play forte. Adams sees the rest of the orchestra as running the gauntlet through that rhythmic tunnel. About the title: “You
know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn’t?” Short Ride in a Fast Machine features the usual minimalist earmarks: repetition, steady beat, and, perhaps most crucially, a harmonic language with an emphasis on consonance unlike anything in Western art music in the last 500 years. Adams is not a simple—or simple-minded—artist. His concern has been to invent music at once familiar and subtle. For all of their minimalist features, works such as Harmonium, Harmonielehre, and El Dorado are full of surprises, always enchanting in the glow and gleam of their sonority, and bursting with the energy generated by their harmonic movement. —Michael Steinberg (from The John Adams Reader), reprinted with kind permission of earbox.com
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE PROGRAM
SINFONIA CONCERTANTE IN E-FLAT MAJOR FOR VIOLIN AND VIOLA, K. 364 Wolfgang Amadeus Mozart (1756–91) Composed: 1779 Orchestration: 2 oboes, 2 horns, and strings, with solo violin and solo viola First LA Phil performance: January 9, 1927, Walter Henry Rothwell conducting By 1779—a few years before Haydn wrote his Symphony No. 76—the 23-year-old Mozart was eager to break free from the restrictions imposed by his employer in Salzburg, the Archbishop Colloredo. His recent tour westward to Mannheim and Paris had proved decisively important; it apparently stirred a desire to experiment with some of the instrumental forms and styles Mozart had been encountering. One result was the Sinfonia Concertante, a work that bursts with the joy of exploring new instrumental sound combinations and possibilities. It also marks a sort of turning point, in essence summing up much of what Mozart had achieved to date as an artist. Not long afterward—and in part due to his indulging in such purely pleasurable creative endeavors at the expense of his duties as court organist—he was summarily dismissed by his boss (as he sardonically puts it in a letter, “with a kick on my arse”) and left Salzburg for good to live in Vienna. The genre here, as the name indicates, is a hybrid between the symphony and the concerto—in
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 3
the 19th century it would be labeled a double concerto for violin and viola. Yet the Sinfonia Concertante wondrously unifies these several descriptions. Like Haydn, Mozart exploits his modest orchestral ensemble to the maximum; there’s no percussion, nor flutes, nor his beloved clarinets, but he divides the violas into two for a richer string blend. The proportions of the opening movement (marked with the epic-sounding tempo “Allegro maestoso”) are generous and expansive, further contributing to the work’s symphonic aspect. For many, this piece represents the grandest of Mozart’s violin concertos, surpassing the five official ones. At the same time, the viola is no second fiddle here. Mozart’s choice of instrument for the second soloist is telling: Although an excellent violinist, he himself loved to play viola in string quartet ensembles, enjoying the perspective of being “in the middle.” One unforgettable characteristic of the Sinfonia Concertante is the remarkable partnership and equality shared by both soloists and the searingly beautiful sound blend they create. Mozart’s original score even inscribes the viola part in D major, thus requiring the violist to tune the strings up a half step. The intention is to give the usually more reserved viola a certain resonance to offset the violin’s usual limelight-hogging sonority. The Sinfonia Concertante is in part about an extraordinary abundance of ideas and sonorities that—thanks to Mozart’s art—pour out with a seeming effortlessness, like ripened fruit
simply there to be plucked. The opening orchestral exposition makes this clear, as one idea is laid out on top of another until, with a half dozen in the air, one loses track. And more are yet to come as the soloists enter in one of the most sublime passages of all Mozart, soaring out from the background on a sustained high E flat. It’s perhaps no surprise that George Balanchine choreographed a famous ballet to this music, for the duo soloists converse not just with the orchestra at large but also with each other (it’s intriguing, as well, to imagine Mozart’s own voice represented by the viola). This is clear in the many echoing passages he unfolds and in his construction of the cadenzas, expressly written out. Beyond these instrumental dimensions, there’s yet another. This is the world of opera, of lamenting song, with a hint of archaic Baroque sentiment, which comes to the fore in the sensitive and lengthy Andante, one of Mozart’s relatively rare minormode slow movements. Here we find an emotional depth that, as Maynard Solomon speculates in his notable biography, may reflect the composer coping with the recent death of his mother. Specifically, the duality of the violin-viola sound contributes to another aspect of the piece’s stunning beauty: Listen as the solo violin takes up its plaintive aria of grief and the response from the viola, now providing a sudden but believable consolation. The two continue to form a complementary pair as Mozart unfolds his song
PERFORMANCES MAGAZINE P3
9/15/26 3:03 PM
ABOUT THE PROGRAM
seamlessly, virtually prefiguring what Wagner would later coin as “infinite melody.” With the Presto rondo finale, an irrepressibly joyful spirit returns. As Alfred Einstein observes, its “gaiety results principally from the fact that in the chain of musical events the unexpected always occurs first, being followed by the expected.” Or, to return to Hesse’s ethereal Immortals from the novel Steppenwolf, the Sinfonia Concertante ends with their characteristic laughter, which is “laughter without an object…simply light and lucidity.” —Thomas May
SYMPHONY NO. 3 Aaron Copland (1900–90) Composed: 1944–46 Orchestration: piccolo, 3 flutes (3rd=piccolo), 3 oboes (3rd=English horn), E-flat clarinet, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, chimes, xylophone, triangle, anvil, cymbals, tam-tam, claves, woodblock, slapstick, ratchet, snare drum, tenor drum, bass drum), celesta, piano, 2 harps, and strings First LA Phil performance: November 11, 1948, Alfred Wallenstein conducting Copland started his Third Symphony in 1944 in the Mexican village of Tepotzlán. Copland’s musical style had veered dramatically during the 1930s, from symphonic jazz to Neoclassicism and a semi-severe
P4 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 4
Modernism. He drew on many popular and vernacular sources, literary as well as musical. In the Third Symphony, he brought it all together into a sort of abstract Americana, an evocation of time and place without recourse to folk material, in the characteristic open Copland sound that powerfully mingles confidence and yearning. He was working on a commission from conductor Serge Koussevitzky, and the knowledge that the work would be dedicated to the memory of Koussevitzky’s wife Natalie certainly influenced the lyric cast of the symphony. It was completed in 1946 at the MacDowell Colony in New Hampshire and premiered by Koussevitzky and the Boston Symphony in October that year. The conductor had no reservations about what Copland supplied, labeling it “the greatest American symphony—it goes from the heart to the heart” (paraphrasing Beethoven). The lyricism in the first movement is of the regal sort, expansive and uncluttered. “The themes—three in number—are plainly stated: the first in strings at the very start without introduction; the second, in a related mood, in violas and oboes; the third, of a bolder nature, in trombones and horns,” Copland wrote. That bolder material is worked up into a powerful climax, then the three themes are recapitulated into an even mightier outburst, followed by an ethereal little coda. The second movement is a forthright, jovial scherzo, complete with a contrasting trio section and a return of the opening material. It begins with a festive brass explosion and moves into a playful romp, with a lilting pastoral dance for the trio section.
The third movement, Copland said, “is the freest of all in formal structure. Although it is built sectionally, the various sections are intended to emerge one from the other in continuous flow, somewhat in the manner of a closely knit series of variations.” A spare introduction based on the brass theme from the first movement gives this Andantino quasi allegretto an almost elegiac cast, but the variations themselves slither through a wide range of moods. The “continuous flow” of the movement extends even into the finale, which has its own introduction, based on Copland’s Fanfare for the Common Man. In the dark days of 1942, Eugene Goossens, music director of the Cincinnati Symphony, commissioned 18 patriotic fanfares intended to inspire confidence and national unity. Copland’s heroic music for brass and percussion became one of his best-known pieces, and he used it here to summon a full measure of optimism and grandeur. It floats in from the previous movement, however, in flutes and clarinets, before bursting open in its full glory, as if all of the symphony’s noble aspirations were concentrated in the Fanfare’s rising motives. The fourth movement proper has its own themes—developed in the classical argument of sonata form—and closes with a magnificent, exhilarating gumbo of themes, merging its main theme with the opening of the first movement and bits of the Fanfare. —John Henken
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE ARTISTS
KWAMÉ RYAN
Kwamé Ryan is a Grammy Awardwinning conductor, currently in his third season as Music Director of the Charlotte Symphony Orchestra. Ryan held the position of General Music Director of Freiburg Opera in Germany from 1999 to 2003 and served as Music and Artistic Director of the Orchestre National Bordeaux Aquitaine in France from 2007 to 2013. As a guest conductor in Germany, he has conducted the radio orchestras of Stuttgart and Bavaria, the Deutsche Kammerphilharmonie, Konzerthausorchester Berlin, Staatsoper Saarbrücken, and Staatsoper Stuttgart. In France, he worked at Opéra Bastille, Opéra National de Lyon, and the Orchestre Philharmonique de Radio France. Work in the US and the UK has taken him
to the orchestras of New York, Baltimore, Cincinnati, Dallas, Detroit, Indianapolis, Atlanta, and Houston, Boston Lyric Opera, English National Opera, the London Philharmonia, and the BBC Proms. He is a regular guest with Washington National Opera and Dutch National Opera. Ryan was born in Canada and educated in Trinidad and Tobago and the UK. A recipient of international awards for outstanding work in music education, he has served as Director of Trinidad and Tobago’s Academy for the Performing Arts and Musical Director of the National Youth Orchestra of France, where he was made a knight in France’s prestigious Order of Arts and Letters. Under his musical direction, La Monnaie’s 2021 production of Kris Defoort’s The Time of Our Singing was named World Premiere of the Year at the International Opera Awards, and Houston Grand Opera’s recording of Jake Heggie’s Intelligence was awarded the 2026 Grammy Award for Best Opera Recording. The 2026/27 season sees his debut with the Los Angeles Philharmonic and the Milwaukee Symphony as well as returns to Dutch National Opera and the Cincinnati Symphony.
BING WANG
Violinist Bing Wang joined the Los Angeles Philharmonic as Associate Concertmaster in 1994. She previously held the position of Principal Second Violin of the Cincinnati Symphony and has served on the faculty and as Concertmaster at the Aspen Music Festival and School since 2003. Since 2009, she has also been Guest Concertmaster of her hometown orchestra, the Shanghai Symphony Orchestra. As a soloist, she performed the Brahms Double Concerto with then-Music Director Esa-Pekka Salonen at the Hollywood Bowl. She made her Walt Disney Concert Hall concerto debut in May 2005 and has appeared as both concertmaster and soloist at the Hollywood Bowl under the baton of composer John Williams.
CONTINUED BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 5
PERFORMANCES MAGAZINE P5
9/15/26 3:03 PM
ABOUT THE ARTISTS
As a chamber musician, Wang has collaborated with such distinguished artists as Lang Lang, Yefim Bronfman, Emanuel Ax, and Jean-Yves Thibaudet. Bing Wang began studying the violin with her parents at the age of 6. At the middle school of the Shanghai Conservatory of Music, she was concertmaster of the school orchestra and graduated with highest honors. After coming to the US to study with Berl Senofsky at the Peabody Institute, she received her Master’s degree from the Manhattan School of Music under the tutelage of Glenn Dicterow. In 2012, Wang was named an adjunct associate professor at the USC Thornton School of Music.
P6 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 6
BEN ULLERY
Praised by the Chicago Tribune for his “febrile intensity,” violist Ben Ullery enjoys a multifaceted performing career as a soloist, chamber musician, orchestral player, and educator. In 2026, he was chosen by Music & Artistic Director Gustavo Dudamel for the position of Principal Viola of the Los Angeles Philharmonic. In addition to his appearances with the LA Phil, Ullery has performed across the country and abroad in the role of guest principal viola with the Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, Minnesota Orchestra, Detroit Symphony Orchestra, Saint Paul Chamber Orchestra, and Australian Chamber Orchestra.
An active solo performer, he has given recitals at the Colburn School, Festival Mozaic, California State University at Fullerton, La Sierra University, and ViolaFest Los Angeles, where he was the 2026 Signature Artist. He gave the world premiere performance of Gabriella Smith’s Quantum Ptarmigan for solo viola at Walt Disney Concert Hall in 2025. As a chamber musician, Ullery has been in high demand in the Los Angeles area and at festivals and concert series in the US and Europe. In addition to having performed over 50 chamber works as part of the LA Phil’s chamber music series, he has appeared at the Mozaic, Music in the Vineyards, Mainly Mozart, Emerald City, Music at Millford, Leksand, Jackson Hole Chamber Music, and Aspen festivals, among others. He has been featured on NPR’s Performance Today as well as in local broadcasts on KUSC in Los Angeles and Minnesota Public Radio. A native of Saint Paul, MN, Ullery earned a Bachelor of Music degree in violin performance from Oberlin Conservatory of Music and later studied violin at New England Conservatory of Music and viola at the Colburn School.
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
COLBURN CELEBRITY RECITAL
Lang Lang Lang Lang, piano
TUESDAY OCTOBER 6, 2026 8PM
MOZART
Rondo in D major, K. 485 (c. 6 minutes)
BEETHOVEN
Piano Sonata No. 8 in C minor, Op. 13, “Pathétique” (c. 17 minutes)
Grave—Allegro di molto e con brio Adagio cantabile Rondo: Allegro
BEETHOVEN
Piano Sonata No. 31 in A-flat major, Op. 110 (c. 20 minutes)
Moderato cantabile molto espressivo Allegro molto Adagio ma non troppo—Allegro ma non troppo
INTERMISSION ALBÉNIZ
Selections from Suite española No. 1, Op. 47 (c. 34 minutes)
1. Granada (Serenata) 2. Cataluña (Corranda) 3. Sevilla (Sevillanas) 4. Cádiz (Saeta) 5. Asturias (Leyenda) 8. Cuba (Notturno)
GRANADOS
Quejas, o la maja y el ruiseñor from Goyescas (Los majos enamorados), Op. 11 (c. 6 minutes)
LISZT
No. 2: Un poco più mosso from Consolations, S. 172 (c. 3 minutes)
LISZT
Tarantella from Venezia e Napoli, Supplément aux Années de pèlerinage II, S. 162 (c. 10 minutes)
Moritaka Kina is chief piano technician for the Los Angeles Philharmonic. This concert is supported by the Colburn Foundation.
Programs and artists subject to change.
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 7
PERFORMANCES MAGAZINE P7
9/15/26 3:03 PM
ABOUT THE PROGRAM
AT A GLANCE “This is the great thing about the piano...it’s like a time machine and an airplane,” Lang Lang said. Whether he’s performing the Goldberg Variations or the theme from La La Land, Lang Lang
RONDO IN D MAJOR, K. 485 Wolfgang Amadeus Mozart (1756–91) Composed: 1786 Following several unhappy years of sporadic employment at the Salzburg court, Mozart was dismissed, in his own words, “with a kick on my arse,” in the spring of 1781. This left the ambitious young man free to pursue his fortune in Vienna, Europe’s musical epicenter. The ensuing years were some of the busiest and most successful of Mozart’s brief life. He married and became a father as well as a Freemason. His performances caught the eye of Emperor Joseph II, who commissioned Mozart’s opera The Abduction from the Seraglio. The mid-1780s were an especially fecund period for his piano works. In early 1784 he composed the first of his 12 major Vienna piano concertos, some of the most important works in the genre. When he composed the Rondo in January 1786, he was in the midst of writing his opera The Marriage of Figaro. Despite its name, this is not a rondo at all, but an exceedingly charming sonata-form movement. Mozart builds the piece around a descending five-note figure, one he employed in multiple works. He playfully presents the theme in
P8 PERFORMANCES MAGAZINE
001-024 LA Phil Bk1 Prog 1026.indd 8
transports the listener to new musical dimensions. In tonight’s recital, he journeys through Viennese salons, visits many corners of Spain, and ends the tour in Liszt’s vision of Italy.
