Performances Magazine San Diego | San Diego Symphony, October 2022

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ARRIVE AWESOMEAT ® FESTIVAL RETURNS NOV. 9 - 13, 2022 Funded in part with City of San Diego Tourism Marketing District Assessment Funds. Produced by: SANDIEGOWINECLASSIC.COMTICKETS & SCHEDULE AT:

At long last, the $94 million Orange County Museum of Art (OCMA) opens in a gleaming new home in Costa Mesa, designed by Pritzker Award-winning architect Thomas Mayne.


8 Feature: Spotlight on San Diego Opera

P1 Program Cast, notes,who’sperformances,who,director’sdonorsandmore.


San Diego Opera opens its 2022-23 season with the stunning world premiere of El último sueño de Frida y Diego (The Last Dream of Frida and Diego)

4 In the Wings

13 Museum

24 Parting Shot

Inspired by San Diego Opera’s premiere: a photo of Frieda and Diego Rivera, painted by Frida Kahlo.

Kristina Wong, Sweatshop Overlord at La Jolla Playhouse; a piñata exhibit at Mingei International Museum; San Diego International Film Festival (SDIFF); and more.

MANAGER Glenda Mendez PRODUCTION ARTIST Diana Gonzalez



WRITER Stephanie Thompson

PUBLISHER Jeff Levy EDITOR Sarah Daoust ART DIRECTOR Carol Wakano


MANAGER Lorenzo Dela Rama ADVERTISING DIRECTOR Kerry Baggett ACCOUNT DIREC TORS Walter Lewis, Jean Greene, Tina Marie Smith CIRCULATION MANAGER Christine Noriega-Roessler BUSINESS MANAGER Leanne Killian Riggar PRODUCTIONMARKETING/ MANAGER Dawn Kiko Cheng Contact Us ADVERTISING CaliforniaMediaGroup.comKerry.Baggett@ WEBSITE CaliforniaMediaGroup.comLorenzo.DelaRama@ CIRCULATION CaliforniaMediaGroup.comChristine.Roessler@ HONORARY PRESIDENT Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: Visit310.280.2890 Performances Magazine online at Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2022 California Media Group. All Rights Reserved. Printed in the United States. MAGAZINE TORREYHOLISTICS.COM | 858-558-1420 C10-0000242-LIC Elevate Your Experience 2 PERFORMANCES MAGAZINE

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making masks from old bra straps and bedsheets. Catch Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, a “wild, suspenseful and hilarious theatrical adventure” at Lamb’s Players Theatre, Oct. 1Nov. 20. Enjoy an evening with conductor Edo de Waart and the San Diego Symphony at The Shell,


Violinist Simone Lamsma performs with the San Diego Symphony Oct. 15-16.

Play & Symphonic Delights

A ONE-WOMAN TOUR de force, Kristina Wong returns to La Jolla Playhouse, performing Kristina Wong, Sweatshop Overlord—a 2022 Pulitzer Prize finalist which she wrote—through Oct. 16. The clever comedy takes us back to the early days of the pandemic, when Wong led the “Auntie Sewing Squad,”

Oct. 15-16—performing Copland, Korngold and Dvorák, featuring violinist Simone Lamsma. And “the show must go on” at the S.D. premiere of Into the Breeches!, Oct. 19-Nov. 13. Presented by Solana Beach-based North Coast Rep, it’s a charming comedy by George Brant, directed by Diana Van Fossen.



Light TowntheRed

To celebrate 125 years of excellence and pride in red and black, businesses, city landmarks and neighborhoods will be glowing red when the sun goes down leading up to the Homecoming game at Snapdragon Stadium on November 5. Join the 125th Anniversary celebration and go red.

A TREASURE TROVE of folk art, craft and design, the remodeled Mingei International Museum presents Piñatas – The High Art of Celebration, opening Oct. 28. One of the first-ever exhibits to show case piñatas as both an established craft and a modern art form, the show comprises 80-plus works by Latinx artists from across the U.S.; plus pieces by traditional piñateros. Visitors can explore piñatas of all shapes and sizes, each reflecting

From top: Red carpet fun at the San Diego International Film Festival; Agarrate Papa by artist Francisco Palomares, 2020.


The Art of the Piñata

THE RED CARPET rolls out for the San Diego International Film Festival, Oct. 19-23. Presented by the San Diego Film Foundation, the festival showcases features, documentaries and short films submitted by independent filmmakers across the globe; along with the new addition of a Women’s Film Series in partnership with the Women’s Museum of California. The event lineup includes the Opening Night film premiere and reception at the Museum of Photographic Arts on Oct. 19; the “Night of the Stars Tribute” at The Conrad on Oct. 20; film screenings at AMC Theatres at Westfield UTC Oct. 21-23; a “culi nary cinema” on Oct. 23; and virtual screenings throughout the week. See website for individual ticket pricing and festival passes.




subjects from politics to culture to daily life—some serious in nature; others humorous. Programming includes featured-artist lectures and piñata-making workshops. Participating artists include Diana Benavidez, Roberto Benavidez, Mari Carson, Amorette Crespo, Justin Favela, Lisbeth Palacios, Francisco Palomares, Yesenia Prieto, Josue Ramirez and Giovanni Valderas. 1439 El Prado, Balboa Park, 619.239.0003,

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Mexico’s Art Icons Frida Kahlo and Diego Rivera Come to Life—and Death—in San Diego Opera’s World Premiere of El último sueño de Frida y Diego by STEPHANIE THOMPSON


Dead), and you’ve got El último sueño de Frida y Diego (The Last Dream of Frida and Diego). The new opera by Gabriela Lena Frank will receive its world premiere, presented by San Diego Opera (SDO), on Oct. 29 at San Diego Civic Theatre.


For this new production, SDO has assembled a spectacular creative team—with all but one making their company debuts. Grammy Award-winning composer Gabriela Lena Frank teams up with Pulitzer


“It’s important for us as a com pany and as a staff to commission new works that find ways to connect with the audience,” says General of FRIDA and DIEGO

Costumes for El último sueño de Frida y Diego, designed by Eloise Kazan

REATING AN OPERA inspired by the lives of Mexico’s most famous artists, Frida Kahlo and Diego Rivera, would seem like a no-brainer. Colorful, brilliantly talented, passionate, tem pestuous and larger than life, the global power couple of the art world of the 1930s and ’40s lived life on a truly operatic scale. Set their story to beautiful music and add the set ting of Día de Muertos (Day of the

Prize-winning playwright Nilo Cruz, who wrote the libretto. Soprano Guadalupe Paz stars as Frida; joined by baritone Alfredo Daza as Diego; soprano Maria Katzarava as Catrina; and countertenor Key’mon Murrah as Leonardo. All but Paz are debuts, including director Lorena Maza and conductor Roberto Kalb.