turbulent main theme of the ensuing Allegro di molto e con brio. Beethoven later recalls the Grave to preface the development and coda, underscoring the juxtaposition of tempos as a germinal idea of the movement. The Adagio cantabile is an oasis of hymnic serenity, in Beethoven’s PIANO SONATA NO. 8 IN C favorite key for lyricism within a MINOR, OP. 13, “PATHÉTIQUE” C-minor context: A-flat major. Ludwig van Beethoven Varied appearances of the broad, (1770–1827) lyrical theme are set into relief by two episodes touching on Composed: 1798–99 minor keys—passages displaying subtle motivic links to the outer The famous “Pathétique” Sonata movements of the sonata. shows a kinship with some of The Rondo finale brings together Mozart’s piano works in C minor, especially the Fantasia K. 475 and elements from each of the proceeding movements. The head Sonata K. 457. Yet Beethoven’s treatment of the C-minor pathos of its main theme is derived from the beginning of the second subject departs fundamentally from that in the Allegro di molto e con brio. of his predecessor: The tragic A relation between the Rondo and resignation characteristic of the Adagio cantabile surfaces in two Mozart is supplanted here by passages. On both occasions, the an attitude of resistance, even contemplative aura of the Adagio defiance. In the introductory is recalled in A-flat major before a Grave of the first movement, dramatic resumption of the strifethis resistance to suffering is ridden music sweeps away the implied in the contrast between fragile, reflective mood. an aspiring, upward melodic Beethoven reserves a gesture unfolding and the leaden weight of telling finality for the very last of the C-minor tonality, with bar, as the rapid falling scale that an emphasis on dissonant had framed each section of the diminished-seventh chords. The rising contour and dissonances of rondo design is resolved, for the first and only time, into the sonority the Grave are then transformed of C minor. The trick of delaying into forceful accents in the new keys and textures, inserting glittering chromatic scales and swapping the melody and brokenchord accompaniment between hands before ending with a gentle coda. —Andrew McIntyre © 2026
BOOK I • OCTOBER 2–14
9/17/26 2:48 PM
ABOUT THE PROGRAM
the resolution until the close was a specialty of Haydn, but never before Beethoven did it assume such dramatic force and significance. —William Kinderman
PIANO SONATA NO. 31 IN A-FLAT MAJOR, OP. 110 Ludwig van Beethoven Composed: 1821–22 In May 1820, Beethoven agreed to compose three piano sonatas for the Berlin publisher Adolf Martin Schlesinger. He completed the first, Op. 109, in the fall and apparently began the other two, but illness and work on the Missa Solemnis intervened. The autograph of Op. 110 is dated December 25, 1821, but revision continued in January 1822. Beethoven’s last three piano sonatas each present a world apart, a unique distillation and synthesis of formal and expressive devices. The first movement of Op. 110 opens softly and simply—though stopping on a mini-cadenza in the fourth bar is an early warning of the liberties to come, as are the movement heading (Moderato cantabile molto espressivo) and the marking “con amabilità.” Changes of texture and figuration are as important as harmony in marking the structural pillars of this rhapsodic movement. The second movement is a scherzo in the manner of the composer’s late Bagatelles, a highly charged joke of meterjarring accents, odd gaps, and explosive dynamic contrasts. Musicologist Martin Cooper found it included musical references
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 9
to two popular songs, “Unsa Kätz häd Katzln ghab” (Our cat has had kittens) and “Ich bin lüderlich, du bist lüderlich” (I am draggletailed, you are draggletailed). The specific force of the allusions may not be felt, but their boisterous, comic character is clear. Remarkable as these movements are, the extraordinary third movement dominates discussion of this sonata. Beethoven combined slow movement and finale into a single cathartic span, the principal elements of which are an arioso dolente (lamenting song) and a three-voice fugue. “In the context of the last three piano sonatas, it is both a Passion and a Pietà,” pianist Claudio Arrau said. The finale begins with a recitative that modulates from the key of the scherzo (F minor/ major) to A-flat minor for the arioso dolente, a tragic melody over a throbbing accompaniment that ends in dark exhaustion. The confident, propulsive fugue (in A-flat major) offers sharp contrast. The fugue breaks off with a loud trill and fading arpeggios, and with a little semitone slip E-flat major becomes G minor and the arioso returns, marked “wearily, lamenting.” Setting this statement of the arioso a half step lower is a symbol of exhaustion, and the melody itself is now full of sighs and little gasps, as if the music itself were short of breath. The fugue also returns, now in inversion and marked “little by little gaining new life” and modulating back to A flat. Beethoven also effects a kind of textural modulation as the fugue sheds polyphony and grows in volume and speed, until the original theme (right side up) is
hammered out in big chords over rapid left-hand figuration. The effect of the fugal development and “new life” attained can be overwhelming. It is “an exertion of will to banish suffering,” according to composer Vincent d’Indy. Or for pianist Alfred Brendel: “In a last euphoric effort, its conclusion reaches out beyond homophonic emancipation, throwing off the chains of music itself.” —John Henken
SELECTIONS FROM SUITE ESPAÑOLA NO. 1, OP. 47 Isaac Albéniz (1860–1909) Composed: 1886 (Granada, Cataluña, Sevilla, Cuba); 1889 (Cádiz); 1892 (Asturias) The triumvirate of Isaac Albéniz, Enrique Granados, and Manuel de Falla defined and elevated the idiom of Spanish music at the turn of the 20th century, each answering the call of their revered teacher Felipe Pedrell (1841–1922) for music that united traditional and folkloric elements with classical disciplines to create a true national style. It is ironic that much of this music, written by virtuoso pianists for virtuoso pianists, is better known to music lovers in transcriptions for classical guitar. Through the championship of a few keyboard luminaries, they have earned the respect accorded them by a place in the piano repertoire. Albéniz began composing his Suite española in 1886, soon after entering Pedrell’s sphere. It was intended as a collection of eight pieces, each highlighting
PERFORMANCES MAGAZINE P9
9/15/26 3:03 PM
ABOUT THE PROGRAM
a particular region of Spain (including Cuba), but only four pieces were published as individual compositions. Twenty years later, another publisher took up the project, and the suite as we know it was completed. Deliciously atmospheric, by turns languid and festive, its movements each bear a descriptive subtitle. The selections we hear tonight begin with “Granada,” a serenade. “Cataluña” is a corranda, a dance in 6/8 time adapted from the Italian corrente. This is followed by “Sevilla,” a Castilian dance with origins in the 15th century. “Cádiz” was originally planned as a saeta, a kind of Andalusian religious lament sung at festivals, but the piece eventually published under this title has no such feeling and is usually listed as a canción, or song. “Asturias” is universally known in its guitar incarnations, and “Cuba” is all tropical perfume, with its gliding, shifting rhythms. —Grant Hiroshima
QUEJAS, O LA MAJA Y EL RUISEÑOR FROM GOYESCAS (LOS MAJOS ENAMORADOS), OP. 11 Enrique Granados (1867–1916) Composed: 1909–11 The ethos of a bygone Spain as captured in the paintings of Francisco Goya (1746–1828) captivated Enrique Granados and inspired his crowning achievement, Goyescas (Los majos enamorados) (Majos in Love), a suite for piano in two books. Majos and majas were the idealized and romanticized lower classes of Spain, often depicted in exaggerated traditional
P10 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 10
attire. Granados’ portrayals of their amorous adventures, begun in 1909, seek to capture the spirit of Goya’s work. In the immortal “Quejas, o la maja y el ruiseñor” (Complaints, or the Maiden and the Nightingale), a brokenhearted girl shares her sorrows with the nightingale, whose song of trills and arpeggios drifts away into the night. The distinguished English critic Ernest Newman said it best when he compared this music to “the voluptuous sense of passing the fingers through masses of richly colored jewels.” —G.H.
he initially turned away from the bravura showpieces, which had fueled “Lisztomania” across Europe, toward a more introspective style. The Consolations are in the style of nocturnes, with long, arcing melodies over rustling arpeggiated accompaniment. No. 2 is written in the key of E major. Liszt, a deeply pious man who later became a lay member of the Third Order of Saint Francis, often used this key for religious themes; indeed, Lang Lang describes this piece as “a whispered prayer that suddenly opens up into something universal.” Decades earlier, the 23-year-old Liszt became embroiled in a NO. 2: UN POCO PIÙ MOSSO high-society scandal. The author FROM CONSOLATIONS, S. 172 and countess Marie d’Agoult, pregnant with Liszt’s child, left her Composed: 1849–50 husband in Paris to join Liszt in Switzerland. From Switzerland they TARANTELLA FROM VENEZIA journeyed south, spending years E NAPOLI, SUPPLÉMENT AUX in Italy. These travels inspired the ANNÉES DE PÈLERINAGE II, suites Années de pèlerinage (Years S. 162 of Pilgrimage); Liszt later added Franz Liszt (1811–86) Venezia e Napoli to this larger set. Venezia e Napoli concludes Composed: 1859 with a showstopping tarantella, Liszt’s interpretation of the Lang Lang started learning the traditional southern Italian folk piano at age 2 after hearing Liszt’s dance. It opens with an ominous Hungarian Rhapsody No. 2 in a Tom and Jerry episode, spurring a rumbling in the piano’s lowest range before launching into a ferocious lifelong devotion to the Hungarian dance. The score includes the virtuoso. The pieces presented instruction “martellato,” evoking here reveal two sides to the composer: the older, introspective the tambourines of a traditional tarantella. Liszt contrasts propulsive man, followed by a fiendishly dance rhythms with sparkling difficult work from his youth. Liszt met his great love, Princess cascades of 16th notes. The middle section is a rhapsodic Carolyne zu Sayn-Wittgenstein, interpolation of “Fenesta vascia,” in 1847 while on tour in Kyiv. She a popular Neapolitan song. The helped convince him to abandon his grueling performance schedule piece concludes with a return of the dance, closing with a blistering to focus on composition. After Liszt’s retirement from concertizing, climax. —Andrew McIntyre © 2026
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE ARTIST
LANG LANG
Lang Lang is a leading figure in classical music today—as a pianist, educator, and philanthropist he has become one of the world’s most influential and committed ambassadors for the arts in the 21st century. Equally happy playing for billions of viewers at the 2008 Summer Olympics opening ceremony in Beijing or for a few hundred children in public schools, he is a master of communicating through music. Heralded by The New York Times as “the hottest artist on the classical music planet,” Lang Lang plays sold-out concerts all over the world. He has formed ongoing collaborations with conductors including Simon Rattle, Gustavo Dudamel, Daniel Barenboim, and Christoph Eschenbach and performs with
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 11
all the world’s top orchestras. Lang Lang is known for thinking outside the box and frequently steps into different musical worlds. His performances at the Grammy Awards with Metallica, Pharrell Williams, and jazz legend Herbie Hancock were watched by millions of viewers. For nearly two decades, Lang Lang has contributed to musical education worldwide. In 2008, he founded the Lang Lang International Music Foundation, aimed at cultivating tomorrow’s top pianists, championing music education at the forefront of technology, and building a young audience through live music experiences. In 2013, Lang Lang was designated by the Secretary-General of the United Nations as a Messenger of Peace focusing on global education. Lang Lang started playing the piano at age 3 and gave his first public recital before the age of 5. He entered Beijing’s Central Music Conservatory at 9 and won First Prize at the International Tchaikovsky Competition for Young Musicians at 13. He subsequently went to Philadelphia to study with legendary pianist Gary Graffman at the Curtis Institute of Music. He was 17 when his
big break came, substituting for André Watts at the Ravinia Festival’s Gala of the Century, playing Tchaikovsky’s First Piano Concerto with the Chicago Symphony Orchestra under the baton of Christoph Eschenbach: He became an overnight sensation, and the invitations started to pour in. Lang Lang’s boundless drive to attract new audiences to classical music has brought him tremendous recognition: He was presented with a 2010 Crystal Award in Davos and was picked as one of the 250 Young Global Leaders by the World Economic Forum. He is also the recipient of honorary doctorates from the Royal College of Music (UK), the Manhattan School of Music, and New York University. In December 2011, he was honored with the highest prize awarded by the Ministry of Culture of the People’s Republic of China and received the Order of Merit of the Federal Republic of Germany and France’s Medal of the Order of Arts and Letters. In 2016, Lang Lang was invited to the Vatican to perform for Pope Francis. He has also performed for numerous other international dignitaries, including four US presidents and monarchs from many nations.
PERFORMANCES MAGAZINE P11
9/15/26 3:03 PM
LOS ANGELES PHILHARMONIC
Mälkki Conducts Bartók Los Angeles Philharmonic Susanna Mälkki, conductor Ryan Roberts, oboe
Miroslav SRNKA
Superorganisms (c. 18 minutes) (US premiere, LA Phil commission)
MARTINŮ
Oboe Concerto, H. 353 (c. 15 minutes)
FRIDAY OCTOBER 9, 2026 11AM SUNDAY OCTOBER 11 2PM
Moderato Poco andante Poco allegro
Ryan Roberts
INTERMISSION BARTÓK
Concerto for Orchestra, Sz. 116 (c. 36 minutes)
Introduzione: Andante non troppo Presentando le coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante—Presto
Ryan Roberts’ appearance on October 11 is supported by Larry and Lisa Kohorn. Programs and artists subject to change.
P12 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 12
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE PROGRAM
AT A GLANCE The three composers on this program all hail from Central Europe—to be fair, an area that until several decades ago would have been known as Eastern Europe. The designation “Eastern” tended to push these, and many other composers, to a kind of periphery, something we now recognize as close to nonsensical. All three composers, powerful, distinctive voices, are part of an international tradition of composition. That they sometimes might make reference to local conditions makes them no different from Mozart, Brahms, and Schubert, to mention three composers usually thought of as more central. The program opens with a new work receiving its American premiere, Miroslav Srnka’s Superorganisms. Srnka is a brilliant composer whose originality lies in ingenious conceptions and an exacting sense of sonority and structure. Drawing on scientific metaphors, this composition
SUPERORGANISMS Miroslav Srnka (b. 1975) Composed: 2022 Orchestration: 4 flutes (2nd and 3rd=piccolo), 4 oboes, 4 clarinets, 4 bassoons, 6 horns, 4 trumpets, 4 trombones, percussion (vibraphone, marimba, glockenspiel, crotales, roto-toms, suspended cymbal, waldteufel, temple blocks, timpani, bass drum), 2 harps, piano, 2 accordions, and strings First LA Phil performances. Superorganisms are forms of existence in which kindred living beings interact synergistically and self-organize. They are more than the sum of their parts: The individual members alone would
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 13
is a kind of supercharged concerto for orchestra, often conceiving of the orchestral body in terms of the powerful metaphor of swarms. Martinů’s 1955 Concerto for Oboe and Small Orchestra has some of this “swarm” quality as well, a combination of earthy engagement and almost ascetic distance. It explores a breathtaking collection of musical states in a short span, combining probing mystery with festive celebration. Bartók’s Concerto for Orchestra also presents a dizzying array of material. Written in the US in 1943, it reflects a kind of highculture populism of the kind found in both Aaron Copland’s and Martinů’s works of that period. Known for sometimes ferocious Modernism, the Concerto for Orchestra presents the composer in a more accessible mode, even parodying Shostakovich’s parody of The Merry Widow in the fourth movement and quoting a Hungarian patriotic song. —Michael Beckerman
hardly be viable, but in the community, they grow far beyond themselves—a “multiplication of the positive power of individuals,” as the Czech composer Miroslav Srnka puts it. Typical examples of superorganisms include ant colonies and swarms of bees. It is possible that humanity, too, is evolving in this direction, transforming into a new kind of species: moving away from the independent Homo sapiens toward a connected element within a larger group. One superorganism that has long existed in human culture is the symphony orchestra—and this is where Miroslav Srnka’s new piece comes in. His works are performed at major contemporary music festivals and are featured on the programs of classical
orchestras and ensembles. This new orchestral work was commissioned by the Los Angeles Philharmonic along with the Berliner Philharmoniker (which gave the world premiere), NHK Symphony Orchestra, Czech Philharmonic, and Orchestre de Paris. Those involved quickly agreed: It should showcase the richness and versatility of the symphonic apparatus in a large orchestral setting. For the composer, it was also clear that his piece should address the nature of the orchestral organism—inspired by a concept borrowed from biology but equally influenced by social observation. Superorganisms consists of four parts, each exploring different settings to examine how groups form and coalitions
PERFORMANCES MAGAZINE P13
9/15/26 3:03 PM
ABOUT THE PROGRAM
emerge, where the “clash of the individual and the collective” (Srnka) presents opportunities and risks: “Each orchestra member has an independent role; there are literally thousands of tiny points, lines, and pillars of sound. The strings are sometimes treated almost as soloists but come into their own only as a group.” While many short-lived moments flourish in individual instruments, they always arise from the organic whole. In the first part, for example, a sequence of exactly 1,351 four-part chords unfolds, each emerging from the other according to specific connection rules, as if vector forces were guiding the voices upward or downward. This applies to pitch as well as to the parameters of timbre, instrumental blend, and ensemble size. Occasionally, an element breaks away, as if a shark were darting into a school of fish—yet as soon as the danger passes, the group quickly calms down and collectively takes measures to return to its original state. Is there a tendency toward harmony in nature? In Superorganisms, Srnka embarks on a search for consonance: on the one hand, for sounds that tend to linger and remain stable, and on the other, for ways to transform such chords into something fluid. “The more consonant the intervals are, the more resonance with which they flow into each other; thus virtual spots of consonance emerge in the carpet of sound.” The interplay of individual voices within their groups amplifies
P14 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 14
their effects. In the community, the individual does not become weaker, but stronger, and the world as a whole becomes more diverse. —Malte Krasting This text is an original contribution for the program booklets of Stiftung Berliner Philharmoniker.
OBOE CONCERTO, H. 353 Bohuslav Martinů (1890–1959) Composed: 1955 Orchestration: 2 flutes, 2 clarinets, bassoon, 2 horns, trumpet, piano, strings, and solo oboe First LA Phil performances. A shepherd, Nikolio, sits on a rocky plain, playing his pipe. So opens Act 3 of Martinů’s powerful opera The Greek Passion. The intonations, using an English horn rather than the ancient shawm implied by the stage directions, are somewhat strange, the scale odd, disjointed, elusive. Martinů’s Oboe Concerto opens in the same modality after a short orchestral prelude. While the connection between these works is striking, it is hardly surprising. The Oboe Concerto was conceived at the same time Martinů was sketching out ideas for an adaptation of Nikos Kazantzakis’ searing novel Christ Recrucified (that would become The Greek Passion) after meeting with the author. As part of the project, Martinů began a detailed study of Byzantine music, and part of this spirit infuses the Oboe Concerto. That is to say, “part of,” for Martinů, like Mozart and many
others before him, has not so much a “style” but a “style of styles.” Almost immediately, following the “Byzantine” opening, we find ourselves immersed in a charming pastoral world. And the movement is by turns mysterious, agitated, charming, and even mischievous, with here and there some Baroque touches (Martinů was a huge fan of the Baroque concerto). It is astonishing how many “looks” the composer is able to sustain in a movement that is just over five minutes long. In the words of Los Angeles Philharmonic Principal Oboist and tonight’s soloist, Ryan Roberts, this reveals “the many shades of the human condition.” The composer certainly had a range of experiences to draw on: Born in a church tower high above the borderlands between Bohemia and Moravia in 1890, he fled Europe in the late 1930s to escape the Nazis, spending the war years in the United States, where he made a name for himself as a symphonist. By the date of the concerto, 1955, he had returned to Europe, where he remained until his death in 1959, a permanent exile, never returning to Czechoslovakia. During this last period, Martinů’s music could veer between Modernist experimentalism and pastoral intonations…and everything in between. The second movement, provocative and profound, reveals this trait. After an ominous orchestral introduction, leading to two mysterious horn calls, the oboe enters. Once more we are in the spirit of the
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE PROGRAM
shepherd boy, Nikolio, searching and exploring without reaching any kind of resolution. In fact, the tension increases until we get a slight respite with some of the composer’s relaxed cadences leading to another horn solo. Only toward the very end of the movement does the sun come out; and this musical language recalls one of Martinů’s most beloved and nostalgic works, the cantata Opening of the Springs, written the same year as the concerto. The finale is an astonishing conclusion. It begins in dark shades, somewhat gloomy, but quickly brightens until the oboe enters with the kind of manic energy we find in the last movement of Mozart’s Sinfonia Concertante, only to have mysterious “Nikolio” music take over the middle of the movement in an extended cadenza before the concerto bursts out again, to close with astonishing dynamism. —M.B.
CONCERTO FOR ORCHESTRA, SZ. 116 Béla Bartók (1881–1945) Composed: 1943 Orchestration: 3 flutes (3rd=piccolo), 3 oboes (3rd=English horn), 3 clarinets (3rd=bass clarinet), 3 bassoons (3rd=contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, tam-tam, triangle), 2 harps, and strings First LA Phil performance: November 28, 1946, Alfred Wallenstein conducting
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 15
At the beginning of 1943, while Béla Bartók was being treated in a New York hospital, he was visited by Serge Koussevitzky, conductor of the Boston Symphony, who—at the behest of two of Bartók’s fellow Hungarian expatriates, violinist Joseph Szigeti and conductor Fritz Reiner—came with a commission for a work in memory of his recently deceased wife, Natalie Koussevitzky. Bartók accepted and produced the Concerto for Orchestra, one of his last completed works. It was shortly after the meeting with Koussevitzky that leukemia, which was to prove fatal two years hence, was diagnosed; but the composer was kept in the dark. A wise decision, as it turned out, since during the subsequent months, he regained strength and creativity. The score was written in only two months at a health resort at Saranac Lake in Upstate New York and completed October 8, 1943. The first performance, an enormous success with audience and critics, was given by the Boston Symphony under Koussevitzky on December 1, 1944. The composer, in Boston for the premiere with his wife, the pianist Ditta Pásztory-Bartók, reported: “We went there for the rehearsals and performances— after having obtained the grudgingly granted permission of my doctor for this trip.... The performance was excellent. Koussevitzky says it is the ‘best orchestra piece of the last 25 years’ (including the works of his idol, Shostakovich!).”
Bartók provided the following brief program note for the occasion. “The general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one... The title of this symphony-like orchestral work is explained by its tendency to treat the single orchestral instruments in a concertant or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments), or in the perpetuum mobile-like passage of the principal theme in the last movement (strings), and especially in the second movement, in which pairs of instruments consecutively appear with brilliant passages.” The Concerto for Orchestra follows the palindromic form Bartók employed in his Fourth String Quartet (1928), in which the core slow middle movement is surrounded by two scherzos, which are in turn surrounded by two larger movements. Not least among the many attractions of this, the composer’s most popular orchestral work, is his splendidly achieved end of allowing each section of his hundred-headed virtuoso to shine and, finally, to exhibit his virtuosity in a spectacularly complex fugue (in the finale’s development), prior to the delectably rabble-rousing conclusion. —Herbert Glass
PERFORMANCES MAGAZINE P15
9/15/26 3:03 PM
ABOUT THE ARTISTS
SUSANNA MÄLKKI
Susanna Mälkki is a leading conductor of our time and sought-after at the highest level by symphony orchestras and opera houses worldwide. She is the Chief Conductor Emeritus of the Helsinki Philharmonic, where she served as Chief Conductor from 2016 to 2023. By invitation of Pierre Boulez, Mälkki served as Music Director of the Ensemble intercontemporain from 2006 to 2013. She was also Principal Guest Conductor with the Los Angeles Philharmonic from 2017 to 2022 and holds the prestigious position of Professor of Orchestral Conducting at the Sibelius Academy. Praised for her theatrical instinct, clarity of vision, and ability to draw vivid drama
P16 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 16
from the score, Mälkki has made opera an increasingly prominent facet of her artistry. The 2026/27 season sees her with new productions of Wagner’s The Flying Dutchman at Dutch National Opera and Rossini’s Guillaume Tell at Die Hamburgische Staatsoper as well as with a series of Wagner’s Lohengrin at Deutsche Oper Berlin. Past acclaimed productions span the world’s most prestigious stages—the Metropolitan Opera, Bayerische Staatsoper, Wiener Staatsoper, Teatro alla Scala, the Royal Opera House, Opéra national de Paris, Gran Teatre del Liceu, and the Festival d’Aix-en-Provence—with repertoire ranging from Mozart and Wagner to groundbreaking contemporary works. Her continued presence on the world’s foremost symphonic podiums remains equally distinguished. She has worked with the Berliner Philharmoniker, Symphonieorchester des Bayerischen Rundfunks, Staatskapelle Berlin, Sächsische Staatskapelle Dresden, Gewandhausorchester Leipzig, Czech Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland
Orchestra, New York Philharmonic, Philadelphia Orchestra, London Symphony Orchestra, and Seoul Philharmonic Orchestra. In the 2026/27 season, she appears with the Boston Symphony Orchestra, Los Angeles Philharmonic, London Symphony Orchestra, Helsinki Philharmonic, Les Siècles, and Ensemble intercontemporain, among others. Recognized for her significant contribution to the art form, Mälkki was awarded the high honor of Commander of the Order of the Lion of Finland in 2024, after receiving the Pro Finlandia Medal in 2011. She was appointed as Officier (2014) and Commandeur (2022) de l’Ordre des Arts et des Lettres of France and, in January 2016, was made a Chevalier of the Légion d’honneur in France. She is a Fellow of the Royal Academy of Music in London and a member of the Kungliga Musikaliska Akademien in Stockholm. In October 2016, she was named Musical America’s 2017 Conductor of the Year, and in November 2017, she was awarded the Nordic Council Music Prize. In 2024, she was awarded an honorary doctorate from Uniarts Helsinki.
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE ARTISTS
RYAN ROBERTS
Ryan Roberts was appointed Principal Oboe of the Los Angeles Philharmonic in 2025. He previously served as Solo English Horn for six seasons with the New York Philharmonic, where he was recognized as a “pillar of the ensemble” and praised for his “flawless poetry” as well as “beautiful,” “eloquent,” “exquisite,” and “alluring solo playing” by The New York Times. Roberts also served as Principal Oboe of the Festival Orchestra of Lincoln Center (formerly the Mostly Mozart Festival Orchestra) and has
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 17
performed as guest principal oboe and English horn with many of the country’s leading orchestras, including the Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Metropolitan Opera Orchestra, and National Symphony Orchestra. While in New York, Roberts was a member of the oboe faculty at the Manhattan School of Music, Bard College Conservatory of Music, and Mannes School of Music, where he also conducted the Mannes Wind Orchestra. Roberts has worked with students in the US and abroad in master classes and seminars at institutions such as The Juilliard School, San Francisco Conservatory of Music, Manhattan School of Music, the New World Symphony, Lynn University, and many others. An award-winning soloist, Roberts received first prize at the International Double Reed Society’s Young Artist Competition and the National
Society of Arts and Letters’ Woodwind Competition. He is a frequent guest artist at the Marlboro Music Festival and has toured with Musicians from Marlboro. He also performs regularly at the Rockport Music Festival and with the Gamut Bach Ensemble of the Philadelphia Chamber Music Society. His past recital engagements have included performances with the Pacifica Quartet and Emanuel Ax. Before his time in the New York Philharmonic, Roberts spent one season as a member of the New World Symphony under the direction of Michael Tilson Thomas. As a Kovner Fellow graduate of The Juilliard School, Roberts studied with Elaine Douvas and performed frequently with the Juilliard Orchestra. Roberts is also an accomplished pianist and made his concerto debut at age 11. When he isn’t busy making reeds, Roberts can be found practicing piano or surfing in Malibu and Ventura.
PERFORMANCES MAGAZINE P17
9/15/26 3:03 PM
Ludovico Einaudi Solo Piano Tour
Ludovico Einaudi, piano
FRIDAY OCTOBER 9, 2026 8PM
Moritaka Kina is chief piano technician for the Los Angeles Philharmonic. Programs and artists subject to change.
P18 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 18
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE ARTIST
LUDOVICO EINAUDI
Pianist and composer Ludovico Einaudi was born in Turin, Italy, on November 23, 1955. Perhaps it was his mother, an amateur pianist, who introduced him to music, planting the seeds for what would become an illustrious career. He began to study at the Conservatory of Turin and graduated under Azio Corghi at the Conservatory of Milan. He then studied with Luciano Berio, becoming his assistant, and with Karlheinz Stockhausen. In 1982 his talents won him a scholarship to the Tanglewood Music Festival, where he first encountered American Minimalism. Einaudi spent the next several years composing for the ballet, the cinema, and the theater, including Sul filo d’Orfeo (1984), Time Out (1988), The Wild Man (1991), and Salgari (1995), as well as numerous pieces for orchestra and ensemble, which were performed at La Scala in Milan, IRCAM in Paris, and Lincoln Center in New York. With the album Stanze (1992), a collection of 16 compositions for harpist Cecilia Chailly, Einaudi set off on “a journey towards essentiality.” But it was with Le Onde (The Waves) (1996), his first solo album, inspired by Virginia
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 19
Woolf’s novel, that he truly caught the piano world’s attention. He built on that with his next release, Eden Roc (1999), in which he played with a string quintet and duduk master Djivan Gasparyan, and I Giorni (2001), a cycle of ballads for piano inspired by a trip to Mali. The album Diario Mali, with kora master Ballaké Sissoko, blossomed from this experience. The score Einaudi wrote in 2002 for the remake of Doctor Zhivago triumphed at the New York Film Festival, confirming the increasing prestige of his soundtracks. In Una mattina (2004), Einaudi’s music became more concentrated and introspective, while in the following Divenire it expanded, driven by the sonorities of the Royal Liverpool Philharmonic Orchestra. In 2009 he released Cloudland, with Robert and Ronald Lippok, and Nightbook. In 2013 he released In a Time Lapse, a reflection on time, recorded in a monastery and “conceived as a suite or as the chapters of a single novel.” The world tour that followed featured performances at the Sydney Opera House and Arena di Verona and also the acclaimed “Piano Africain” performance, for six pianos and six balafons and marimbas. The album Elements, released in 2015, became “a map of thoughts and feelings, points, lines, shapes and fragments of an ongoing interior flow through myth, Euclid, the periodic table and Kandinsky’s writings.” In 2016 he performed his Elegy for the Arctic, commissioned by Greenpeace, on a floating platform amid the ice in the Arctic Ocean. Emerging from long winter walks in the mountains, Seven Days Walking was an ambitious and
visionary project of seven records, released monthly from March to September 2019, representing as many variations around the same imaginary route, “following the meandering creative process as in a labyrinth, among the forms denuded by the cold, in a kind of extreme essentiality.” At the same time, Einaudi resumed touring major American and European venues, including seven consecutive sold-out shows at London’s Barbican. Also in 2019, he wrote the original music for Mary Said What She Said. He was also commissioned by the Teatro Massimo in Palermo to compose the opera Winter Journey. Much of Einaudi’s musical production for the big and small screen is collected in the double album Cinema, which was released in June 2021. In the summer of 2021, Einaudi took his music back to nature, in a series of 11 concerts immersed in the breathtaking scenery of national parks, nature reserves, creeks, valleys, lakes, and pristine mountain meadows. It was the experience of suspended time during the lockdown that led to the 2022 solo piano album, Underwater. The Summer Portraits, released January 31, 2025, via Universal Records, reached the top of the Official UK Classical Album Chart in the first week after its release. In 2026, Einaudi released Solo Piano, a collection of newly recorded solo piano versions of some of the most beloved works from across his catalog. Spanning more than three decades of music, the album presents these pieces in their most intimate form, highlighting the direct relationship between composer, performer, and instrument.
PERFORMANCES MAGAZINE P19
9/15/26 3:03 PM
COLBURN CELEBRITY RECITAL
Lisa Batiashvili • Gautier Capuçon • Jean-Yves Thibaudet Lisa Batiashvili, violin Gautier Capuçon, cello Jean-Yves Thibaudet, piano
SHOSTAKOVICH
Piano Trio No. 1 in C minor, Op. 8 (c. 13 minutes)
DEBUSSY
Piano Trio in G major, L. 5 (c. 20 minutes)
WEDNESDAY OCTOBER 14, 2026 8PM
Andantino con moto allegro Scherzo–Intermezzo: Moderato con allegro Andante espressivo Finale: Appassionato
INTERMISSION DVOŘÁK
Piano Trio No. 3 in F minor, Op. 65 (c. 42 minutes)
Allegro ma non troppo Allegretto grazioso Poco adagio Finale: Allegro con brio
Please scan for more information on tonight’s program. This concert is supported by the Colburn Foundation. Moritaka Kina is chief piano technician for the Los Angeles Philharmonic. Programs and artists subject to change.
P20 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 20
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE PROGRAM
AT A GLANCE Neither Shostakovich nor Debussy were astounding prodigies in the Mozartean mold— few musicians ever were—but both displayed precocious talent and entered conservatory training early, Debussy at 10 and Shostakovich at 13. Their piano trios on this program are early works, written while the composers were still teenagers. Youthfulness has its positive spin. Do these pieces reflect contemporary student influences or redirect them? Are they loose and discursive or uninhibited by traditional formal standards?
PIANO TRIO NO. 1 IN C MINOR, OP. 8 Dmitri Shostakovich (1906–75) Composed: 1923 Shostakovich met Tatyana Glivenko in 1923, when he was 16, while recuperating from tuberculosis at a Crimean sanatorium. His sister Mariya Shostakovich, who accompanied her brother on this trip, wrote home to their mother: “Mitya [Dmitri] has grown, got a suntan, is cheerful and has fallen in love. This is now clear to me. The girl in question is a bit strange, a flirt, and I don’t like her; but then it is hard to please your sister in such matters.” Upon his return to Leningrad, Shostakovich set about writing his First Piano Trio (or Poème, as he originally titled it), which he dedicated to Tatyana. The composer continued this long-distance relationship and thought about marrying her for about 10 years, until she married someone else and had children.
Shostakovich and Debussy would develop distinctive mature styles that are foretold here, but the pleasures are not merely retrospective; expressive self-confidence is not a negligible value, and both composers already had clear ideas about their originality and direction as artists. Dvořák’s Piano Trio No. 3 was written when the composer was 41, three years after Debussy’s lone effort in the genre. It is a large and darkly dramatic work, particularly in the outer movements, that mixes emotional power with unfettered dance and great lyric beauty. —John Henken
The composer was only 17 when he wrote the trio, and it bears the signs of a student work—the rambling form, the Romantic spirit mixed with chromatic moments and piano accompaniment that recalls Impressionism, the distinct influences of Scriabin, Rachmaninoff, and Glazunov. However, there are plenty of hints in the piece of the late Shostakovich we all know, hints that did not please all of his instructors. One of Shostakovich’s professors in the conservatory expressed his displeasure with the young composer’s “obsession with the Grotesque,” a comment that Shostakovich apparently took with some satisfaction. The financial situation of the family had forced Dmitri to take a job as a pianist at a cinema, where he improvised a live piano score for the film showings. Perhaps this nighttime job influenced the form and surreal sudden changes of
mood and texture of the First Piano Trio; we cannot know for sure. What we do know is that Shostakovich, together with a couple of friends, learned the piece by performing—or rather rehearsing—it, as an accompaniment to films. In 1924, Shostakovich’s dissatisfaction with the limitations of the Leningrad Conservatory’s formal teaching methods became untenable, and he arranged an audition at the Moscow Conservatory, where he had found sympathetic musician friends. He performed some of his cello pieces and the piano trio with some colleagues who, in his own words, “played disgustingly…but the result was completely unexpected. [The school] decided to regard the Trio as my sonata-form piece, and immediately I was accepted on the free composition course.… In Leningrad they would never have accepted the Trio as my sonata-form test piece. What stupid formalists.” —Milen Kirov CONTINUED
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 21
PERFORMANCES MAGAZINE P21
9/15/26 3:03 PM
ABOUT THE PROGRAM
PIANO TRIO IN G MAJOR, L. 5 Claude Debussy (1862–1918) Composed: 1880 An accomplished pianist herself, Nadezhda von Meck is best known as the generous patron and insightful confidante of Tchaikovsky. After her husband’s death, Madame von Meck managed the business empire they had created, meddled imperiously in the lives of her 11 adult children (two others had died in childhood), and devoted her creative energy to a wide range of musical endeavors. In the summers from 1880 to 1882, the pianist in von Meck’s musical entourage was a French teenager: Claude Debussy. He taught her children piano, joined her in piano four-hand pieces, and traveled with her to France, Austria, and Italy. Debussy composed his Piano Trio in Fiesole, Italy, in 1880—“masterfully written,” as von Meck proudly informed Tchaikovsky—to play with his Meck colleagues. It was not published until 1986, however, after the autograph score was discovered in the papers of one of Debussy’s students. It bears a dedication—“lots of notes accompanied by lots of friendship”—to Émile Durand, one of Debussy’s professors at the Paris Conservatory.