Elena Schwarz, conductor Steven Schick, conductor Paul Huang, violin Featuring music from UC San Diego alumna Anna Thorvaldsdottir UC San Diego faculty Lei Liang and Rand Steiger Works by Stravinsky and Barber Tickets available online at Triton Box O ice boxo Friday, October 21 , 2022 7:30 p.m. EPSTEIN FAMILY AMPHITHEATER OPENING CELEBRATION JOIN UC SAN DIEGO and THE SAN DIEGO SYMPHONY Epstein AmphitheaterFamily UC San Diego

world premiere. “It’s a tragic love story that includes everything—art, passion, politics, sex, political activ ism. Frida and Diego created a whole universe for themselves through their art, their houses, the way they dressed, their love story, and their political and artistic ideals. Their multidimensional, multicultural view of the world was very personal; very Mexican but also very universal. Both still speak to us perhaps even more now than in their time.”

Maza has long had a deep per sonal connection to the story of Kahlo and Rivera. She was born in Mexico City and has been close friends with Diego Rivera’s grand son, Juan Coronel Rivera, since childhood. Together they would


Director David Bennett. “It has been amazing not only to see the artistic team, but also the staff, unite around the excitement of creating something new. My mission when I came to San Diego Opera was to find programs that reach out to new audiences in more robust ways. San Diego is a city whose Hispanic population will soon be the major ity, and San Diego Opera is the only major opera company in the U.S. located on an international border. Creating an exciting new work in Spanish, with a refreshing new take on a familiar and beloved subject, was

“It’sirresistible.”truethatFrida and Diego’s story seems perfect for an opera,” says Lorena Maza, director of the

A scene from the orchestra workshop of San Diego Opera’s El último sueño de Frida y Diego

Nevertheless, Maza points out, the creative team strove to avoid the clichés of Día de Muertos and exploiting the recent revival of especially Frida Kahlo. Her colorful image in Mexican folk clothes—with her famous unibrow and flowers in her hair—seems ubiquitous in pop culture these days. “In this opera, our specific story is new,” Maza says. “Gabriela Frank and Nilo Cruz have constructed a new view and a new universe that we’ve made our own. Día de Muertos is not Mexican Halloween! It’s an intense cultural tradition observed in nearly every household, with many elements. It’s not Coco



play in Diego’s studio among his collection of popular art.

Front cover photo credits: Rafael Payare photo by J. Henry Fair; Simone Lamsma photo by Otto van den Toorn; Edo de Waart photo by Jesse Willems; Alisa Weilerstein and Paul Huang photos by Marco Borggreve; Elena Schwarz photo by Priska Ketterer.

Looking forward to seeing you,


And, while the dreadful conflict in Ukraine continues, we answer that tragedy with a joyful celebration of the beautiful folk-music of Eastern Europe, as reflected in Dvořák’s Eighth Symphony and the Ukrainian-born Prokofiev’s epic Sinfonia Concertante for solo cello and orchestra, performed by our own cherished Alisa Weilerstein.

So, the orchestra and our esteemed Music Director Rafael Payare open this year of music with one of the most powerful and thrilling choral and orchestral pieces ever written, Verdi’s legendary Requiem. This huge work sets the ancient Latin words for the Mass of the Dead, and is intended to pay tribute to those who had suffered and died in the struggle for Italian independence and unity. But more importantly, the colossal impact of this score speaks overwhelmingly of the power of humanity, working collectively, to imagine a better world and a better future.


The sweet joys of melody, and especially of American melody, are a big theme in the opening weeks of this new season, with our Principal Guest Conductor Edo de Waart pairing Aaron Copland’s evergreen Appalachian Spring with the Hollywood-inspired violin concerto by the great movie-composer Erich Korngold, played by the wonderful Simone Lamsma. And then, only a few days later, Elena Schwartz and Paul Huang give us Samuel Barber’s violin concerto, an equally gorgeous piece, and equally American. And the West Coast theme continues with Stravinsky’s Symphony in Three Movements, from his Los Angeles years, and a haunting miniature by our own San Diego-based and Chinese-born composer, Lei Liang.


This month is one of beginnings, joy, reverence and a moment of appreciation for a time of togetherness once again. We truly hope you enjoy it.

San Diego Symphony Orchestra and our 2022-23 Jacobs Masterworks Season, one of musical joys and Asmasterpieces!webeginthis

Dear Welcomefriends,tothe

new season, we recognize that for many people across the world, the last few months have brought many challenges. It is part of the special power and wonder of music, and especially of orchestral music, that its ultimate message is one of hope, and of the importance in all our lives of the greatest and most overwhelming beauty. This beauty is created for us by our own San Diego Symphony musicians out of the purest sounds, before our ears and in the very moment we are gathered together in one place.


Martha A. Gilmer Chief Executive Officer

Jahja Ling, Conductor Laureate

Haeyoung Tang San Diego Symphony Musicians

Mitchell Woodbury Douglas Hall, Horn

Karen and Kit Sickels Jeremy Kurtz-Harris, Principal Bass SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Rafaela and John Belanich Chris Smith, Principal Trumpet

Carol and Richard Hertzberg Nick Grant, Principal Associate Concertmaster Emeritus

Dr. Bob and June Shillman and Maxwell Louis Shillman Greg Cohen, Principal Percussion

Penny and Louis Rosso AndrewAssistantWatkins,Principal Timpani

Colette Carson Royston and Ivor Royston Yeh Shen, Violin

Gloria and Rodney Stone Paul ("P.J.") Cinque, Bass

$100,000 AND ABOVE


The following listing reflects pledges and gifts entered as of August 15, 2022.


Joan and Irwin Jacobs Martha Gilmer, Chief Executive Officer

Sarah and Marc Zeitlin CherryAssociateYeung,Principal Second Violin

Audrey Geisel◊, Dr. Seuss Foundation

Dave and Phyllis Snyder Julia Pautz, Violin

Linda and Shearn◊ Platt Benjamin Jaber, Principal Horn

Sylvia Steding and Roger Thieme Nicole Sauder, Violin

San Diego Foundation Rancho Santa Fe Foundation Jewish Community Foundation ◊ Deceased

Phyllis and Daniel Epstein Sheryl Renk, Principal Clarinet

Esther and Bud◊ Fischer Ethan Pernela, Viola

Monica and Robert Oder Erin Dowrey, Percussion


The San Diego Symphony Orchestra gratefully acknowledges the generous support of the following donors for their membership in the Partner with a Player program and their profound impact on the orchestra. Partner with a Player members enjoy the unique opportunity to personally connect with the orchestra and engage with the Symphony in meaningful ways.