P22 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 22
This Piano Trio and a Symphony in B minor, also from 1880, were his first extended works, and the youthfulness shows. Some of the shapeshifting aspects of form and the restless chromatic harmonies reveal the influence of Franck, while the exuberance of the Finale invokes Schumann at his most extroverted. But there are also clear premonitions of Debussy’s individuality and mature style, particularly in rhythmic fluidity and the sound signature of the trio’s textures and chord spacing. That is most evident in the inner movements. The episodic Scherzo–Intermezzo dances eerily, highly original in both plan and detail, but also hinting at Russian elements. The Andante espressivo sings a somber, reflective ballad, made more impactful by its restraint. —J.H.
PIANO TRIO NO. 3 IN F MINOR, OP. 65 Antonín Dvořák (1841–1904) Composed: 1883 For some reason, single works from a series are often taken as emblematic of the entire collection. Thus, Dvořák’s “Dumky” Trio (No. 4) overshadows the composer’s three other piano trios, casting
the powerful and emotional F-minor work aside as an alsoran. Too bad. It is difficult to find a commentary on this music that does not praise its eloquence in the highest terms. As the composer of solo concertos for each of the three instruments in the ensemble (two of them acclaimed masterworks, the third—for piano—not such a success), Dvořák clearly had the skill to produce an idiomatic work. What is so rewarding is the emotional honesty and intensity of feeling he delivers in this intimate yet dramatic format. In 1883, in an apparent effort to emulate the German style, Dvořák composed three movements that have a decidedly Brahmsian cast, and his natural sense of melody and structure served him well here. The recent death of the composer’s mother was surely a factor in drawing from him a richness of expression, both in the compelling Allegro ma non troppo opening movement and in the heartfelt Poco adagio. The second-movement scherzo provides moments of exuberance, but even here an element of somber resolve can be detected in the central section. The Finale (marked con brio) offers a return to the exuberant folk style for which the composer is best known and so beloved. —Dennis Bade
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
ABOUT THE ARTISTS
LISA BATIASHVILI
The Georgian-born German violinist Lisa Batiashvili is praised by audiences and fellow musicians for her virtuosity. An award-winning artist, she has developed long-standing relationships with the world’s leading orchestras, conductors, and musicians. In 2021, Batiashvili fulfilled her lifelong dream by establishing the Lisa Batiashvili Foundation (lisabatiashvili-foundation.org) through which she is dedicated to supporting young, highly talented Georgian musicians to thrive in their musical careers. Batiashvili opens the 2026/27 season at the Tsinandali Festival in Georgia with the Pan-Caucasian Youth Orchestra conducted by Gianandrea Noseda. She then brings a piece of Georgia to Germany, where she presents a variety of programs and artists as part of a residency at the Beethovenfest Bonn and in the “Georgian Spotlights” series at the Dresden Philharmonic. Moreover, she will bring her very own story to the stage in the program City Lights – Follow Your Dreams, combining live performance with video art.
BOOK I • OCTOBER 2–14
LA Phil Bk1 Prog 1026.indd 23
Her impressive discography includes Visions of Prokofiev with the Chamber Orchestra of Europe under the baton of Yannick Nézet-Séguin, which won a 2018 Opus Klassik Award and was nominated for a 2018 Gramophone Award. Earlier recordings include the concertos of Tchaikovsky and Sibelius with the Staatskapelle Berlin under Daniel Barenboim, Brahms’ Violin Concerto with the Staatskapelle Dresden and Christian Thielemann, and Shostakovich’s Violin Concerto No. 1 with the Symphonieorchester des Bayerischen Rundfunks under Esa-Pekka Salonen. In 2022, the album Secret Love Letters with Yannick NézetSéguin and The Philadelphia Orchestra was released. Batiashvili has received numerous accolades, including the International Prize of the Accademia Musicale Chigiana in 2009 and Musical America’s Instrumentalist of the Year in 2015. She was nominated as Gramophone’s Artist of the Year in 2017. In 2018, she was awarded an honorary doctorate by the Sibelius Academy of the University of the Arts Helsinki. In October 2026, she takes up a professorship at the Mozarteum University Salzburg. Lisa Batiashvili lives in Berlin and plays a Joseph Guarneri “del Gesù” from 1739, generously loaned by a private collector in Germany. For selected projects, she plays a violin by Philipp Augustin, a copy of her “del Gesù” made for her in 2026.
GAUTIER CAPUÇON
Gautier Capuçon is one of the foremost cello ambassadors of the 21st century; he is celebrated for the depth of his interpretations and his dazzling virtuosity. Alongside performing, he created the Fondation Gautier Capuçon (FGC), dedicated to supporting outstanding young musicians, which today counts 45 laureates from around the world. Capuçon works with the most renowned orchestras and conductors across the globe, recently performing with the Berliner Philharmoniker, in Berlin and on tour, opening with the Europakonzert from Esterházy Palace. He also appeared with the Vienna Philharmonic and Christian Thielemann, TonhalleOrchester Zürich with Paavo Järvi, and the hr-Sinfonieorchester with Alain Altinoglu at both the Dvořák Prague Festival’s opening concert and the George Enescu Festival in Bucharest, as only a few examples. Highlights of the 2026/27 season include a return to the BBC Proms with the BBC Symphony Orchestra and Altinoglu followed by appearances with the Singapore Symphony
PERFORMANCES MAGAZINE P23
9/15/26 3:03 PM
ABOUT THE ARTISTS
Orchestra and Vasily Petrenko, the Rundfunk-Sinfonieorchester Berlin and Mark Elder, Filarmonica della Scala and Riccardo Chailly, WDR-Sinfonieorchester and Marie Jacquot, the Sydney Symphony Orchestra and Simone Young, and the Boston Symphony Orchestra and Susanna Mälkki, among many others. This season sees Capuçon embark on major international tours with the Orchestre Philharmonique de Radio France and Jaap van Zweden, the Gewandhausorchester and Andris Nelsons, the Netherlands Philharmonic and Lorenzo Viotti, and the Orchestre de Paris with Andrés Orozco-Estrada. He also tours Europe throughout the season with Capucelli, a sevencello ensemble he founded with alumni of his Classe d’Excellence de Violoncelle and alumni of the FGC in 2015. Capuçon is an exclusive recording artist for Erato (Warner Music) whose extensive discography has earned numerous awards. A committed supporter of education, alongside the Fondation Gautier Capuçon he serves as an ambassador of Orchestre à l’École, and in 2020 he launched Un été en France, a musical journey that brought free live performances to families across the country. Born in Chambéry, Capuçon began the cello at the age of 4 with Augustin Lefèbvre, later studying in Paris with Annie Cochet-Zakine and Philippe Muller and in Vienna with Heinrich Schiff.
P24 PERFORMANCES MAGAZINE
LA Phil Bk1 Prog 1026.indd 24
JEAN-YVES THIBAUDET
Through elegant musicality and an insightful approach to 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, including numerous collaborations in film, fashion, and visual art. He is the first-ever Artist-in-Residence at the Colburn School, which awards several scholarships in his name. During the 2025/26 season, Thibaudet appeared in concerts and recitals around the world in works ranging from Gershwin’s Concerto in F to Saint-Saëns’ Piano Concerto No. 5, Bernstein’s Symphony No. 2, “The Age of Anxiety,” Scriabin’s Prometheus, and Messiaen’s Turangalîla-symphonie. A major champion of Khachaturian’s Piano Concerto, Thibaudet performed the piece with the St. Louis Symphony Orchestra and New York Philharmonic. In addition to his orchestral
dates, Thibaudet joined violinist Lisa Batiashvili and cellist Gautier Capuçon on a fall trio tour, with stops throughout Western Europe. He also continued his multiseason focus on Debussy’s Préludes, performing both books in their entirety at recitals around the world. A prolific recording artist, Thibaudet has appeared on more than 70 albums and six film soundtracks; 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. Recent recordings include Khachaturian, a celebration of the Armenian composer including his Piano Concerto and several solo piano pieces; and Gershwin Rhapsody, a selection of Gershwin pieces recorded with Michael Feinstein, including four newly discovered ones. He is the soloist on Dario Marianelli’s recently reissued soundtrack for Pride & Prejudice, which was certified Gold by the RIAA in 2025; his playing can also be heard on Marianelli’s soundtrack for Atonement, Alexandre Desplat’s for The French Dispatch and Extremely Loud & Incredibly Close, and Aaron Zigman’s for Wakefield. His concert wardrobe is designed by Dame Vivienne Westwood.
BOOK I • OCTOBER 2–14
9/15/26 3:03 PM
N Partnership that gives a life’s work
WEALTH MAN AGEMENT | BANKI NG | CAPI TAL MARKE TS © 2026 RAYMOND JAMES & ASSOCIATES, INC., MEMBER NEW YORK STOCK EXCHANGE/SIPC. © 2026 RAYMOND JAMES FINANCIAL SERVICES, INC., MEMBER FINRA/SIPC. RAYMOND JAMES BANK, MEMBER FDIC, AFFILIATED WITH RAYMOND JAMES & ASSOCIATES, INC., AND RAYMOND JAMES FINANCIAL SERVICES, INC. RAYMOND JAMES® AND POWER OF PERSONAL® ARE REGISTERED TRADEMARKS OF RAYMOND JAMES FINANCIAL, INC.
tion
LA Phil Wrap 1026.indd 25
9/15/26 10:46 AM
AD
LA Phil Wrap 1026.indd 26
9/15/26 10:46 AM
LOS ANGELES PHILHARMONIC STAFF
Kim Noltemy
PRESIDENT & CEO David C. Bohnett Presidential Chair
Paula Michea
EXECUTIVE ASSISTANT TO THE CEO
FINANCE AND INFORMATION TECHNOLOGY Glenn Briffa
CHIEF FINANCIAL OFFICER
Finance Jyoti Aaron CONTROLLER
Adriana Aguilar PAYROLL ADMINISTRATOR
Steven Cao
Janice Bartczak MARKETING, DIRECTOR, RETAIL SERVICES COMMUNICATIONS, Elias Feghali ASSOCIATE DIRECTOR, AUDIENCE AND SALES STRATEGIES AND ANALYTICS Justin Foo Nora Brady CHIEF MARKETING AND COMMUNICATIONS OFFICER
Lushia Anson
MARKETING AND COMMUNICATIONS OPERATIONS MANAGER
Brand Scott Arenstein SENIOR DIRECTOR, BRAND
Caila Gale
SENIOR DIGITAL PRODUCER
Tara Gardner SENIOR MANAGER, DIGITAL MARKETING
ACCOUNTING MANAGER
Karin Haule
VENUE OPERATIONS ACCOUNTANT
Alexis Kaneshiro
Katherine Franklin Allyson Grossa
SETTLEMENT ACCOUNTANT
Lisa Hernandez
ACCOUNTS PAYABLE MANAGER
LaTonya Lindsey
PAYROLL COORDINATOR
Yuri Park
SENIOR FINANCIAL ANALYST
Nina Phay
PAYROLL ADMINISTRATOR
Lisa Renteria
ACCOUNTS PAYABLE SPECIALIST
Sierra Shultz STAFF ACCOUNTANT
Robert Siegel SENIOR ACCOUNTANT
Information Technology Michael Chang
DATABASE ADMINISTRATOR
Kevin Higa
CLOUD INFRASTRUCTURE ENGINEER
Dean Hughes SYSTEM SUPPORT III
Charles Koo
INFRASTRUCTURE MANAGER
Jeff Matchan
DIRECTOR, INFORMATION TECHNOLOGY
Sergio Menendez SYSTEM SUPPORT I
Edward Mesina
INFRASTRUCTURE ENGINEER, INFORMATION TECHNOLOGY
Angela Morrell TESSITURA SUPPORT
Marius Olteanu
IT SUPPORT ENG I, INFORMATION TECHNOLOGY
Sean Pinto
DATABASE APPLICATIONS MANAGER
Miguel Ponce SYSTEM SUPPORT I
Kahler Suzuki
SENIOR VIDEO PRODUCER VIDEO PRODUCER
SENIOR PROJECT MANAGER, CREATIVE SERVICES
Communications Amanda Angel
STORE MANAGER, RETAIL SERVICES
Jonathan Thomas MARKETING DATABASE SPECIALIST
Piper Starnes CREATIVE COPYWRITER
Marketing and Partnerships Micaela Accardi-Krown
AUDIENCE SERVICES MANAGER
Karen O’Sullivan REPRESENTATIVE
Christopher Selland PATRON SERVICES REPRESENTATIVE
Eden Vancil-Palomino REPRESENTATIVE
Rachael Zambias Walt Disney Concert Hall Box Office Alejandra Depaz
Charles Carroll
MANAGER, DIRECT MARKETING
Kevine Galvan Ecliserio-Velez MANAGER, PROMOTIONS AND PARTNERSHIPS
Jennifer Hoffner
ASSOCIATE DIRECTOR, ADVERTISING
Jediah McCourt MANAGER, CORPORATE PARTNERSHIPS
Amy Meros
Meredith Reese
MARKETING MANAGER
Erin Puckett
Andrew Radden DIRECTOR, CORPORATE PARTNERSHIPS
TICKET SELLER
Christy Galasso 1ST ASSISTANT TREASURER
Adam Galvez TICKET SELLER
Veronika Garcia 1ST ASSISTANT TREASURER
Amy Lackow
2ND ASSISTANT TREASURER
Elia Luna
2ND ASSISTANT TREASURER
Page Messerly TREASURER
Ariana Morales 1ST ASSISTANT TREASURER
Carolina Orellana 2ND ASSISTANT TREASURER
Cathy Ramos
LEGAL Mona Patel
Rochell Rotenberg
Stephanie Bates
Sales and Customer John Tadena TICKET SELLER Experience Carlie Tomasulo Joe Carter
GENERAL COUNSEL
CONTRACTS & RISK MANAGEMENT ADMINISTRATOR
Aly Zacharias DIRECTOR, LEGAL
SENIOR MANAGER, CORPORATE PARTNERSHIPS
TICKET SELLER
Elias Santos
2ND ASSISTANT TREASURER
VICE PRESIDENT, SALES AND CUSTOMER EXPERIENCE
2ND ASSISTANT TREASURER
OPERATIONS ADMINISTRATOR
Michelle Mountain
Megan Ly-Lim
Taylor Lockwood
Andrea Perez-Rulfo
Tom Waldron
Kimberly Mitchell
Claire Pomeroy
Cameron Pieratt
Carina Sanchez
Media Initiatives Jessica Farber
Christopher Slaughter
Marie Santana
Jon Thompson
Dustin Seo
Bill Williams
Rochelle Siegrist
SENIOR COORDINATOR, ANNUAL GIVING
REPRESENTATIVE
Dreima Flores
Tina Kane
PRODUCTION ADMINISTRATOR
PATRON SERVICES REPRESENTATIVE
TRANSIT/TRAFFIC MANAGER
Mark Ladd
Ryan Chollet
PRODUCTION MANAGER
PATRON SERVICES MANAGER
Hollywood Bowl Steve Arredondo
Gisela Morales
DIRECTOR, BOARD PHILANTHROPY
PHILANTHROPIC ENGAGEMENT OFFICER
REPRESENTATIVE
ASSOCIATE DIRECTOR OF OPERATIONS & LOGISTICS
Norm Kinard
VICE PRESIDENT, PRODUCTION AND PRODUCING DIRECTOR
ASSISTANT MANAGER, SPECIAL EVENTS
Luis Gaitan
Gina Leoni
Allison Mitchell
MANAGER, ANNUAL GIVING
ASSOCIATE DIRECTOR, PRODUCTION
REPRESENTATIVE
COORDINATOR, THE FORD
Emilia House
Production Michael Vitale
MANAGER, DONOR RELATIONS
ASSOCIATE DIRECTOR, RESEARCH
Jacquie Ferger
Gaby Hernandez
Chandler Martin
MANAGER, ORCHESTRA PERSONNEL
ASSOCIATE TECHNICAL DIRECTOR
SUPERVISOR
DIRECTOR OF THE FORD
Sienna Garcia
Maren Slaughter
DONOR RELATIONS ASSOCIATE
Diego De La Torre
SENIOR MANAGER, SOCIAL MEDIA SENIOR DIRECTOR, MARKETING & PARTNERSHIPS
DIRECTOR, ANNUAL GIVING
The Ford Chelo Montoya
Christina Magaña
DIRECTOR, ORCHESTRA MANAGEMENT
ASSOCIATE DIRECTOR, PRODUCTION
SUPERVISOR
SOCIAL MEDIA MANAGER
Lisa Burlingham
MANAGER, INSTITUTIONAL GIVING
Orchestra Management Emily Lair SENIOR PHILANTHROPIC Lila Atchison ENGAGEMENT OFFICER MANAGER, ORCHESTRA PERSONNEL Shannon Larner Shana Bey
ASSOCIATE DIRECTOR, ANNUAL GIVING
AUDIENCE SERVICES SUPERVISOR
Mary Allen
Julian Kehs
PRODUCTION MANAGER
Brendan Broms
Rosa Ochoa
CREATIVE COPYWRITER
SENIOR PHILANTHROPIC ENGAGEMENT OFFICER
DIRECTOR, SPECIAL EVENTS
Anna Ress
Sadie Sartini Garner
Gerry Heise
SCHEDULING MANAGER
Bill Minor
SENIOR DIRECTOR, COMMUNICATIONS
MANAGER, AFFILIATES & VOLUNTEER ENGAGEMENT
PATRON/AUDIENCE SERVICES REPRESENTATIVE
Leah Price
DIRECTOR, PUBLIC RELATIONS
VICE PRESIDENT, CAPITAL PROJECTS
Angelina Grego
PRODUCTION MANAGER
Jennifer Hugus
PUBLICIST
Laura Connelly
DIRECTOR, GIFT PLANNING
REPRESENTATIVE
Linda Holloway
Lev Mamuya
CHIEF OPERATING OFFICER
Genevieve Goetz
SENIOR PHILANTHROPIC ENGAGEMENT OFFICER
EDITORIAL SPECIALIST
Tess Carges
Chris Prince SENIOR MANAGER, INFORMATION TECHNOLOGY
Kevin Nam
DIRECTOR, EDITORIAL
PROMOTIONS AND PARTNERSHIPS COORDINATOR
TESSITURA SUPPORT
SENIOR OPERATIONS MANAGER, RETAIL SERVICES
Alex Blangozian
Lauren Winn
Kristine Nichols
Yuko Makuuchi
SENIOR CREATIVE DIRECTOR
Natalie Suarez
FINANCIAL PLANNING MANAGER PAYROLL MANAGER
MANAGER, AUDIENCE GROWTH AND ENGAGEMENT
ART DIRECTOR
Noah Tingen
Luz Myrick
Jordan Kauffman
Audience/ Patron Services Denise Alfred
SENIOR DESIGNER
ACCOUNTS PAYABLE COORDINATOR
Debbie Marcelo
DIRECTOR, SALES AND CUSTOMER ENGAGEMENT
ORCHESTRA, OPERATIONS, AND PRODUCTION Daniel Song
Peter Szumlas ASSOCIATE DIRECTOR,
PEOPLE AND CULTURE PHILANTHROPY OPERATIONS Tyler Teich Emanuel Maxwell SENIOR GIFT AND DATA SPECIALIST CHIEF PEOPLE OFFICER Derek Traub Bessy Arizmendi BENEFITS AND OPERATIONS MANAGER
Amber Blanco
SR. PEOPLE AND CULTURE BUSINESS PARTNER
Katie Kromelow
OFFICE MANAGER/RECEPTIONIST
Monica Ly
PEOPLE AND CULTURE BUSINESS PARTNER
Andrew Moreno
ASSISTANT, OFFICE SERVICES
Bryan Namba
SR. PEOPLE AND CULTURE BUSINESS PARTNER
PHILANTHROPY Mitch Bassion
CHIEF PHILANTHROPY OFFICER
Sara Kim
VICE PRESIDENT, PHILANTHROPY
Annalise Aguirre
PHILANTHROPIC ENGAGEMENT OFFICER
Marcella Ribeiro Akop COORDINATOR, PHILANTHROPIC ENGAGEMENT
Robert Albini
DIRECTOR, PHILANTHROPIC ENGAGEMENT
Joshua Alvarenga ASSOCIATE DIRECTOR, PHILANTHROPIC ENGAGEMENT
MANAGER, PHILANTHROPY COMMUNICATIONS
Hanh Walker
SENIOR MANAGER, ANNUAL GIVING
Morgan Walton
ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT
PROGRAMMING, HOLLYWOOD BOWL, AND THE FORD Johanna Rees VICE PRESIDENT, PROGRAMMING AND CREATIVE PARTNERSHIPS
Kelvin Vu
VICE PRESIDENT, VENUE OPERATIONS
Linda Diaz
PROGRAMMING AND VENUE OPERATIONS EXECUTIVE ASSISTANT
Programming Alan J. Benson
SENIOR RESEARCH ANALYST
Elan Fields
ASSISTANT MANAGER, PHILANTHROPY OPERATIONS
Fabian Fuertes GIFT PLANNING OFFICER
Luke Gay
ASSOCIATE DIRECTOR, MEDIA INITIATIVES
Raymond Horwitz PROJECT MANAGER, MEDIA INITIATIVES
STRATEGIC INITIATIVES AND ENGAGEMENT Summer Bjork CHIEF STRATEGY OFFICER
Kevin Ma
ASSOCIATE DIRECTOR, STRATEGIC INITIATIVES
Community and Government Engagement Cynthia Fuentes
VICE PRESIDENT, COMMUNITY AND GOVERNMENT ENGAGEMENT
Jackelinne Rodriguez ASSISTANT MANAGER, COMMUNITY AND GOVERNMENT ENGAGEMENT
Learning Camille Delaney-McNeil
VICE PRESIDENT, LEARNING
Juan Guzman
SENIOR PROGRAM COORDINATOR, YOLA AT GRIFFITH
Lorenzo Johnson
DIRECTOR OF PROGRAMS AND INSTRUCTIONAL PARTNERSHIPS
Sarah Little
Brian Grohl
SENIOR DIRECTOR, LEARNING AND OPERATIONS
ASSOCIATE DIRECTOR, PROGRAMMING
Ljiljana Grubisic
ARCHIVES AND MUSEUM DIRECTOR
Rafael Marino
Joel Fernandez
ASSOCIATE DIRECTOR, OPERATIONS
MANAGER, LEARNING
Michelle Carrasquillo DIRECTOR, INSTITUTIONAL GIVING
EVENT MANAGER
Mariam Kaddoura
Casey Lewis
Julia Cole
DIRECTOR, OPERATIONS/ HOLLYWOOD BOWL
ARTISTIC ADMINISTRATOR
Eun Lee
DATABASE MANAGER, PHILANTHROPY OPERATIONS
PARKING MANAGER
Kristen Flock-Ritchie
Abigail Butts
SENIOR GIFT PLANNING OFFICER
EVENT MANAGER
SENIOR DIRECTOR, PROGRAMMING
Scott Busiel
DIRECTOR, STEWARDSHIP
PARKING AND TRAFFIC ASSISTANT
PROGRAMMING MANAGER, ORCHESTRAL
Diana Melgar PROGRAM OUTCOME MANAGER, YOLA
Karla Melgar PROGRAM MANAGER, YOLA AT GRIFFITH
SETTLEMENT AND VISA SPECIALIST
Michael Salas
SENIOR PROGRAM MANAGER
Gaudy Sanchez
CREATIVE PRODUCER
LaPorsha Smith
Mark McNeill
SENIOR ARTISTIC MANAGER, YOLA YOLA ARTISTIC DIRECTOR PROGRAM MANAGER, YOLA AT INGLEWOOD
Ray Melencio PROGRAM MANAGER
Julie West
Julia Ward
SENIOR DIRECTOR, PROGRAMMING
Stephanie Yoon
MANAGER, ARTIST SERVICES
Rebeca Zepeda
FACILITIES MANAGER, BECKMEN YOLA CENTER
Miles Williams
SENIOR PROGRAM COORDINATOR, YOLA AT INGLEWOOD
ASSISTANT TO THE MUSIC AND ARTISTIC DIRECTOR
SENIOR DIRECTOR, PHILANTHROPY
The Philharmonic Box Office and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers. PERFORMANCES MAGAZINE 27
LA Phil Wrap 1026.indd 27
9/16/26 4:07 PM
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.
28 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 28
9/15/26 10:46 AM
Consider This Your Next Act Life unfolds with elegance and curiosity at Villa Gardens, where Pasadena’s spirit of culture and conversation is never far from home. Evenings at the theater and dinners that invite conversation shape each day. It’s a community of thoughtful, engaged individuals, who see living well as an art. Explore your options. (626) 463-5300 villagardens.org
License 197602345 COA 195
Independent Living • Assisted Living • Memory Care
LA Phil Wrap 1026.indd 29
9/15/26 10:46 AM
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 August 30, 2026. $25,000,000 AND ABOVE
$1,000,000 TO $2,499,999
Walt and Lilly Disney Foundation Cecilia and Dudley Rauch
Linda and Robert Attiyeh Judith and Thomas Beckmen Gordon Binder and Adele Haggarty $20,000,000 TO Helen and Peter Bing William H. Brady, III $24,999,999 Linda and David Bohnett Maynard Brittan Foundation Richard and Norma Camp Mr. and Mrs. $10,000,000 Michael J. Connell TO $19,999,999 Mark Houston Dalzell and James Anonymous Dao-Dalzell The Annenberg Mari L. Danihel Foundation Nancy and Carol Colburn Grigor Donald de Brier Dunard Fund USA The Rafael & Luisa Lenore S. and Bernard de Marchena-Huyke A. Greenberg Fund Foundation The Walt Disney Company $5,000,000 Fairchild-Martindale TO $9,999,999 Foundation Eris and Larry Field Anonymous Max H. Gluck Terri and Jerry M. Kohl Foundation Los Angeles Philharmonic Affiliates Reese and Doris Gothie Joan and Diane and Ron Miller John Hotchkis Charitable Fund Janeway Foundation M. David and Bernice and Diane Paul Wendell Jeffrey Ann and Robert Ronus Julia Kalmus and Ronus Foundation Abe Lillard John and Carrie and Samantha Williams Stuart Ketchum Kenneth N. and Doreen R. Klee $2,500,000 B. Allen and TO $4,999,999 Dorothy Lay Peggy Bergmann YOLA Los Angeles Philharmonic Endowment Fund in Committee Memory of Lenore Estate of Judith Lynne Bergmann and John Maddocks-Brown Elmer Bergmann Foundation Lynn Booth/The Otis Ginny Mancini Booth Foundation Raulee Marcus Elaine and Bram Barbara and Goldsmith Buzz McCoy Norman and Sadie Lee Foundation Merle and Peter Mullin William Powers and Karl H. Loring Carolyn Powers Alfred E. Mann Koni and Geoff Rich Elise Mudd H. Russell Smith Marvin Trust Foundation Barbara and Jay and Deanie Stein Jay Rasulo Foundation Trust Flora L. Thornton Ronald and Valerie Sugar I.H. Sutnick
$500,000 TO $999,999 Ann and Martin Albert Abbott Brown Mr. George L. Cassat Kathleen and Jerrold L. Eberhardt Valerie Franklin Yvonne and Gordon Hessler Barbara Leidenfrost Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Nancy and Barry Sanders Kenneth D. Sanson Richard and Bradley Seeley Christian Stracke Donna Swayze Judy Ungar and Adrienne Fritz Lee and Hope Landis Warner YOLA Student Fund Edna Weiss
$250,000 TO $499,999 Nancy and Leslie Abell Mr. Gregory A. Adams Baker Family Trust Kawanna and Jay Brown Leah Danberg Veronica and Robert Egelston Gordon Family Foundation Ms. Kay Harland Joan Green Harris Trust Bud and Barbara Hellman Bill and Ratna Jones Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman Mr. Kevin MacCarthy and Ms. Lauren Lexton Alfred E. Mann Charities Glenn Miya and Steven Llanusa Jane and Marc B. Nathanson Miguel A. Navarro Y & S Nazarian Family Foundation Nancy and Sidney Petersen Rice Family Foundation Robert Robinson Stacey Schuman
Katharine and Thomas Stoever Sue Tsao Tom and Janet Unterman Alyce and Warren Williamson
$100,000 TO $249,999 Mr. Robert J. Abernethy William A. Allison Rachel and Lee Ault W. Lee Bailey, M.D. Angela Bardowell Deborah Borda The Eli and Edythe Broad Foundation Jane Carruthers Pei-yuan Chia and Katherine Shen James and Paula Coburn Foundation The Geraldine P. Coombs Trust in memory of Gerie P. Coombs Mr. and Mrs. Terry Cox Silvia and Kevin Dretzka Allan and Diane Eisenman Christine and Daniel Ewell Diane Futterman Arnold Gilberg, M.D., Ph.D. David and Paige Glickman Nicholas T. Goldsborough Gonda Family Foundation Margaret Grauman Kathryn Kert Green and Mark Green Freya and Mark Ivener Ruth Jacobson Estate of Mary Calfas Janos Stephen A. Kanter, M.D. Jo Ann and Charles Kaplan Yates Keir Susanne and Paul Kester Vicki King Sylvia Kunin Ann and Edward Leibon Ellen and Mark Lipson Ms. Gloria Lothrop Vicki and Kerry McCluggage Heidi and Steve McLean in memory of Katharine Lamb David and Margaret Mgrublian Diane and Leon Morton Mary Pickford Foundation Sally and Frank Raab Mr. David Sanders Malcolm Schneer and Cathy Liu
David and Linda Shaheen Foundation William E.B. and Laura K. Siart Terence Van Vliet and Jan Keller Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna and James W. Manns
$25,000 TO $99,999 Mr. and Mrs. Karl J. Abert Marie Baier Foundation Dr. Richard Bardowell, M.D. Jacqueline Briskin Dona Burrell Ying Cai & Wann S. Lee Foundation Ann and Tony Cannon Juan Carrillo and Dominique Mielle Dee and Robert E. Cody The Colburn Fund Margaret Sheehy Collins Mr. Allen Don Cornelsen Ginny and John Cushman Marilyn J. Dale Mrs. Barbara A. Davis Dr. and Mrs. Roger DeBard Jennifer and Royce Diener Jane B. and Michael D. Eisner The Englekirk Family Claudia and Mark Foster Lillian and Stephen Frank Margaret E. Gascoigne Dr. Suzanne Gemmell Paul and Florence Glaser Good Works Foundation Anne Heineman Ann and Jean Horton Drs. Judith and Herbert Hyman Albert E. and Nancy C. Jenkins Robert Jesberg and Michael J. Carmody William Johnson and Daniel Meeks Ms. Ann L. Kligman Sandra Krause and William Fitzgerald Michael and Emily Laskin B. and Lonis Liverman Sarah and Ira R. Manson
Carole McCormac Meitus Marital Trust Sharyl and Rafael Mendez, M.D. John Millard Alfred and Arlene Noreen Occidental Petroleum Corporation Dr. M. Lee Pearce Lois Rosen Anne and James Rothenberg Donald Tracy Rumford Family Trust The SahanDaywi Foundation Mrs. Nancie Schneider William and Luiginia Sheridan Virginia Skinner Living Trust Nancy and Richard Spelke Mary H. Statham Ms. Fran H. Tuchman Rhio H. Weir Mrs. Joseph F. Westheimer Jean Willingham Winnick Family Foundation Cheryl and Peter Ziegler Lynn and Roger Zino
LA PHIL MUSICIANS Anonymous Kenneth Bonebrake Nancy and Martin Chalifour Brian Drake Perry Dreiman Barry Gold Christopher Hanulik John Hayhurst Jory and Selina Herman Ingrid Hutman Andrew Lowy Gloria Lum Joanne Pearce Martin Kazue Asawa McGregor Oscar and Diane Meza Mitchell Newman Peter Rofé Meredith Snow and Mark Zimoski Barry Socher Paul Stein Leticia Oaks Strong Lyndon and Beth Johnston Taylor Dennis Trembly Allison and Jim Wilt Suli Xue
We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.
30 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 30
9/15/26 10:46 AM
Akhnate
Mu to
To lea with 213-9
Akhnaten; photo by Cory Weaver | LA Opera
Music Center Foundation was established in 1973 by Dorothy Chandler to provide endowment support for the performing arts in Los Angeles. By making a gift through the Foundation, you can support performances that thread our community together.