Karen and Jeff Silberman Jisun Yang, Assistant Concertmaster

Kathy Taylor and Terry Atkinson Igor Pandurski, Violin

Mr. and Mrs. Brian K. Devine San Diego Symphony Musicians

Judy McDonald Gerard McBurney, Creative Consultant

Kevin and Jan Curtis NancyAssociateLochner,Principal Viola

Karen and Warren Kessler Chi-Yuan Chen, Principal Viola KAREN AND WARREN KESSLER CHAIR


Anonymous San Diego Symphony Musicians

Una Davis and Jack McGrory Susan Wulff, Associate Principal Bass

Gayle◊ and Donald Slate WesleyAssociatePrecourt,Concertmaster

Dr. William and Evelyn Lamden Andrea Overturf, Oboe DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

Jayne and Bill Turpin San Diego Symphony Musicians

$50,000 – $99,999

Julie Smith Phillips, Principal Harp

Jayne and Brigg Sherman Rodion Belousov, Oboe

$25,000 – $49,999

Michael Nissman and Paige Stone San Diego Symphony Musicians

Anonymous Hernan Constantino, Violin Anonymous Nathan Walhout, Cello

Rena Minisi and Rich Paul, Paul Plevin Sullivan & Connaughton, LLP Ryan Simmons, Bassoon

Karen and Donald Cohn Hanah Stuart, Acting Associate Principal Second Violin

Anne and Andy McCammon Richard Levine, Cello

Raghu and Shamala Saripalli Chia-LingAssociateChien,Principal Cello

Michael Blasgen Tricia Skye, Horn

Janet and Wil Gorrie Zou Yu, Violin

Linda and Raymond◊ ThomasR.V. Thomas Family Fund Ray Nowak, Trumpet

Isabelle and Mel◊ Wasserman Andrew Hayhurst, Cello

Karin and Gary Eastham San Diego Symphony, Viola Chair

Sandra and Arthur◊ Levinson Kyle Covington, Principal Trombone

Judith Harris◊ and Dr. Robert Singer Michael Marks, Bass

Sue and Bill Weber Jing Yan Bowcott, Violin

Pamela and Stephen Quinn San Diego Symphony Musicians

$15,000 – $24,999

Jane and Jon Pollock San Diego Symphony, Flute Chair

Jill Gormley and Laurie Lipman Frank Renk, Bass Clarinet

Marilyn James and Richard Phetteplace John Stubbs, Violin

Dr. Marshall J. Littman San Diego Symphony, Cello Chair

Carol Lazier and James Merritt Sarah Tuck, Flute

Julia R. Brown LeylaBassoonZamora,and Contrabassoon

Leslie and Joe Waters Rose Lombardo, Principal Flute

Deborah Pate and John Forrest Jeff Thayer, Concertmaster

Kathryn Hatmaker, Violin


Sheryl and Harvey White Alexander Palamidis, Principal Second Violin

Allison and Robert Price San Diego Symphony Musicians

Dr. Anthony Boganey Logan Chopyk, Trombone

Warren and Eloise Batts Alicia Engley, Violin

Kathleen Seely Davis Qing Liang, Viola

Lisette and Mick Farrell/ Farrell Family Foundation Navroj ("Nuvi") Mehta, Concert Commentator

Val and Ron Ontell DarbyAssistantHinshaw,Principal & Utility Horn

Elizabeth and Joseph◊ Taft Wanda Law, Viola

Seltzer Caplan McMahon Vitek Pei-Chun Tsai, Violin

Sandra Timmons and Richard Sandstrom

Norman and Diane Blumenthal Kenneth Liao, Violin

Jeanette Stevens


Elaine Galinson and Herbert Solomon Yumi Cho, Violin

Helen and Sig Kupka Lily Josefsberg, Piccolo/Flute

The Eleanor and Hank Family Trust Kevin Gobetz, Bass

Sally and Steve Rogers Kyle Mendiguchia, Bass Trombone

Stephen M. Silverman Ai Nihira Awata, Violin

Jo Ann Kilty Marcia Bookstein, Cello

Kathryn and James Whistler Rachel Fields, Librarian

Nikki A. and Ben G. Clay Mary Szanto, Cello

Sarah Skuster, Principal Oboe

Pam and Jerry Cesak Samuel Hager, Bass

Pam and Hal Fuson Courtney Cohen, Principal Librarian

For Vice President of Institutional Advancement, Sheri Broedlow at (805) 637-4948

Judy Gaze-Zygowicz and John Zygowicz Johanna Nowik, Viola

Annette and Daniel Bradbury Yao Zhao, Principal Cello

more information, or to join, please contact

Riley◊ and Patricia Mixson Xiaoxuan Shi, Violin

Anne L. Evans San Diego Symphony Musicians

Eileen Mason

Society. For

through membership

for their leadership and


is designed to raise consistent, critical funding for artistic, educational and community programs. Members pledge multi-year support and commit to annual gifts of $50,000 and higher, designated for projects ranging from classical and jazz concerts to education and military programs.


The Symphony and its Board of Directors are pleased to the following to acknowledge them Members of The Beethoven information the San Diego Symphony Orchestra in The Beethoven Society, Broedlow


about supporting

The Beethoven Society

please call Sheri


1998-00 Sandra Pay 1995-96 Elsie V. Weston 1994-95 Thomas Morgan

Donald Slate* Gloria Stone Frank JohnMitchellVizcarraR.Woodbury*Zygowicz*EXECUTIVECOMMITTEEMEMBER

Ellen Whelan, Esq.

1940-42 Donald B. Smith 1938-39 Mrs. William H. Porterfield 1934-37 Mrs. Marshall O. Terry 1930-33 Mouney C. Pfefferkorn 1928-29 Willett S. Dorland 1927 Ed H. Clay

Mitchell R. Woodbury Treasurer

Robert Caplan, Esq. Harold W. Fuson Jr. Martha Gilmer

Mark Stuart


Ben G. Clay

Pam Cesak*

2015-18 Warren O. Kessler, M.D.


Kris Kopensky

Joan K. Jacobs

Harold W. Fuson Jr. Chair of the Board*

Herbert Solomon Mitchell R. Woodbury

Jeff Light

David R. Snyder, Esq. Vice Chair

Sandra Levinson Secretary

1959-60 Dr. G. Burch Mehlin


Lisette Farrell



1953-56 Mrs. Fred G. Goss 1952-53 Donald A. Stewart

2018-21 David R. Snyder, Esq.

2008-09 Theresa J. Drew

Anne Francis Ratner Lawrence(1911-2011) B. Robinson (d. 2021)

J. William Weber Vice Chair*

2001-03 Harold B. Dokmo Jr.

2003-04 John R. Queen

2009-11 Mitchell R. Woodbury

1964-66 Philip M. Klauber 1963-64 Oliver B. James Jr. 1961-63 J. Dallas Clark

Phyllis Epstein*

Joan K. Jacobs

1960-61 Fielder K. Lutes

Lisa AnthonyDavidBehunBialis*C.Boganey, MD, JuliaFACSR. Brown*

Kathleen Davis Treasurer*

2004-05 Craig A. Schloss, Esq.

David R. Snyder, Esq. Immediate Past Chair*

Dr. Irwin M. Jacobs

2000-01 Ben G. Clay


Janet Gorrie

Dr. Nancy Hong Arlene WarrenInchO.Kessler, M.D.*

Linda Platt Secretary*

2011-14 Evelyn Olson Lamden

2007-08 Steven R. Penhall

Una Davis Vice Chair*

Warren Kessler, M.D.

Deborah Pate Alan ChristopherMariviJathanSherronProhaskaSchusterSegurShivers"Kit" Sickels

Beth Sirull


Colette Carson Royston Vice Chair*

2014-15 Shearn H. Platt

1956-58 Admiral Wilder D. Baker

2005-07 Mitchell R. Woodbury

1993-94 David Dorne, Esq. 1989-93 Warren O. Kessler, M.D. 1988-89 Elsie V. Weston 1986-88 Herbert J. Solomon 1984-86 M.B. “Det” Merryman 1982-84 Louis F. Cumming 1980-82 David E. Porter 1978-80 Paul L. Stevens 1976-78 Laurie H. Waddy 1974-76 William N. Jenkins, Esq. 1971-74 L. Thomas Halverstadt 1970-71 Simon Reznikoff 1969-70 Robert J. Sullivan 1968-69 Arthur S. Johnson 1966-68 Michael Ibs Gonzalez, Esq.

Terry Atkinson Vice Chair*

His profound musicianship, technical brilliance and charismatic presence on the podium has elevated him as one of today's most sought-after Priorconductors.tojoining

Born in 1980 and a graduate of the celebrated “El Sistema” in Venezuela, Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the major orchestras in Venezuela, including the Simón Bolívar Orchestra. Having also served as Principal Horn of the Simón Bolívar Orchestra, he took part in many prestigious tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Sir Simon Rattle and Lorin Maazel. In May 2012, Payare was awarded first prize at the Malko International Conducting Competition.

As an opera conductor, Payare made his acclaimed debut at Glyndebourne Festival in 2019 conducting Rossini’s Il barbiere di Siviglia and has conducted Madame Butterfly and La bohème for Royal Swedish Opera and a new production of La traviata at Malmo Opera. In July 2012, he was personally invited by his mentor, the late Lorin Maazel, to conduct at his Castleton Festival in Virginia, and in July 2015 he was appointed Principal Conductor and conducted performances of Gounod’s Romeo and Juliette and a performance of Beethoven’s Symphony No. 9 in memory of Lorin Maazel.

He has also served as principal conductor of the Castleton Festival and honorary conductor of Sinfonietta Cracovia. As a guest conductor, he works regularly with the world’s leading orchestras, including the Vienna Philharmonic, Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, Mahler Chamber Orchestra, London Symphony, Munich Philharmonic, Symphonieorchester des Bayerischen Rundfunks and Royal Stockholm Philharmonic Orchestra, amongst others.

RAFAEL PAYARE began his role as the Music Director of the San Diego Symphony on July 1, 2019.

he was secure in his own vision and knowledge of the score. I could not be more excited about this musical partnership.”



the San Diego Symphony as Music D irector, Payare was Principal Conductor and Music Director of the Ulster Orchestra from 2014-19, with whom he appeared twice at the BBC Proms in 2016 and 2019. The Orchestra recently named him Conductor Laureate in recognition of his vast artistic contribution to the Orchestra and City of Belfast during his five-year tenure.

Payare will serve as the next Music Director of the Orchestre symphonique de Montréal. In September 2021 he took the title of Music Director Designate and will commence as Music Director from the 2022-23 season for an initial period of five years.

“When [Payare] conducted the orchestra in January 2018 there was a deep connection, and the musical bond and obvious potential for their relationship was clear,” said Martha Gilmer, San Diego Symphony CEO. "He has the perfect balance of bringing out the best in the musicians, encouraging and leading them to achieve more than they imagine possible. [Payare] has a calm assurance on the podium. The musicians spoke of their ability to take artistic risks knowing that

HORN Benjamin DarbyPrincipalJaberHinshawAssistantPrincipal & Utility Elyse Lauzon Tricia DouglasSkyeHall

BASS TROMBONE Kyle Mendiguchia


Nancy MichaelJasonCarrieEthanJohannaAbrahamQingWandaAssociateLochnerPrincipalLawLiangMartínNowikPernelaDennis*Karlyn*Molnau*

TROMBONE Kyle R. KyleLoganPrincipalCovingtonChopykMendiguchia


TUBA AaronPrincipalMcCalla HARP



* Long Term Substitute Musician + Staff Opera Musician

The musicians of the San Diego Symphony are members of San Diego County, Local 325, American Federation of Musicians, AFL-CIO. Financial support is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego.


ENGLISH HORN Andrea Overturf


PERCUSSION Gregory AndrewErinPrincipalCohenDouglasDowreyWatkins

Principal Guest Conductor



LIBRARIAN Rachel Fields

Conductor Laureate


TRUMPET Christopher Smith JohnPrincipalMacFerran Wilds Ray Nowak


BASS JeremyPrincipalKurtz-Harris









Music Director

Julie Smith Phillips Principal TIMPANI Ryan J. AndrewPrincipalDiLisiWatkinsAssistantPrincipal



FLUTE Rose LilySarahPrincipalLombardoTuckJosefsberg

VIOLA Chi-YuanPrincipalChen

OBOE Sarah AndreaRodionPrincipalSkusterBelousovOverturf

PICCOLO Lily Josefsberg

BASSOON Valentin LeylaRyanPrincipalMartchevSimmonsZamora

CLARINET Sheryl FrankMaxPrincipalRenkOpferkuchRenk

PROGRAM GIUSEPPE VERDI Messa da Requiem (Requiem Mass) Requiem and Kyrie Sequence (Dies Irae) Offertorio (Domine Jesu) ApproximateLiberaLuxAgnusSanctusDeiaeternameprogram length: 1 hour, 25 minutes This program will not have an intermission. SATURDAY, OCTOBER 1 | 6:30PM SUNDAY, OCTOBER 2 | 5PM The Rady Shell at Jacobs Park ™ PAYARE LEADS VERDI'S REQUIEM JACOBS MASTERWORKS Rafael Payare, conductor Leah Crocetto, soprano Jennifer Johnson Cano, mezzo-soprano Limmie Pulliam, tenor Aleksey Bogdanov, baritone San Diego Master Chorale San Diego Symphony Orchestra Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program The San Diego Symphony does not appear as part of this program. SAN DIEGO SYMPHONY 2022-23 SEASON OCTOBER 2022P 8 PERFORMANCES MAGAZINE

Highlights of Cano's 2021-22 season included performances with the Philadelphia Orchestra and Yannick Nézet-Séguin in a world premiere of Kevin Puts's The Hours , a debut with the Chicago Symphony and Riccardo Muti and a return to the San Francisco Symphony for Beethoven's Ninth. She starred in the New York premiere of A Song By Mahler, a new chamber opera by Marc Neikrug at the Chamber Music Society of Lincoln Center. She made operatic debuts in Poulenc's Dialogues of the Carmelites (Mother Marie) with the Houston Grand Opera, the world premiere of Gregory Spears' Castor and Patience (Celeste) with the Cincinnati Opera and Bartók's Bluebeard's Castle (Judith) with the Roanoke Opera.

Previous operatic appearances have included Donna Elvira, Carmen and Offred with the Boston Lyric Opera; the role of the Fox in The Cunning Little Vixen with the Cleveland Orchestra and WelserMöst; the Mother the Dragonfly, and the Squirrel in L'enfant et les sortilèges with the San Francisco Symphony; performances of El Niño with John Adams and the London Symphony Orchestra; Carmen with the New Orleans Opera and the title role in Orphée with the Des Moines Metro Opera and Opera Theatre of Saint Louis.

Cano joined the Lindemann Young Artist Development Program at the Metropolitan Opera after winning the Metropolitan Opera National Council Auditions and made her Met debut during the 2009-10 season. Among her honors are Winner of the Young Concert Artist International Auditions, a Sara Tucker Study Grant, a Richard Tucker Career Grant and a George London Award.