To learn more about how to leave a lasting legacy with Music Center Foundation, contact our team: 213-972-8046, support@musiccenterfoundation.org
LA Phil Wrap 1026.indd 31
For more information on Music Center Foundation musiccenterfoundation.org
9/15/26 10:46 AM
ANNUAL DONORS
A
Annual Donors
O
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 August 1, 2025, and July 31, 2026. $1,000,000 AND ABOVE Anonymous (2)
Dunard Fund USA
Terri and Jerry M. Kohl
$500,000 TO $999,999 Anonymous Ballmer Group
Judith and Thomas L. Beckmen The Eisner Foundation
Max H. Gluck Foundation Jennifer Miller Goff
Anne Akiko Meyers and Jason Subotky
Music Center Foundation
Pasadena Showcase House for the Arts
Tylie Jones Kaiser Permanente Julia Kalmus and Abe Lillard Ms. Ursula C. Krummel Daniel R. Lewis
Los Angeles County Metropolitan Transit Authority Ms. Irene Mecchi John Mohme Foundation M. David and Diane Paul
The Rauch Family Foundation Koni and Geoff Rich Maria Seferian Elizabeth and Henry T. Segerstrom Linda and David Shaheen
Jay and Deanie Stein Christian Stracke
GRoW @ Annenberg Foundation The José Iturbi Foundation Winnie Kho and Chris Testa Philip Lieberman and Lori Miller Los Angeles Philharmonic Affiliates County of Los Angeles
Alfred E. Mann Charities Michael and Lori Milken Family Foundation Maureen and Stanley Moore The Music Man Foundation The Ralph M. Parsons Foundation Ms. Linda L. Pierce
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation Rosenthal Family Foundation James and Laura Rosenwald/Orinoco Foundation Katy and Michael S. Saei
John Sinnema and Laura Sinnema Joanne Ten Brink David William Upham Foundation Alyce de Roulet Williamson Ellen and Arnold Zetcher
Faye Greenberg and David Lawrence Ms. Susanne H. Goldstein The Hillenburg Family Barbara and Amos Hostetter Frank Hu and Vikki Sung Rif and Bridget Hutton Monique and Jonathan Kagan Linda and Donald Kaplan Tobe and Greg Karns W.M. Keck Foundation Darioush and Shahpar Khaledi
Dr. Ralph A. Korpman Mr. and Mrs. Keith Landenberger The Norman and Sadie Lee Foundation Los Angeles County Department of Arts and Culture Roger Lustberg and Cheryl Petersen Linda May and Jack Suzar Elizabeth McCoy Chen Peninsula Committee Ross Endowment Fund Bill and Amy Roth
San Marino-Pasadena Philharmonic Committee Richard and Diane Schirtzer Stacey Schuman Stacy Shirk Audre Slater Foundation Smidt Family Foundation Trust Sony Pictures Entertainment, Inc. Marilyn and Eugene Stein Lisa and Wayne Stelmar
Ronald and Valerie Sugar Cecilia Terasaki Megan Watanabe and Hideya Terashima Sue Tsao Michael Tyler Bob and Michelle Valentine Mr. Alex Weingarten John and Marilyn Wells Family Foundation Margo and Irwin Winkler Debra Wong Yang and John W. Spiegel Ms. Marilyn Ziering
Jill Black Zalben Tracey BoldemannTatkin and Stan Tatkin The Otis Booth Foundation
Dorothy and Leo Braudy Brooks-Garnett Family Philippe Browning Michele Brustin
Gail Buchalter and Warren Breslow Thy Bui Steven and Lori Bush
Business and Professional Committee Ying Cai & Wann S. Lee Foundation
$200,000 TO $499,999 Anonymous (5) R. Martin Chavez Louise and Brad Edgerton/Edgerton Foundation Lisa Field/Robyn Field and Anthony O’Carroll
Mary D. Fisher and David Kessler Gordon P. Getty Lenore S. and Bernard A. Greenberg Fund The Hernandez-Stark Family
$100,000 TO $199,999 Anonymous Nancy and Leslie Abell Mr. Gregory A. Adams The Blue Ribbon Kawanna and Jay Brown Bobby Campbell and J. Robert Garcia Canon Insurance Service
Michael J. Connell Foundation Nancy and Donald de Brier De Marchena-Huyke Foundation The Field Family Foundation Alexandra S. Glickman and Gayle Whittemore Lori Greene Gordon
$50,000 TO $99,999 Anonymous (6) The Herb Alpert Foundation Amazon Ms. Kate Angelo and Mr. Francois Mobasser Linda and Phil Becker Jr. The Eli and Edythe Broad Foundation California Community Foundation Mr. Richard W. Colburn Becca and Jonathan Congdon
The Rafael & Luisa de Marchena-Huyke Foundation Joseph Drown Foundation Kathleen and Jerry L. Eberhardt Dr. Paul and Patti Eisenberg Jane B. and Michael D. Eisner Mr. James Gleason Goldman Sachs & Co. LLC Greater Los Angeles Education Foundation David Greenbaum
$25,000 TO $49,999 Anonymous (8) Mr. Robert J. Abernethy Tichina Arnold Patricia Artigas
Karen Barragan Dr. William Benbassat Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr.
32 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 32
Continued on page 34
9/15/26 10:46 AM
N
A NEW SEASON OPENS WITH A
NEW PRODUCTION CONDUCTED BY LAO’s NEW MUSIC DIRECTOR
DOMINGO HINDOYAN
BIZET’S
CHRISTOPHER KOELSCH SEBASTIAN PAUL AND MARYBELLE MUSCO PRESIDENT AND CHIEF EXECUTIVE OFFICER
DOMINGO HINDOYAN RICHARD SEAVER MUSIC DIRECTOR
LA Phil Wrap 1026.indd 33
OPENS OCT 17
GET TIC KETS NOW!
LAOpera.org • 213.972.8001
9/15/26 10:46 AM
ANNUAL DONORS
Esther S.M. Chui Chao and Andrea Chao-Kharma Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. and Mrs. Robert Cook Katherine d’Arbeloff Lynette and Michael C. Davis Orna and David Delrahim The Walt Disney Company Mr. Lawrence Doyle and Dr. LuAnn Wilkerson James and Andrea Drollinger Van and Francine Durrer Dr. and Mrs. William M. Duxler East West Bank Michael Edelstein 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 Julio Frenk and Felicia Knaul Drs. Jessie and Steven Galson
Mr. and Mrs. Ronald Gertz The Rosalinde and Arthur Gilbert Foundation Stephen and Renee Gingold and Susan Rogers Robert and Lori Goodman Peter and Elizabeth Goulds, L.A. Louver Gallery The Green Foundation Renée and Paul Haas Ms. Marian L. Hall Laurie and Chris Harbert and Family Sam Harris Margaret Klinkow Hartmann and Thomas Hartmann Lynette Maria Carlucci Hayde Madeleine Heil and Sean Petersen Donna and Walter Helm Diane Henderson, M.D. Jackson N. Henry Yvonne Hessler Mr. Philip Hettema Marion and Tod Hindin David G. Hitlin and Martha Slagerman Mr. Tyler Holcomb David Z. & Young O. Hong Family Foundation
Thomas Dubois Hormel Foundation David and Michelle Horowitz Mr. and Mrs. Daniel Paul Horwitz Jim and Joanne Hunter Meredith Jackson and Jan Voboril Robin and Gary Jacobs Stephen and Carol Jones Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Terri and Michael Kaplan Hollee and Rizwan Kassim Paul Kester Shekhar and Rajani Khare Elizabeth Kolawa Delores M. Komar and Susan M. Wolford Mr. and Mrs. Howard A. Krom The Laufey Foundation Leaves of Grass Fund Mahnaz and David Lee Ms. Agnes Lew Simon and June Li Karen and Clark Linstone Live Nation-Hewitt Silva Concerts, LLC Ms. Judith W. Locke
Los Angeles Philharmonic Committee Bethany Lukitsch and Bart Nelson Renee and Meyer Luskin The Seth MacFarlane Foundation The Mailman Foundation Malibu Music Mrs. Beverly C. Marksbury Ms. Kim McCarthy and Mr. Ben Cheng Dwayne and Eileen McKenzie Heidi and Steve McLean Mrs. Judith S. Mishkin Mr. Brian R. Morrow Ms. Christine Muller and Mr. John Swanson Molly Munger and Stephen English Deena and Edward Nahmias Jose and Kathleen Nazar Anthony and Olivia Neece Mr. and Mrs. Randy Newman Shelby Notkin and Teresita Tinajero Estate of Robert W. Olsen Tye Ouzounian
Mr. Ralph Page and Patty Lesh Bruce and Aulana Peters Mr. Dennis Poulsen Gregory Pickert and Beth Price Sandy and Barry D. Pressman Madeline and Bruce Ramer Dr. Charles John Rennie, III Cathleen and Scott Richland John Peter Robinson and Denise Hudson Mr. Bennett Rosenthal Linda and Tony Rubin The Ruby Family Ann M. Ryder Mr. Lee C. Samson Ellen and Richard Sandler Neil Selman and Cynthia Chapman Mr. Steven Shapiro Nina Shaw and Wallace Little Howard and Stephanie Sherwood Melanie and Harold Snedcof Randy and Susan Snyder Terry and Karey Spidell Stein Family Fund Judie Stein
Zenia Stept and Zcelininat Hutcherson James C. Stewart Charitable Foundation Dwight Stuart Youth Fund Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson Charles Edward Uhlmann Tom and Janet Unterman Carol and Andrew Valdivia Vhernier USA LLC Jennifer and Dr. Ken Waltzer Walter and Shirley Wang Debra and John Warfel Mindy and David Weiner Shannon & Kirk Wickstrom and Erin Hearst Mr. William Wilbur Jenny Williams Libby Wilson, M.D. Alana L. Wray Lynn and Roger Zino Zolla Family Foundation
Mr. and Mrs. Josh Friedman Gary and Cindy Frischling Beth Gertmenian Leslie and Cliff Gilbert-Lurie Carrie and Rob Glicksteen Mr. and Mrs. Louis L. Gonda Kate Good Goodman Family Foundation The Gorfaine/ Schwartz Agency Diane and Peter H. Gray Marnie and Dan Gruen Mr. and Mrs. Paul Guerin Vicken and Susan J. Haleblian Drs. Susan Hammar and Rick Harrison Don Hannah The Harding-Huth Family Harman Family Foundation Paul Hastings LLP Erin W. Hearst Stephen D. Henry and Rudy M. Oclaray
The Ernest G. Herman Foundation Ms. Julia Huang Terry Huang Deedie and Tom Hudnut Harry and Judy Isaacs Mr. Gregory Jackson and Mrs. Lenora Jackson Meg and Bahram Jalali Robin and Craig Justice Sandi and Kevin Kayse Sharon Kerson Vicki King Larry and Lisa Kohorn Naomi and Fred Kurata Craig Kwiatkowski and Oren Rosenthal Joey Lee Shireen Lee Allyn and Jeffrey L. Levine Dr. Stuart Levine and Dr. Donna Richey Jonathan and Nancy Littman Mr. Steven Llanusa and Dr. Glenn Miya Anita Lorber Mr. and Mrs. John V. Mallory
Andrew W. Marlowe and Terri Edda Miller Leslie and Ray Mathiasen Jonathan and Delia Matz Cathy McMullen Mr. and Mrs. David Meline David and Margaret Mgrublian Marcy Miller Mr. Weston F. Milliken Mr. John Monahan The Morad Family Lauren and Eric Muhlheim John Nagler Ms. Kari Nakama Mr. and Mrs. Dan Napier NBCUniversal Therese Nery Dick and Chris Newman / C & R Newman Family Foundation Laura Owens Andy S. Park Ms. Debra Pelton and Mr. Jon Johannessen Nancy and Glenn Pittson Mr. and Mrs. Arnold Porath
Mark Proksch and Amelie Gillette Eduardo Repetto and Carla Figueroa Robert Robinson Murphy and Ed Romano and Family Richard Ross and Kristina Lerman Mimi Rotter Ron and Melissa Sanders Alexander and Mariette Sawchuk Dena and Irv Schechter/The Hyman Levine Family Foundation: L’DOR V’DOR Evy and Fred Scholder Family Samantha and Marc Sedaka Murat Sehidoglu In Memory of Joan and Arnold Seidel Marc Seltzer and Christina Snyder Mr. James J. Sepe Ava Shamban Julie and Bradley Shames Jill and Neil Sheffield Lauren Shuler Donner
Anonymous (4) Drew and Susan Adams Honorable and Mrs. Richard Adler Camilo Esteban Becdach Phyllis and Sandy Beim Joni and Miles Benickes Suzette and Monroe Berkman Ms. Gail K. Bernstein Josh and Jeanie Bertman Robert and Joan Blackman Family Foundation Mr. Ronald H. Bloom David Bohnett Foundation Lynn A. Booth Mr. and Mrs. Wade Bourne Ms. Janet Braun Jennifer Broder and Soham Patel California Community Foundation Campagna Family Trust Michelle Carpenter and Matthew Macdonald
Chevron Products Company Sarah and Roger Chrisman The Larison Clark Trust Mr. and Mrs. V. Shannon Clyne Mr. Garrett Collins and Mr. Matthew McIntyre Faith and Jonathan Cookler Cary Davidson and Andrew Ogilvie Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Malsi and Johnny Doyle 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.
34 PERFORMANCES MAGAZINE
Photography by Jeff Lorch
$15,000 TO $24,999
Continued on page 36
wallis26_Ra LA Phil Wrap 1026.indd 34
9/15/26 10:46 AM
THE WALLIS IN ASSOCIATION WITH
SCOTT PRISAND | ROB KOLSON | WILLETTE KLAUSNER | MARGOT ASTRACHAN | SEAN CERCONE PRESENT
WRITTEN BY
MICHÈLE ALDIN KUSHNER DIRECTED BY
KIMBERLY SENIOR STARRING
Photography by Jeff Lorch
JOEY MCINTYRE LESLI MARGHERITA CALLAN FARRIS MEERA SIMHAN
THE COURAGE TO REACH FOR THE STARS EVEN WHEN LOVE PULLS YOU BACK DOWN TO EARTH. NOVEMBER 6-22, 2026 GET YOUR TICKETS!
THEWALLIS.ORG
wallis26_RadioGalaxy_Performances_F.indd 1 LA Phil Wrap 1026.indd 35
9/3/26 4:05 PM 9/15/26 10:46 AM
N
ANNUAL DONORS
Mr. and Mrs. Leonard Unger Charles Urban Arnold Urquidez and Martha Shen-Urquidez Jack VanAken and Kathy Marsailes Noralisa Villarreal and John Matthew Trott
Frank Wagner and Angela White Lynn O’Hearn Wagner Willkie Farr & Gallagher Warner Bros. Discovery LLP Stasia and Mahvash and Michael Washington Farrok Yazdi Ian Wayne and The Kevork and Wayne Family Elizabeth Zoryan Foundation Steven and
$10,000 TO $14,999 Anonymous (7) Ms. Lisette Arsuaga and Mr. Gilbert Davila Aversa Foundation Pamela and Jeffrey Balton Clare Baren and David Dwiggins Stephanie Barron Mr. Joseph A. Bartush Susan Baumgarten Sondra Behrens Logan Beitler Mr. and Mrs. Bill Benenson Mark and Pat Benjamin Susan and Adam Berger Robert Bienstock Mr. and Mrs. Hal Borthwick Anoosheh Bostani and Mike Dreyer The Hon. Bob Bowers and Mrs. Reveta Bowers Anita Brenner and Len Torres Mr. and Mrs. Steven Bristing Drs. Maryam and Iman Brivanlou Matthew Bryan Oleg and Tatiana Butenko Garrett Camp Mara and Joseph Carieri Ms. Nancy Carson and Mr. Chris Tobin Marlene Schall Chavez, Ph.D. Ms. Jessica Chen Chien Family Dr. Lawrence J. Cohen and Mrs. Jane Z. Cohen Jay and Nadege Conger Hillary and Weston Cookler The Dabney Family Dr. and Mrs. Nazareth E. Darakjian Nancy and Patrick Dennis Dody Dorn and Kevin Hughes
Bob Ducsay and Marina Pires de Souza Sean Dugan and Joe Custer Victoria Dummer and Brion Allen Daniel and Maryann Fong Mr. Michael Fox Mr. and Mrs. Don E. Franzen Tatiana Freitas Dr. and Mrs. David Fung Roberta and Conrad Furlong Dr. and Mrs. Bruce Gainsley Kiki Ramos Gindler and David Gindler Greg and Etty Goetzman Harriett and Richard E. Gold Dr. and Mrs. Steven Goldberg Mr. Gregg Goldman and Mr. Anthony DeFrancesco Manuela Cerri Goren Edith Gould Mr. and Mrs. Ken Gouw Tricia and Richard Grey Mr. Bill Grubman Beth Fishbein Hansen Tamara L. Harris Foundation, Inc. Teri Hatcher Mr. and Mrs. Irwin Helford and Family Betsydiane and Larry Hendrickson Jessica and Elliot Hirsch Elizabeth Hofert-Dailey Trust Mr. Raymond W. Holdsworth Joyce and Fredric Horowitz Mr. Frank J. Intiso Audrey and Sydney Irmas Charitable Foundation Kristi Jackson and William Newby Libby and Arthur Jacobson
Doug and Minda Johnstone Sharon and Alan Jones Dr. William B. Jones Rebecca and Arthur Joseph Marilee and Fred Karlsen Marty and Cari Kavinoky Mr. and Mrs. Stephen Keller Leigha Kemmett and Jacob Goldstein Jay Kerner Daisietta Kim Jay T. Kinn and Jules B. Vogel Phyllis H. Klein, M.D. Alan S. Koenigsberg and John A. Dotto Hon. Ruth A. Kwan Dr. Kihong and Mrs. Wonmi Kwon Lena and Mark Labowe Ellie and Mark Lainer Mr. and Mrs. Jack D. Lantz Mechelle LawrenceAdams and Joe Adams Mr. and Mrs. Norman A. Levin Arthur E. Levine and Lauren B. Leichtman Randi Levine Maria and Matthew Lichtenberg Loeb and Wilson Family Vilma S. Martinez, Esq. Matt Construction Corporation Forrest McCartney Janis B. McEldowney Lisa and Willem Mesdag Ms. Marlane Meyer Cynthia Miscikowski Marc and Jessica Mitchell Wendy Stark Morrissey Craig and Lisa Murray Gregory Niles Renae and Greg Niles Kenneth T. & Eileen L. Norris Foundation Mr. John Nuckols Irene and Edward Ojdana
Steve and Gail Orens Cynthia Patton Matthew and Laura Raymond Mr. Steven F. Roth Ms. Rita Rothman Mr. David Rudy Jesse Russo and Alicia Hirsch Thomas Safran The SahanDaywi Foundation John and Claudia Schauerman Dr Heinrich and Barbara Schelbert Dr. Donald Seligman and Dr. Jon Zimmermann Jane Semel Larry Shafritz Ruth and Mitchell Shapiro The Sikand Foundation Angelina and Mark Speare Joseph and Suzanne Sposato Mr. and Mrs. Mark Stern Marcie Polier Swartz and David Swartz Priscilla and Curtis S. Tamkin Christine Upton Nancy Valentine Kathy Valentino Van Cleef & Arpels Kathleen and Louis Victorino Mr. Nate Walker The Walske Foundation Darryl Wash and Heidi Durrow Sheila and Wally Weisman Abby and Ray Weiss Estate of Ronald Wilkniss Karen and Rick Wolfen Emiko Wong Shelley and Richard Wynne Edward and Terrilyn Zaelke Mr. and Mrs. Howard Zelikow Ruth Harvey Zommick
Debra and Benjamin Ansell Art and Pat Antin Tato Arad Dr. Mehrdad Ariani Sandra Aronberg, M.D.
Halina Avery Mr. Mustapha Baha Dr. Richard Bardowell, M.D. Mrs. Linda E. Barnes Reed Baumgarten
Maria and Bill Bell Mr. and Mrs. Philip Bellomy Dr. and Mrs. Gerald Berke Richard Birnholz
$5,500 TO $9,999 Anonymous (10) Lena and David Adishian Mr. Robert A. Ahdoot Adrienne S. Alpert Bobken and Hasmik Amirian
36 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 36
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 Rogerio V. Carvalheiro President Sandra P. Hahn Vice President
NOV
Jennifer Price-Letscher Secretary
SAT
Smart & Final Charitable Foundation Mr. and Mrs. Richard Sondheimer Eva and Marc Stern Tom Strickler Warren B. and Nancy L. Tucker Elinor and Rubin Turner
21
8PM
Diana Diaz Executive Committee Member Randi Tahara Immediate Past President Pamela Bright-Moon Leticia Buckley 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.
Nem R
Save
Continued on page 38
9/15/26 10:46 AM
November SUN
NOV
1
3PM
THU
NOV
5 8PM
SAT
NOV
14 8PM
21 8PM
NOV SUN
SAT
NOV
22 3PM
Duck Pond by Circa
Tickets & info
Nemanja Radulović & Double Sens
Dance Theatre of Harlem
Onstage Classical
Dance Theatre of Harlem Higher Ground
DIAVOLO ESCAPE
Duck Pond
DIAVOLO Nemanja Radulović Save More, Join Membership!
LA Phil Wrap 1026.indd 37
9/15/26 10:46 AM
ANNUAL DONORS
Kenneth Blakeley and Quentin O’Brien Mr. and Mrs. Geoff C. Bland The Blau LaBranBoyd Family Mitchell Bloom Thomas J. Blumenthal Joan N. Borinstein Greg Borrud Mr. Matthew C. Bousquette and Mr. John Jacobs Dr. and Mrs. Hans Bozler Ms. Marie Brazil Mayer Brenner Lynne Brickner and Gerald Gallard Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Brian J Burka and Jerry W Hussong CBS Entertainment Dr. Kirk Y. Chang Eugene and Kathryn Cheng Arthur and Katheryn Chinski Dr. Stephanie Cho and Jacob Green Leonard Chung Mr. and Mrs. Ronald Clements Dan Clivner Bruce and Julia Cohen
Committee of Professional Women Mr. and Mrs. Richard W. Cook Kevin and Katie Cordano Mr. and Mrs. Bruce Corwin Lloyd Eric Cotsen Mrs. Nancy A. Cypert Suzanne DeJong Ms. Mary Denove Elizabeth and Kenneth M. Doran Julie and Stan Dorobek Steven Duffy Anna Sanders Eigler Ms. Robin Eisenman and Mr. Maurice LaMarche John B. Emerson and Kimberly Marteau Emerson Janice Feldman, JANUS et cie Jen and Ted Fentin The Franke Family Trust Lynn Franklin Linda and James Freund Ms. Kimberly Friedman Mrs. Diane Futterman Ruchika Garga Mr. and Mrs. Alan M. Gasmer Mr. and Mrs. Harlan Gibbs
Gibson, Dunn & Crutcher Sharon and Herb z”l Glaser Jory Goldman Mr. and Mrs. Russell Goldsmith Good Works Foundation and Laura Donnelley The Honorable and Mrs. Allan J. Goodman Elliot Gordon and Carol Schwartz Lee Graff Foundation Mr. and Mrs. Paul E. Griffin III Mr. William Hair Dwight Hare and Stephanie Bergsma Myrna and Uri Herscher Family Foundation Kim Hershman Tina and Ivan Hindshaw Arlene Hirschkowitz Elizabeth Hirsh David and Martha Ho Linda Joyce Hodge Gary Holm and Chris Meyer In Hong Douglas Honig Jill Hopper Dr. and Mrs. Mel Hoshiko Jonathan Howard
Hung Foundation Michael Insalago James Jackoway Jane Jelenko Randi and Richard B. Jones Mr. William Jordan Kristofer Jorstad Mr. William H. Josephs Kang & Carmack Judith and Russell Kantor Nona Khodai Mr. Mark Kim and Ms. Jeehyun Lee Lauren King Remembering Lynn Wheeler Kinikin Brian and Molly Kirk Lee Kolodny Carla and Archy Kotoyantz Mr. and Mrs. Scott Krivis Nickie and Marc Kubasak Mr. Richard W. Labowe Katherine Lance Joan and Chris Larkin Mrs. Grace E. Latt Cynthia Lee, M.D. Mr. George Lee Mr. Randall Lee and Ms. Stella M. Jeong Mr. Benjamin Lench Ms. Peggy Lessinger Marie and Edward Lewis
Ms. Diana Longarzo Kyle Lott Mr. Joseph Lund and Mr. James Kelley Theresa Macellaro / The Macellaro Law Firm Ruth and Roger MacFarlane Mona and Frank Mapel Stephen Martinez Pam and Ron Mass Mr. and Mrs. Thomas E. McCarthy Mr. and Mrs. William F. McDonald Jeffrey and Tracy McEvoy Lawry Meister Carlos Melich Mr. Robert Merz Mr. and Mrs. Dana Messina Lori Miller Linda and Kenneth Millman Mrs. Lillian Mueller Malika Mukhamedkulova Sheila Muller Ms. Yvonne Nam and Mr. David Sands Mrs. Cynthia Nelson Ms. Beatrice H. Nemlaha Ms. Mary D. Nichols Kim Noltemy
Mr. John O’Keefe Mr. Dale Okuno Loren Pannier Ellen Pansky Melissa Papp-Green and Jeff Green Mr. Michael Payne Alyssa Phaneuf Peggy Phillips Lorena and R. Joseph Plascencia Julie and Marc Platt Lyle and Lisi Poncher Robert J. Posek, M.D. James S. Pratty, M.D. Mr. Albert Praw William “Mito” Rafert Marcia and Roger Rashman Alicia Roldan Peter and Marla Rosen Bill and Kathie Rowland Andrew E. Rubin and Roberta and Stanley Bogen Dr. Michael Rudolph Mr. and Mrs. Paul Rutter Thomas C. Sadler and Dr. Eila C. Skinner Dr. and Mrs. Bernard Salick Mr. and Mrs. Melvin Sattler Brian Schlatter and Sarah Sang Sue and Don Schuster
Continued on page 40
Los Angeles Jewish Health...Energizing Senior Life! At nonprofit Los Angeles Jewish Health, it’s our award-winning care that sets us apart. We meet seniors where they are in life, with a focus on mind, body, and spirit. Our comprehensive selection of programs, services, and living options include: • Independent Living • Assisted Living • Skilled Nursing • Program of All-Inclusive Care for the Elderly • Senior Behavioral Health • Rehabilitation Services • Nursing School • Geriatric Health • Memory Care
LAJHealth.org (855) 227-3745
38 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 38
9/15/26 10:46 AM
26 27
SEASON
BRAHMS SYMPHONY NO. 1 OCTOBER 24, 2026
BEETHOVEN SYMPHONY NO. 7 NOVEMBER 14, 2026
AT A M B A S S A D O R AUDITORIUM
BENJAMIN BEILMAN violin
RACHMANINOFF PIANO CONCERTO NO. 2 FEBRUARY 13, 2027
VIVALDI FOUR SEASONS MARCH 20, 2027
TCHAIKOVSKY & SHOSTAKOVICH MAY 1, 2027
CLAYTON STEPHENSON piano
SIMONE PORTER, violin
PAUL HUANG, violin
MICHAEL KAUFMAN cello
BRETT MITCHELL Music Director
GET YOUR TICKETS TODAY!
PERFORMANCES MAGAZINE 39
LA Phil Wrap 1026.indd 39
9/15/26 10:46 AM
ANNUAL DONORS
Michael Sedrak Dr. and Mrs. Hervey Segall Dr. Alexis M. Sheehy Mr. Chris Sheridan Brian Siberell Mr. Adam Sidy Scott Silver Nancy and Bruce Silverman
Peter Siragusa Peter and Kay Skinner Leah R. Sklar Cynthia and John Smet Mr. Douglas H. Smith Grady and Shelley Smith Mr. and Mrs. Michael G. Smooke
Ms. Katherine Sohigian Mason A. Sommers, Ph.D., and Rami Izic, M.F.T. Lael Stabler and Jerone English Mark G. and Kathryn Sullivan
Mr. and Mrs. Randall Tamura Mr. Stephen S. Taylor Suzanne Thomas Evangeline Thomson Mrs. Bonnie K. Trapp Richard Turkanis and Wendy Kirshner Susan Wallace
Lisa and Tim Wallender Michele and John Waller James R. and Robin J. Walther Bob and Dorothy Webb Jeffrey Westheimer
Ms. Jill Wickert Mr. Robert E. Willett Michele and David Wilson Mr. Steve Winfield Eileen and Curtis Wong Mr. Nabih Youssef Karl and Dian Zeile
Leni I. Boorstin Ms. Leslie Botnick Mr. Ray Boucher Anita and Joel Boxer Devra Breslow Ms. Sheila Brittain Kevin Brockman and Dan Berendsen Jaron and Wendy Brooks Ronald and Linda Brot Ryan and Michelle Brown Diana Buckhantz Kenneth Bunt Lupe Burson Mr. and Mrs. Edward Busch Mary Lou Byrne and Gary W. Kearney Mr. Rod Carter Adam Chase Mr. Louis Chertkow
Mr. and Mrs. Joel T. Chitea Tricia Christensen Janet Clayton Susan and David Cole Ms. Ina Coleman Ms. Bronni Stein Connolly Mr. Michael Corben and Ms. Linda Covette Cox Family - Pernell, Keila, and Harper Q. Ms. Laurie Dahlerbruch Mr. and Mrs. Leo David Howard and Francee Davine Felicia Davis and Eric Gutshall Jeremy Dee Rosette Delug Wanda Denson-Low and Ronald Low Tim and Neda Disney
R. Stephen Doan and Donna E. Doan Mr. and Mrs. Brack W. Duker Mr. and Mrs. Karl Durow Robert and Betsy Eaton Robert H. Edelstein Dr. David Eisenberg Robert Ellis Susan Entin Bob Estrin Farwest Insulation Contracting Lyn and Bruce Ferber Dr. Walter Fierson and Dr. Carolyn Fierson Michael Firestein and Deborah Krakow Bridgette and A.B. Fischer Ms. Carrie Fishman Frances Flanagan Mr. and Mrs. Michael M. Flynn
Burt and Nanette Forester Mrs. Diane Forester Deborah Fort Bruce Fortune and Elodie Keene Laura Fox, M.D., and John Hofbauer, M.D. Amalia Francalangia Mr. and Mrs. Michael Freeland Friars Charitable Foundation Ian and Meredith Fried Mr. Jerry Friedman Steven Friednam Susan and David Gersh Susan and Jaime Gesundheit Jason Gilbert Mr. and Mrs. David A. Gill Tina Warsaw Gittelson
$3,500 TO $5,499 Anonymous (20) Ms. Rose Ahrens Cary Albertsone Lynne Alschuler Edna R.S. Alvarez Juliette Ambatzidis Mr. Peter Anderson and Ms. Valerie Goo Mr. Robert C. Anderson Dr. Philip Anthony Victor and Iris Antola Linda and Robert Attiyeh Myla Azer Tawney Bains and Zachary Roberts Terence Balagia Howard Banchik Ken and Lisa Baronsky Catherine and Joseph Battaglia Mr. Richard Bayer George and Karen Bayz
Newton and Rochelle Becker Charitable Trust Ms. Nettie Becker Garrett Bell and Catherine Simms Ms. Karen S. Bell and Mr. Robert Cox Benjamin Family Foundation Dayna Berkowitz Mr. Alan N. Berro Vince Bertoni and Damon Hein Tim and Rebecca Bigelow Mr. and Mrs. Dan Biles Dr. Andrew C. Blaine and Dr. Leigh Lindsey Michael Blake Marjorie Blatt Mr. Larry Blivas and Ms. Julie Blivas Ms. Judith Blumenthal
NOVEMBER 28–DECEMBER 24, 2026
Charles Dickens’
A CHRISTMAS CAROL ADAPTED FOR THE STAGE BY
Geoff Elliott
USE PROMO:
PERFORMANCES FOR 25% OFF TICKETS!*
ANOISEWITHIN.ORG | 626.356.3121 3352 E Foothill Blvd, Pasadena, CA 91107 Photo credit: Photo by Abe Portillo. *Promotional code valid for all performances, except Opening Night.
40 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 40
9/15/26 10:46 AM
ANNUAL DONORS
William and Phyllis Glantz Madelyn and Bruce S. Glickfeld Sheila Golden Laurence Golding Mr. James Granger Dr. Stuart and Adrienne Green Mr. and Mrs. Carl C. Gregory Marcy Gross Mr. Frank Gruber and Ms. Janet Levin Mr. Gary M. Gugelchuk Roberta L. Haft and Howard L. Rosoff Judith and Robert D. Hall Charles F. Hanes Jennifer Happillon Mr. Robert T. Harkins Trish Harrison and John Runnette Mr. and Mrs. Brian L. Harvey Mr. and Mrs. Lewis K. Hashimoto Mr. Donald V. Hayes Peter and Nicolette Hebert Mr. Rex Heinke and Judge Margaret Nagle Gail and Murray E. Heltzer Ms. Gail Herring Jim Herzfeld
The Hill Family Dr. and Mrs. Hank Hilty Matthew Hinks Fritz Hoelscher Janice and Laurence Hoffmann Marianna Holguin Douglas and Carolyn Honig Ms. Christine Houser Dr. Timothy Howard and Jerry Beale Andrei and Luiza Iancu Mrs. Carole Innes Jackie and Warren Jackson Mrs. Leonard Jaffe Mr. Channing Johnson Barbara A. Jones Mr. and Mrs. Steaven K. Jones, Jr. Mr. Ken Kahan Karen and Don Karl Mr. and Mrs. David S. Karton Jonathan and Christine Kaunitz Dr. and Mrs. David Kawanishi Kayne, Anderson & Rudnick Mary and Stephen Kayne Mr. and Mrs. James Keatley Jennifer Keller
Mr. and Mrs. Michael C. Kelley Richard Kelton Mr. and Mrs. Jon Kirchner Mr. and Mrs. Bruce Konheim Mr. and Mrs. Lyn Konheim Sandra Krause and William Fitzgerald Mark and Anthony Kressel Sharon and Joel Krischer Mr. and Mrs. Howard A. Kroll Karen Krull Serena Kusserow Carole and Norm La Caze Carl Lachman Edward Lai Tom Lallas and Sandy Milo Thomas and Gloria Lang James Laur and Peter Kongkasem Craig Lawson and Terry Peters Mr. Les Lazar Scott Lee and Karen Wong Mr. Stephen Leidner Mr. and Mrs. Russ Lesser
Mr. Donald S. Levin Mr. and Mrs. Edward B. Levine Mr. Jeff Levy Mr. and Mrs. Bertram Lewitt David and Meghan Licata Karen Lichtenberg David and Rebecca Lindberg Ilona Linden Mark Lipian Ms. Elisabeth Lipsman Mr. Greg Lipstone Mr. and Mrs. Lewis Lipstone Ms. Bonnie Lockrem and Mr. Steven Ravaglioli Susan and Robert Long Mr. and Mrs. Robert Lopata Jasmine Lord Kristine and David Losito Warren Loui and Rose Chan Robert Love Debra Lubeski Mr. and Mrs. Boutie Lucas Crystal and Elwood Lui Jane and Bob Lurie Dr. Jamshid Maddahi Ronald Manzani
Dorrie and Paul Markovits Allan Marks and Dr. Mara Cohen Mr. and Mrs. Stanley Maron Samantha Grant Marsh Mr. Gary J. Matus Cheryl Maxson Deborah May and Ted Suzuki Melissa and Craig Mazin Ms. Paula Meichtry Robert L. Mendow Dr. Yolanda Mendoza Eleanor Mercado Linda and David Michaelson MA Mielke Dr. Gary Milan Mr. and Mrs. Simon Mills Janet Minami Mr. and Mrs. William Mingst Mr. Lawrence A. Mirisch Maria and Marzi Mistry Claudia and Robert Modlin Katherine Molloy Mr. Alexander Moradi Kathy and Michael Moray Dr. and Mrs. Jeffrey Morris Lon Morse and Toni Hollander-Morse
William Morton James and Amelia Nadal Mr. Michael J. Napoli Rachel Nass Bruce Needleman Robert and Sally Neely Mr. Liron Nelik Mumsey and Allan Nemiroff Mr. Jerold B. Neuman Steven A. Nissen Ms. Jeri L. Nowlen Mr. and Mrs. Oberfeld Doerthe Obert Ms. Margo Leonetti O’Connell Mr. Frank O’Dea Christine M. Ofiesh Mr. and Mrs. John D. Olinski David Olson and Ruth Stevens Michael Olson Mr. and Mrs. Richard Orkand Kim and P.F. James Overton Alicyn Packard and Jason Friedman January Parkos-Arnall Justin Paxton and Andrew McLaughlin Peery Family Ms. Virginia Pollack Dimitri Portnoi Ms. Eleanor Pott Continued on page 43
EAST MEETS WEST THU, NOV 19 | 7:30 PM | ZIPPER HALL SUN, NOV 22 | 4 PM | THE WALLIS Ludovic Morlot CONDUCTOR
HUANG RUO MASON BATES EÍMEAR NOONE SCHOENBERG
Wu Man PIPA
Benjamin Smolen FLUTE
Folksongs for Orchestra Pipa Concerto WORLD PREMIERE* Five Pieces in L.A. BEAL FUND WORLD PREMIERE** Chamber Symphony No. 2
LUDOVIC MORLOT BENJAMIN SMOLEN
* Co-commissioned by The Philadelphia Orchestra and the National Center for Performing Arts (Beijing, China). ** Made possible by the Joan and Jeff Beal Fund for Living Composers.