On the concert stage, Crocetto has sung Verdi's Requiem with Riccardo Muti and the Chicago Symphony Orchestra, with the Los Angeles Philharmonic under Gustavo Dudamel, and also with the Calgary Philharmonic, the Columbus Symphony, and Albany Symphony. She sang Beethoven's Symphony No. 9 with Rafael Frühbeck de Burgos and the Los Angeles Philharmonic at The Hollywood Bowl, Pergolesi's Stabat Mater in concert with San Francisco Opera and Nicola Luisotti, and Mahler's Symphony No. 2 "Resurrection" at the Grand Tetons Music Festival with Donald Runnicles.

Described by the New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style… with warmth, full penetrating sound and tenderness,” American soprano LEAH CROCETTO continues to astonish audiences with her moving portrayals of opera's greatest heroines.

In 2020/21, she made her highly anticipated debut at Opera Australia, starring as the title role in Davide Livermore's thrilling production of Aida. She returned the next season as Leonora in Il Trovatore at the Sydney Opera House and joined the company in Melbourne for concert performances of Boito's Mefistofele as Margherita. Her portrayal as Aida was hailed as a "revelation," with Stage Whispers praising that "nothing can truly prepare one to hear such stunning vocal control in person. A perfect, sudden pianissimo, deftly deployed in O, Patria mia!, was just one of the many moments that had the audience spellbound."

A naturally gifted singer known for her commanding stage presence and profound artistry, JENNIFER JOHNSON Cano has garnered critical acclaim for committed performances of both new and standard repertoire. In response to her performance as Virginia Woolf in The Hours with the Philadelphia Orchestra, Opera News praised her “impressive tone and dead-on pitch throughout a wide range, and a fierce command of words,” calling her “a matchless interpreter of contemporary opera.”

Very much at home in the Italian operatic repertoire of Verdi and Puccini, Crocetto made her European debut as Leonora in Il Trovatore with Opéra National de Bordeaux, followed by debuts at the Arena di Verona and North Carolina Opera. She sang her first performances in Venice as Desdemona in Otello at Teatro la Fenice. She reprised the role with the company on their tour of Japan and with Frankfurt Opera for her company debut.

Crocetto represented the United States at the BBC Cardiff Singer of the World Competition, where she was a finalist in the Song Competition. She is a Grand Finals Winner of the Metropolitan Opera National Council Auditions and was the First Place Winner, People's Choice and the Spanish Prize Winner of the José Iturbi International Music Competition, and winner of the Bel Canto Foundation competition. A former Adler fellow at San Francisco Opera, Crocetto frequently appears with the company.

THE CONDUCTOR RAFAEL PAYARE Please turn to page 6.

This season she performs at the Metropolitan Opera in Falstaff (Meg Page) and makes her company debut with the Atlanta Opera in Don Giovanni (Donna Elvira); appears with the New York Philharmonic, New Jersey Symphony and Atlanta Symphony. Cano returns to the Chamber Music Society of New York, where she performs Mahler's Rückert-Lieder ; and to the Philadelphia Chamber Music Society in an AllBach program with the Gamut Bach Ensemble.


He was the 2012 Artist Division Winner of the National Opera Association's Vocal Competition and, in 2013, was a winner in the 3 rd Annual Concorso Internazionale di Canto della Fondazione Marcello Giordano in Catania, Sicily.

Bogdanov started the 2018-2019 season with a debut at Maryland Lyric Opera in La fanciulla del West (Rance). He returned to Washington National Opera for Silent Night (Lieutenant Horstmayer) and covered in Tosca (Scarpia) and Eugene Onegin (title role). Additional debuts included Moby Dick (Starbuck) at Chicago Opera Theater, Il corsaro (Pasha Seid) at Teatr Wielki (Warsaw, Poland), and Gurre-Lieder (Peasant/ Narrator) with KBS Symphony Orchestra. Bogdanov made his debut with the San Francisco Symphony in Boris Godunov (Shchelkalov) conducted by Michael Tilson Thomas. Additional recent appearances include Arizona Opera for Tosca (Scarpia), Sarasota Opera for d'Albert's rarely-heard Tiefland (Sebastiano), Tchaikovsky's The Maid of Orléans (Lionel) with Odyssey Opera in Boston, Les Contes d'Hoffmann (Four Villains) with Opera North (US), La fanciulla del West (Rance) with Opera Carolina, Tosca (Scarpia) with Opera North (US), Les pêcheurs de perles (Nourabad) with Tulsa Opera, Hérodiade (Vitellius) with Washington Concert Opera, and he covered the title role in Rubinstein's The Demon with Gran Teatre del Liceu in Barcelona.

This season, Pulliam joins the roster of The Metropolitan Opera for the first time for their production of Aida. He later debuts the role of Radames with Tulsa Opera for their 75 th anniversary gala concert. He also debuts the role of the Prince in Rusalka with Portland Opera. In concert, he debuts with the San Diego Symphony singing Verdi’s Requiem, and makes his Carnegie Hall debut performing “The Ordering of Moses” in collaboration with Oberlin Conservatory, his alma mater. He also joins pianist Mark Markham for “operatic greatest hits” concerts and spiritual recitals with the Lincoln Symphony Orchestra and Delta Pulliam’sSymphony.2021-2022

Last season included a return to Gran Teatre del Liceu for Les Contes d’Hoffmann (Crespel/Luther) and debuts with Austin Opera in Tosca (Scarpia) and Central City Opera in Rigoletto (title role). He debuted at Hawaii Opera Theatre in Tosca (Scarpia). Additional performances that season included Aida (Amonasro) with Boston Youth Symphony Orchestra, Madama Butterfly (Sharpless) with Tulsa Opera, Everest (Beck Weathers) and the title role in Aleko with Chicago Opera Theater. Concert appearances included Verdi's Requiem with the Colorado Symphony and The Phoenix Symphony, and Handel's Messiah with the Richmond Symphony.

Baritone ALEKSEY BOGDANOV began the 2021-2022 season making his debut at The Metropolitan Opera in Boris Godunov (Shchelkalov). Other engagements last season included a debut with Nashville Opera in Rigoletto (title role), La traviata (Germont) with Boston Youth Symphony Orchestra, L'Orfeo (Caronte) on a European tour with Europa Galante conducted by Fabio Biondi, and a debut at Royal Swedish Opera for La fanciulla del West (Rance).

Bogdanov made his debut at The Glimmerglass Festival in Carmen (Escamillo), a signature role that he has performed with The Atlanta Opera, Opera Theatre of Saint Louis and Columbus Symphony Orchestra. He returned to The Glimmerglass Festival for Madama

As a member of the Cafritz Young Artist Program at Washington National Opera he was seen in 100 performances including Carmen (Escamillo), Hansel and Gretel (Peter), title roles in Le nozze di Figaro and Don Giovanni, Così fan tutte (Guglielmo), L’elisir d’amore (Belcore), Madama Butterfly (Sharpless) and he created the role of Governor George Wallace in the revised version of Glass' Appomattox.


Rising dramatic tenor LIMMIE

An in-demand concert artist, he has performed Verdi’s Requiem with the Springfield Symphony Orchestra, and the Lancaster Symphony Orchestra. He also made a much-anticipated return appearance with Vashon Opera where he was featured in a sold-out Limmie Pulliam & Friends concert. Pulliam has been featured in numerous appearances with the internationally renowned chorale Gloriae Dei Cantores, as tenor soloist (Ahab/Obadiah) in Mendelssohn’s Elijah as well as in concerts featuring Intimations of Immortality and For St. Cecelia by Gerald Finzi. He appeared as the tenor soloist in Handel’s Messiah with the Forum Sinfonia Orchestra of Finland and soloist in Haydn’s Lord Nelson Mass with the San Angelo Symphony. Pulliam was also a featured soloist on The American Spiritual Ensemble’s 2013 Winter Tour.

PULLIAM has thrilled audiences with his captivating stage presence and his “stentorian, yet beautiful,” sound.

season included his company and role debut with Los Angeles Opera as Manrico in Il Trovatore. He additionally made two significant orchestra debuts, singing the title role in Otello with The Cleveland Orchestra led by Franz WelserMöst, and Beethoven’s Ninth Symphony with The Philadelphia Orchestra under the baton of Yannick Nézét-Seguin. He joined Vashon Opera as Turridu in Cavalleria Rusticana and Otello with Livermore Valley Opera, and appeared in concert with the Lyric Opera of Kansas City for a night of opera’s greatest hits and and the Memphis Symphony for their rescheduled Beethoven’s Ninth Symphony. During the summer, he joined Madison Opera for their widely popular Opera in the Park concert and the Bard Music Festival as Albert in Rachmaninoff’s rarely-performed The Miserly Knight, led by Leon Botstein.

Dr. Russell is also frequently in demand as a professional vocalist. His recent performances include Bach's St. John Passion at the Spoleto Festival in Charleston, SC; Mahler's Das Lied von der Erde with Steve Schick and Renga; Handel's Acis and Galatea with the Bach Collegium San Diego; Monteverdi's Vespers of 1610 with the Westminster Summer Choral Festival; and Piffaro: The Renaissance Band in Philadelphia. In March 2022, he joined the Bach Collegium San Diego for their premiere performances of Mesías , Handel's Messiah, with a brand-new Spanish language libretto in concerts in the U.S.A. and Mexico.

JOHN K. RUSSELL, DMA , is the Director of Choral and Vocal Studies at Palomar College and the Music Director of the San Diego Master Chorale. At Palomar College, he conducts the Chamber Singers and the Palomar Chorale, teaches applied voice and oversees the vocal music program. As Music Director of the SD Master Chorale, Dr. Russell conducts and coordinates all the chorale's artistic activities, including preparing the chorus for performances with San Diego Symphony and regular collaborations with San Diego orchestras, including the Mainly Mozart Festival Orchestra and La Jolla Symphony. In addition, he recently served on the summer conducting faculty at Westminster Choir College in Princeton, New Jersey, where he taught master classes in conducting for the annual Westminster Summer Choral Festival. In October 2022, he will conduct the west coast premiere performance of Livro das Cores , a newly commissioned choral work by renowned Brazilian composer Marcos Balter.

Widely recognized for its exciting, inspiring, and comforting performances, the SD MASTER CHORALE is San Diego’s premier choral ensemble, showcasing more than 100 of the region’s finest singers. The Chorale was founded in 1961 and today continues its artistic ascent under the leadership of Music Director Dr. John K. Russell. Dedicated to performing the finest choral repertoire, the SD Master Chorale embraces classical masterworks, new music by contemporary composers, film scores and diverse works of many genres to unite audiences and musicians of all cultures, religions and generations. Each year, the Chorale attracts thousands of San Diego residents and visitors and is heard outside the concert hall with the San Diego Symphony via broadcasts on KPBS, San Diego’s NPR station. The Chorale also performs with the San Diego Symphony at The Rady Shell at Jacobs Park and with other respected performing arts partners.

in New York, he conducted over twenty performances with the world-renowned Orchestra of St. Luke's, served as a clinician for the New York Philharmonic's Education Department, and was a guest conductor with New York City National Chorale.

Dr. Russell is a native of Kalamazoo, Michigan, and is a graduate of Western Michigan University and Columbia University. He received his Doctorate of Musical Arts in Choral Music from the University of Southern California, and his primary conducting mentors are Craig Arnold, Joe Miller and Jo-Michael Scheibe. He has studied voice with William Appel, Curt Peterson, Jeanne Goffi-Fynn and Gary Glaze. He resides in San Diego with his wife, Jill, and son, Parker.


Dr. Russell was previously the Director of Choral Activities at California State University, San Bernardino, and has held similar positions at Albion College (Michigan), Los Angeles City College, Cypress College and the San Diego Children's Choir. Before working in California, Dr. Russell was the principal choral conductor at the LaGuardia School of Music & Art & Performing Arts (the Fame School) in New York City. At LaGuardia, he was the assistant chairperson of the Music Department, conductor of the symphonic chorus and voice instructor for the school's top vocalists. While

Butterfly (Sharpless) and Picker's An American Tragedy (Samuel Griffiths). He also appeared in the US premiere of O'Regan's Heart of Darkness with Opera Parallèle. Other career highlights include his Canadian debut as the title role in Eugene Onegin with Edmonton Opera, and his Carnegie Hall debut as Bass Soloist in Messiah. He has been featured as a soloist in Mozart's Requiem at Place des Arts in Montréal, Beethoven's Fidelio with National Symphony Orchestra, Barber's A Hand of Bridge with Baltimore Symphony Orchestra, CastelnuovoTedesco's Romancero Gitano at Palau de les Arts Reina Sofia and Teatro Baretti di Torino, Dvořák's Te Deum and Janáček’s Glagolitic Mass at Basilica of the National Shrine, and the Requiems of Mozart, Fauré, and Duruflé at the Washington National Cathedral.

Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus?

Quærens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.

Man will be rent asunder, as the judge descends, to sentence us all!


Mors stupebit, et natura, Cum resurget creatura, judicanti responsura.

Remember, good Jesus, that you did come to earth for me: Spare me on that day.

My prayers are unworthy; but You who are good, grant that I not perish in everlasting fire.

Juste judex ultionis, Donum fac remissionis Ante diem rationis.

Grant them eternal rest, O Lord, and let perpetual light shine upon them. A hymn, will be sung unto You in Zion; and a vow shall be made to You in Jerusalem: hear my prayer, all flesh will come unto You. Lord, have mercy. Christ, have mercy.

I bewail my lot as one accused: guilt color my cheek: Lord, spare this supplicant.

When the judge is seated all that is hidden will appear: no sin will remain Whatunpunished.willI,poor sinner, say? To whom will I plead, when the just man is in need?

Rex tremendæ majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.

Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur.

Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.

King of great majesty who sends us salvation, save me, fount of mercy.

Inter oves locum præsta. Et ab hædis me sequestra, Statuens in parte dextra.

Judex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.

I pray, a suppliant bending, my heart ground to ashes: heed me in my final hours.

favilla: Teste David cum Sibylla.

Place me among the sheep, abase me not among the goats, but set me at Your right hand.

Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis.

Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus!

Requiem æternam dona eis, Domine: et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Kyrie, SolvetDiesChriste,eleison.eleison.iræ,diesilla,sæclumin



Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.

Preces meæ non sunt dignæ; Sed tu bonus fac benigne, Ne perenni cremer igne.

Once the wicked have been confounded, surrounded by the devouring flames: call me with the blessed.

Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.

The trumpet, sending its wondrous sound, through the sepulchres of all lands will gather, all before the throne.

In search of me, You became weary: You redeemed me, and suffered the cross: such labor could not have been in vain.

Death and nature will stand stupefied, when all creatures are resurrected to face their judgment.

The book will be brought forth, wherein all is written, from which all will be judged.

Just grantjudge,thegift of remission before the day of reckoning.

Requiem and Kyrie

Tuba, mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.

Recordare, Jesu pie, Quod sum causa tuæ viæ: Ne me perdas illa die.

You who absolved Mary Magdalene, who gave ear to the thief, have given me hope.

Day of wrath, day of mourning, when the world melts in fire, as foretold by David and the Sibyl.

When the heavens and the earth shall be moved.


Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Lamb of God, Who takest away the sins of the world: give them rest.

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

when the heavens and the earth shall be moved: When Thou shalt come to judge the world by fire. Dread and trembling have laid hold on me, and I fear exceed ingly because of the judgment and of the wrath to come.

From everlasting death, deliver me, O Lord, in that awful day:

Mournful the day, when the guilty arise from the ashes to be judged: Spare them, Lord.

Dum veneris judicare sæculum per ignem. Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

May light eternal shine upon them, O Lord: with Thy Saints for evermore: for Thou art gracious. Eternal rest give to them, O Lord: and let perpetual light shine upon them. With Thy Saints for evermore: for Thou art gracious.


Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Requiem æternam dona eis, Domine: et lux perpetua luceat eis. Cum Sanctis tuis in æternum: quia pius es.

Pie Jesu Domine, Dona eis requiem.

Dies illa, dies iræ, calamitatis et miseriæ, dies magna et amara valde.

Domine Jesu Christe, Rex gloriæ, libera animas omnium fidelium defunctorum de pœnis inferni et de profundo lacu: libera eas de ore Leonis, ne absorbeat eas tartarus, ne cadant in obscurum: sed signifer sanctus Michael repræsentet eas in lucem sanctam: Quam olim Abrahæ promisisti, et semini ejus. Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahæ promisisti, et semini ejus.

Libera me, Domine, de morte æterna, in die illa tremenda:


Lamb of God, Who takest away the sins of the world: give them rest.

Quando cæli movendi sunt et terra: Dum veneris judicare sæculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, at que ventura ira.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit: deliver them from the lion's mouth, that hell engulf them not, that they fall not into darkness: but may the holy standard-bearer, Michael lead them into the holy light: Which Thou didst promise to Abraham and to his seed of old. We offer Thee, O Lord, sacrifices and prayers of praise: Do Thou accept them for those souls, whom we this day commemorate: Grant them, O Lord, to pass from death to the life eternal. Which Thou didst promise to Abraham and to his seed of old.

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Holy, holy, holy, Lord God of Hosts. Heaven and earth are filled with Thy glory. Hosanna in the highest. Blessed is He that cometh in the name of the Lord. Hosanna in the highest.

Quando cæli movendi sunt et terra.

Lux æterna luceat eis, Domine: Cum Sanctis tuis in æternum: quia pius es.

When Thou shalt come to judge the world by fire. Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.

Lamb of God, Who takest away the sins of the world: give them rest everlasting.

O that day, that day of wrath, of sore distress and of all wretch edness, that great exceeding bitter day.

Good Lord Jesus, grant them rest. Amen.


Lacrymosa dies illa, Qua resurget ex favilla Judicandus homo reus: Huic ergo parce, Deus.

Then in May 1873, Allessandro Manzoni died at the age of 88. Poet, playwright and novelist, Manzoni was the greatest Italian writer of the nineteenth century. Manzoni was a devout Catholic who believed in the workings of divine providence in daily life, a view expressed in his most famous work, I promessi sposi, a morality novel about the struggle of the peasants Renzo and Lucia to marry in seventeenth-century Lombardy. Verdi loved I promessi sposi, writing to a friend: “You know well how greatly and in what way I honor him. In my opinion he has written a book which is not only the greatest product of our times, but also one of the finest in all ages which has emanated from the human brain. And, besides being a book, it is a comfort to humanity as well.” When Manzoni died, the shattered Verdi—by this time famous himself— wrote to his publisher: “I am moved to the depths by the passing of this great man who belonged to us. I shall not go to Milan tomorrow; I could not bear to be present at the funeral. I shall come later to find the grave, alone and unseen. I may have a proposal to make to you as to how his memory should be honored.”

If Verdi conceived of the requiem text as essentially dramatic, it is no surprise that he should make the most dramatic of its sections, the Dies Irae, the central episode of his setting: his vision of the Day of Wrath stretches out to nearly forty minutes, or about half the entire length of the Requiem. The opening Kyrie virtually whispers its prayer for eternal rest, but the Dies Irae explodes with some of the most violent music ever composed (its doom-laden drum-cracks result from Verdi’s instruction to stretch the skin of the bass drum as tightly as possible): here truly is music for the end of the earth and the day of judgment. The ten individual sections that make up the Dies Irae are too richly varied to describe in detail, but mention should be made of the bass’ numb introduction of death at Mors stupebit, the mezzo’s declamatory Liber scriptus , the swagger of the trombones at Rex tremendae majestatis , and the tenor’s soaring Ingemisco, with its important oboe solo.

No one would have expected Giuseppe Verdi—an opera composer—to write a Requiem Mass, and it came about only because of the death of two quite different men. The first was Rossini, who died in Paris in November 1868. Rossini and Verdi may have written different kinds of operas, but Verdi felt only veneration for his older colleague, describing him as “a real man, a fine artist who left his stamp on a whole epoch.” Verdi proposed that he and a group of colleagues write a joint setting of the traditional Catholic mass in Rossini’s memory, and he promptly composed a setting of the Libera Me as his own contribution. That project, however, collapsed as a result of bickering among the participants and sponsors, and so the disillusioned Verdi put his manuscript on the shelf.

Died January 27, 1901, Milan

so important to Manzoni even if he could not accept the dogma behind them, and it was not a contradiction for Verdi to set a text of the church he deeply disliked.

There had never been a setting of the requiem mass for the dead like Verdi’s. A century and a half earlier, the civic authorities in Leipzig had instructed their new music director Johann Sebastian Bach that he should “so arrange the music that it . . . does not make an operatic impression but rather incite the listeners to devotion.” Verdi would have ignored that command because for him there was no contradiction between “an operatic impression” and inciting “listeners to devotion.” When the conductor Hans von Bülow described the Requiem as Verdi’s “latest opera in church vestments,” he was not far off the mark. In this setting, Verdi used the musical language that had made his operas so effective: gripping and memorable melodies, solo and ensemble writing, a large chorus often employed in dramatic ways, and a virtuoso orchestra. Bach’s employers in Leipzig would have been appalled by the Verdi Requiem, but today we regard it as perhaps the greatest of all settings of this solemn text.