WU MAN
TICKETS ON SALE NOW!
LACO.ORG | (213) 221-3920 Artists, dates, times, programming, prices, and venues subject to change.
PERFORMANCES MAGAZINE 41
LA Phil Wrap 1026.indd 41
9/15/26 10:46 AM
ANNUAL DONORS
Caroline Aaron from The Marvelous Mrs. Maisel
THE BEST MEDICINE A love story. A comedy. A revelation.
Oct. 10 - Nov. 15 Scan the QR code
odysseytheatre.com or 310-477-2055 ext. 2 by arrangement with CAMERON MACKINTOSH Presents a new production of BOUBIL and SCHÖNBERG’S
CITY OF LOS ANGELES Karen Bass Mayor Hydee Feldstein Soto City Attorney Kenneth Mejia Controller
CITY COUNCIL Bob Blumenfield Marqueece Harris-Dawson President Eunisses Hernandez Heather Hutt Ysabel J. Jurado John Lee Tim McOsker Adrin Nazarian Imelda Padilla Traci Park Curren D. Price, Jr. Nithya Raman Monica Rodriguez Hugo Soto-Martínez Katy Yaroslavsky
DEPARTMENT OF CULTURAL AFFAIRS Daniel Tarica General Manager
CULTURAL AFFAIRS COMMISSION Robert Vinson President Natasha Case Vice President Thien Ho Ray Jimenez Asantewa Olatunji Christina Tung Tria Blu Wakpa
WALT DISNEY CONCERT HALL HOUSE STAFF
O CTOBER 9 – 18 | L ES M IS TO. COM B A P A C, T O B O: -- PRESENTED BY ARRANGEMENT WITH MUSIC THEATRE INTERNATIONAL AND CAMERON MACKINTOSH LTD SEASON HONORARY PRODUCERS 2026 THE CASSAR FAMILY CABRILLO MUSIC THEATER D.B.A. 5-STAR THEATRICALS IS A 501 (C)(3) NONPROFIT ORGANIZATION
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.
42 PERFORMANCES MAGAZINE
LA Phil Wrap 1026.indd 42
9/15/26 10:46 AM
ANNUAL DONORS
Joseph Powe Debbie and Rick Powell Bill Prady Joyce and David Primes Joseph Privitelli Jr. Ms. Marci Proietto ProtoStar Group Q-Mark Manufacturing, Inc. Bradley Ramberg Mr. and Mrs. Wayne Ratkovich Mr. and Mrs. Harold Ray Gay and Ronald Redcay David and Mary Beth Redding Mr. Chris Reed Diana Reid and Marc Chazaud Resource Direct Mrs. Barrie Richter and Mr. Charles Richter Ronald Ridgeway Mr. and Mrs. Kenneth Riley Mr. and Mrs. Marvin Ring Amy Ritz Mr. Jed Robinson Ernest M. Robles Rock River Mrs. Laura H. Rockwell 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 Sarah Rosenwald Varet and Jesse Coleman Mr. Bradley Ross and Ms. Linda McDonough Joshua Roth and Amy Klimek Nancy and Michael Rouse Mr. and Mrs. Matthew Rowland Ms. Karen Roxborough Betty J Saidel Valerie Salkin Curtis Sanchez Mr. and Mrs. Michael Sanders Mr. and Mrs. Charles M. Sarff Allen Satenberg Ms. Maryanne Sawoski Donna Schuele Mr. and Mrs. Gerry Schwartz Dr. and Mrs. Ronald Schwartz Mr. and Mrs. Conrad Schweitzer
Mr. Alan Scolamieri John L. Segal Mr. and Mrs. Peter Segal Christina Segel Dr. and Mrs. Hooshang Semnani Mr. and Mrs. Jeffrey Alan Seymour Ms. Amy J. Shadur-Stein Ms. Avantika Shahi Shamban Family Emmanuel Sharef Hope and Richard N. Shaw Mr. Ross Shideler and Ms. Kathleen Komar Pamela and Russ Shimizu Mr. and Mrs. Elliot Shoenman Mr. and Mrs. Michael S. Shore Mr. Murray Siegel Andrew Silver June Simmons Loraine Sinskey Donna and Charles Slavik Professor Judy and Dr. William Sloan Steven and Oreet Smith Virginia Sogomonian and Rich Weiss Michael Soloman and Steven Good
Michael and Millie Sondermann Mr. Hamid Soroudi SouthWest Heights Philharmonic Committee Shondell and Ed Spiegel Pamela and Ian Spiszman Ms. Angelika Stauffer Jeff and Peg Stephens Hilde Stephens-Levonian Ms. Margaret Stevens and Mr. Robin Meadow Sugimoto Family Mr. and Mrs. Larry W. Swanson Fran Sweeney Mr. Marc A. Tamaroff Mr. Glenn Tan Judith Taylor Mrs. Elayne Techentin Mr. Nick Teeter Mr. Todd H. Temanson Mr. Michael Thaxton Mr. and Mrs. Harlan H. Thompson Ms. Marjorie Thomson Tichenor & Thorp Architects, Inc. Mr. and Mrs. Harris Toibb Law Office of John Tootle
Ingrid Urich-Sass Mr. and Mrs. Peter J. Van Haften Valerie Vanaman Dorrit and Jerome Vered Elliott and Felise Wachtel Rachel Wagman Kathy S. Walton Mr. Martin Washton Mr. Robert Waters and Ms. Catherine Waters Ms. Diane C. Weil and Mr. Leslie R. Horowitz Robert Weingarten Sam Weinhoff Brian and Maxine Weinstock Bryan D. Weissman and Jennifer Resnik Mr. and Mrs. Doug M. Weitman Leslie White Robert and Penny White Mr. William A. White
Mr. and Mrs. Kenneth Williams Tom and Lisa Williams Lynn Williams Croft Susan Wolf Angela Wong Mr. and Mrs. Irwin Wong Linda and John Woodall Paul and Betty Woolls Robert L. Wu Robert Wyman Ms. Stacie Yee Kevin Yoder and Jeffrey Hall Susan Young Yust Family Trust Mr. William Zak Natalie Zaragoza Rudolf H. Ziesenhenne David Zuckerman and Ellie Kanner Rachel and Michael Zugsmith
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.
PERFORMANCES MAGAZINE 43
LA Phil Wrap 1026.indd 43
9/15/26 10:46 AM
Welcome to The Music Center! Twenty-two acres in the heart of Downtown L.A. including four theatres, a plaza and a park — all worth exploring. That's The Music Center. This performance is just one part of it. Come back for a concert on Jerry Moss Plaza on our north campus, a show in one of our other theatres or an afternoon in Gloria Molina Grand Park, right across the street. We want every visit here to be a good one. Help us keep The Music Center safe, inclusive and welcoming for everyone. Visit musiccenter.org/guestagreement.
OFFICERS
Robert J. Abernethy Chair Cary J. Lefton Darrell D. Miller Vice Chairs Rachel S. Moore President & CEO Michael J. Pagano Secretary
@musiccenterla General Information (213) 972-7211 | musiccenter.org
John McCoy for The Music Center.
Support The Music Center (213) 972-3333 | musiccenter.org/support
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. NEW! Kids tours are now being offered on the first Saturday of the month. Kids tours require advance registration. General tours run daily. Visit MusicCenter.org to check the schedule. Make it a special day in Downtown L.A.!
Thomas L. Safran Maria S. Salinas Corinne Jessie Sanchez Mimi Song Johnese Spisso Jason Subotky Timothy S. Wahl Jennifer M. Walske
GENERAL COUNSEL
Susan M. Wegleitner Treasurer
Rollin A. Ransom
William Taylor Assistant Treasurer and Chief Financial Officer
DIRECTORS EMERITI
MEMBERS AT LARGE
Find out what's next at musiccenter.org, your guide to performances, celebrations and events across our campus.
MC 5 pages 1026.indd 1
2026/2027 BOARD OF DIRECTORS
Charlene Achki Repko Charles F. Adams William H. Ahmanson Romesh Anketell Jill C. Baldauf Phoebe Beasley Kristin Burr Alberto M. Carvalho Elizabeth Khuri Chandler Terri B. Childs Cástulo de la Rocha William E. Dolan Amy R. Forbes Greg T. Geyer Joan E. Herman Jeffrey M. Hill Jonathan B. Hodge Maria Rosario Jackson Ronald D. Kaplan Richard B. Kendall Lily Lee Keith R. Leonard, Jr. Stephen F. Macias Kelsey N. Martin Elizabeth Michelson Cindy Miscikowski Teresita Notkin Karen Kay Platt Susan Erburu Reardon Joseph J. Rice Beverly P. Ryder
Peter K. Barker Judith Beckmen Darrell R. Brown Ronald W. Burkle John B. Emerson ** Richard M. Ferry Kent Kresa Mattie McFaddenLawson Fredric M. Roberts Richard K. Roeder Joni J. Smith Lisa Specht ** Cynthia A. Telles James A. Thomas Andrea L. Van de Kamp ** Thomas R. Weinberger ** Chair Emeritus Current as of 9/1/26
Alvin Ailey American Dance Theater's Xavier Mack. Photo by Andrew Eccles.
9/10/26 8:50 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.
Kathryn Barger Supervisor, Fifth District Janice Hahn Supervisor, Fourth District Hilda L. Solis Chair, First District Lindsey P. Horvath Supervisor, Third District Holly J. Mitchell Chair Pro Tem, Second District (From left to right)
Photo Credit: David Franco, Los Angeles County Board of Supervisors Photographer.
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.
MC 5 pages 1026.indd 2
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
9/10/26 8:50 PM
Happening at The Music Center THU 1 OCT / 7:00 p.m. LA Phil Gala LA PHIL @ Walt Disney Concert Hall FRI 2 OCT / 8:00 p.m. Kwamé Ryan Leads Mozart & Copland LA PHIL @ Walt Disney Concert Hall Thru 10/4/2026 SAT OCT 3 / 10:00 a.m. Saturday Mornings at the Opera: Open Door Days LA OPERA @ Dorothy Chandler Pavilion Also 11/7/2026 TUE 6 OCT / 8:00 p.m. Lang Lang LA PHIL @ Walt Disney Concert Hall FRI 9 OCT / 11:00 a.m. Mälkki Conducts Bartók LA PHIL @ Walt Disney Concert Hall Also 10/11/2026 FRI 9 OCT / 8:00 p.m. Ludovico Einaudi LA PHIL @ Walt Disney Concert Hall WED 14 OCT / 8:00 p.m. Lisa Batiashvili, Gautier Capuçon, Jean-Yves Thibaudet LA PHIL @ Walt Disney Concert Hall
OCTOBER 2026
FRI 16 OCT / 8:00 p.m. “Swan Lake” & Liszt with Bronfman LA PHIL @ Walt Disney Concert Hall Thru 10/18/2026
SAT 25 OCT Gloria Molina Grand Park’s Downtown Día de los Muertos GLORIA MOLINA GRAND PARK @ Gloria Molina Grand Park Thru 11/2/2026
SAT 17 OCT / 6:00 p.m. Carmen LA OPERA @ Dorothy Chandler Pavilion Thru 11/7/2026
SUN 25 OCT / 7:30 p.m. Lucile Dollat | Organ Recital LA PHIL @ Walt Disney Concert Hall
TUE 20 OCT / 8:00 p.m. Mendelssohn & Brahms LA PHIL @ Walt Disney Concert Hall THU 22 OCT / 8:00 p.m. Debussy & Stravinsky with Elim Chan LA PHIL @ Walt Disney Concert Hall Thru 10/25/2026 FRI 23 OCT / 8:00 p.m. Andrew Bird with the Los Angeles Philharmonic LA PHIL @ Walt Disney Concert Hall FRI 23 OCT / 7:30 p.m. Ballet Festival: Jerome Robbins THE MUSIC CENTER @ Ahmanson Theatre Thru 10/25/2026 SAT 24 OCT / 11:00 a.m. Grand Ave Arts: All Access @ Grand Ave. (from Temple to 6th Street)
TUE 27 OCT / 7:30 p.m. Meredith Willson's The Music Man CENTER THEATRE GROUP @ Ahmanson Theatre Thru 11/8/2026 THU 29 OCT / 8:00 p.m. “Seasons of America” with Teddy Abrams & Ray Chen LA PHIL @ Walt Disney Concert Hall Also 11/1/2026 FRI 30 OCT / 8:00 p.m. Lila Downs LA PHIL @ Walt Disney Concert Hall SAT 31 OCT / 3:00 p.m. Dr. Jekyll and Mr. Hyde | Halloween Organ, Film & Music LA PHIL @ Walt Disney Concert Hall SAT 31 OCT / 8:00 p.m. “Warewolf by Night" & “Headless" LA PHIL @ Walt Disney Concert Hall
SCAN TO VIEW FULL CALENDAR
Visit musiccenter.org for additional information on all upcoming events.
@musiccenterla
Photo by John McCoy for The Music Center.
MC 5 pages 1026.indd 3
9/10/26 8:50 PM
SATURDAY FREE EVENT! 10/24/2026 11 A.M.– 4 P.M. LET US KNOW YOU'RE COMING!
GRANDAVEARTS.ORG Top left and right photos by Erin Clendenin for Grand Ave Arts: All Access. Bottom left image by John McCoy for Grand Ave Arts: All Access.
Grand Ave Arts: All Access is supported by:
A FREE OPEN HOUSE ALONG GRAND AVENUE! Discover the arts in the heart of DTLA: ■ Performances ■ Tours ■ Exhibitions ■ Family Fun
MC 5 pages 1026.indd 4
9/10/26 8:50 PM
CURATED BY TILER PECK A JOYCE THEATER PRODUCTION
LIVE CHAMBER MUSIC Oct. 23, 2026 / 7:30 p.m. Oct.24, 2026 / 7:30 p.m. Oct. 25, 2026 / 2:00 p.m.
Photo by Matt Karas.
The Music Center’s Ahmanson Theatre
Discover the brilliance of legendary choreographer Jerome Robbins, a visionary artist who helped shape American ballet by blending classical ballet with jazz-infused theatricality. Curated by New York City Ballet Principal Dancer Tiler Peck, this special program brings together an extraordinary roster of dancers from New York City Ballet, American Ballet Theatre, The Royal Ballet, Paris Opera Ballet and other major companies to showcase Robbins’ masterpieces.
musiccenter.org/jeromerobbins | (213) 972-0711 BRING A GROUP AND SAVE! For groups of 8+, please visit musiccenter.org/groups for special pricing and offers.
MC 5 pages 1026.indd 5
9/10/26 8:50 PM
Natalie Venetia Belcon, Photo by Bradley Credit
MINI PACKAGES NOW AVAILABLE!
CHOOSE ANY 4 OR MORE!
©Disney
Performances Magazine • Ful Pg 6.875” x 10” • October 2026
CMYK
PACKAGES STARTING AS LOW AS $51 PER SHOW.
THE SHOWS YOU WANT. WHEN YOU WANT. FOR MORE INFORMATION VISIT BROADWAYINHOLLYWOOD.COM 04/09/2026 12:26 C1-C4_COVER_PLAYHOUSE_1026.indd 3
9/6/26 1:03 PM
I woke up thinking about how proud I am of my family. I wanted to take a moment to tell them. I couldn’t be more blessed. I love you all so much…
JADE MILLS 310.285.7508 HOMES@JADEMILLS.COM CALRE #00526877
Affiliated real estate agents are independent contractor sales associates, not employees. ©2026 Coldwell Banker. All Rights Reserved. Coldwell Banker and the Coldwell Banker logo are trademarks of Coldwell Banker Real Estate LLC. The Coldwell Banker® System is comprised of company owned offices which are owned by a subsidiary of Anywhere Advisors LLC and franchised offices which are independently owned and operated. The Coldwell Banker System fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. 269WEK-DC_GLA_8/26
C1-C4_COVER_PLAYHOUSE_1026.indd 4
9/6/26 1:02 PM