The remaining movements, all sharply contrasted, pass more quickly. The Offertorio features the four soloists, while the brief Sanctus is a blazing fugue for double chorus. The Agnus Dei with its spare and imaginative scoring has the two women soloists in octaves, while the Lux Aeterna is again for the soloists in various combinations. The concluding Libera me is the movement Verdi had composed for the projected setting in memory of Rossini, and listeners will discover that this “final” movement contains many ideas that Verdi would develop when he set the complete Requiem text. It opens with the soprano’s urgent prayer, and Verdi then re-invokes the furies of the Dies Irae and also the subdued plea of the opening Requiem before the movement erupts in a tremendous fugue on the words Libera me, Domine, de morte aeterna: “Deliver me, Lord, from eternal death.” Here is the “operatic” Verdi at his grandest and most dramatic, and at the close of the fugue the soprano soloist draws down tensions to the conclusion, where she and the chorus almost whisper the final prayer for deliverance: Libera me. -Program notes by Eric Bromberger


Messa da Requiem (Requiem Mass)


Born October 9 or 10, 1813, Roncole

That proposal, of course, was that Verdi would compose a Requiem Mass in honor of Manzoni. He pulled out the Libera Me movement written four years earlier in memory of Rossini and quickly composed the rest of the setting, completing the manuscript while on a visit to Paris. Verdi led the triumphant first performance in the Church of San Marco in Milan on May 22, 1874, one year to the day after Manzoni’s death, and then conducted performances in London, Paris, Vienna and Cologne.

There is an irony to the fact that this overpowering setting of so important a Catholic text should have been composed by Verdi. Though Manzoni had been a devout Catholic, Verdi was not. In fact, he was not a believer at all, and he hated the church and its priests, associating them with privilege, hypocrisy and oppression. Yet Verdi appears to have had an essentially religious character: he believed in the Christian ideals



TENOR George Arcaina

The DONOR APPRECIATION WALL at The Rady Shell at Jacobs Park™ is a permanent monument, celebrating the generous San Diegans who support the San Diego Symphony’s THE FUTURE IS HEAR campaign. To learn more, visit or email MAKE YOUR MARK! GUEST ARTIST SPONSORS We gratefully acknowledge our Guest Artist Sponsors. Please call (805) 637-4948 to participate! RITA* AND RICHARD ATKINSON DIANNE BASHOR RAFAELA AND JOHN BELANICH ALANDAVIDBENAROYABIALIS MR. AND MRS. BRIAN K. DEVINE NORMAN FORRESTER AND BILL GRIFFIN JERRY AND TERRI KOHL DOROTHEA LAUB DR. BOB AND JUNE SHILLMAN VAIL MEMORIAL TRUST SAN DIEGO MASTER CHORALE 2022 ROSTER SOPRANO Julie PhyllisEllenCaroleChelseaReneeMaireadIvyTheodoraHannahAmesArevaloBellingerBernhardsonBrownellCalvoConstantino(Dubczak)CroccoTheresaDamoreGrahamAnitaHansenCindyHeuerNikaKunwarAmyLongCarrMartinNancyMooreSheaPerryJantinaPerryChristyPetersonMilenaRicciMeriRogoffGatesSchneiderKaraStewartLibbyWeberClarissaWhite

ALTO Céline Amilien

BASS Sebastian Bohm

Steve Cargill Paul TannerDirkRobClintonHalTravisRickKevinKeithStephenJamesAndrewDennisTimDougGregMartinGregMattPeterChenCroninFallesenFrankGreenLemkeMartinMcLellanMoyNamNealOttPedersenPsolka-GreenRoeslerSherwoodSkellySmithTaylorVanProyenWilson

Nicole EvangelinaPamelaHayleyMarthaChristineCarolynTonettAlexisKay-MarieAlisonSueChristinaStaceyAmandaNicoleLoydeneStephYoshikoSonjaLeslieElaineErinJessicaWendyMaureenBonnieBirdCampbell-DavisCatonCharinesD'AngeloDeckerEdelmanGreenHershkowitzHigurashi-JensenIshiharaKeithKennedyLautieriLevasseurLiuMarberryB.MeyerMorenoOlaesPeraza-BakerRollinRousseauShaverWoldsethWongWoo

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AIDA CUEVAS has created one of the most important careers in traditional Mexican music. With a 46-year career and 41 album releases to her credit, Cuevas, dubbed “The Queen of Mariachi”, is an esteemed figure in Mexico, beloved for her unswerving devotion to traditional mariachi music and for her mastery of its demanding vocal forms. Cuevas celebrates a long-lasting career with a GRAMMY® Award, a Latin GRAMMY® Award and eleven GRAMMY® nominations in the “Best Mariachi/Ranchero Album” category.


Cuevas became the first female singer in the mariachi genre to win a GRAMMY® when she was honored at the 2018 awards for “Best Regional Mexican Music Album” for her recording studio album Arrieros Somos (Versiones Acústicas) The album is a collection of acoustic versions of Mexican classics by renowned composer Cuco Sánchez. She previously won a Latin GRAMMY® for “Best Tango Album” for her 2010 release De Corazón a Corazón…Mariachi Tango

Cuevas is a master of the mariachi art song performing a full range of mariachi numbers, including the falsetto heavyweight “El Pastor,” the iconic hits “Te Doy Las Gracias” and “Quizás Mañana,” as well as new songs from Totalmente Juan Gabriel Vol. II, including “Gracias Por Todo” and “Buscando el Séptimo Amor.” Cuevas also performs many ranchero classics such as “Traición a Juan,” “Toro Relajo,” “Los Laureles” and “No Me Amenaces.”

This concert will be performed intermission.

Cuevas’ latest release Antología de la Música Ranchera, Vol. I and Vol. 2, are two recording studio albums which were produced during the pandemic and both albums reached nominations for the GRAMMY® and Latin GRAMMY® Awards 2020 and 2021.

Now, Cuevas has returned with a new show and a new tour celebrating her 45th Anniversary with special guests and bringing the very best of Mexico’s music with her unique voice and style, allowing her to cultivate a 46-year successful career, leaving a remarkable imprint in the history of Mexican music.The San Diego Symphony does not appear as part of this program.



with one 25-minute

On October 3rd, 2014, Los Camperos mourned the death of Cano. His passing was greatly felt by followers, students and performers worldwide. Cano left the group to the musical director, Jesus "Chuy" Guzman whom has served as the musical director since 1992.

Under Guzman’s Direction, Mariachi Los Camperos released a 2015 GRAMMY®-nominated musical tribute to Nati Cano called: Tradición, Arte, y Pasión; this album gave Mariachi Los Camperos a Grammy nomination. Determined for a GRAMMY® Award, In January 2020 at the 62nd GRAMMY® Award celebration, Mariachi Los Camperos took home another GRAMMY® Award with their album release De Ayer Para Siempre for Best Regional Mexican Music Album.

In collaboration with the Houston Grand Opera, Mariachi Aztlán premiered the stage production of Cruzar la Cara de la Luna, the world’s first "Mariachi/ Opera" in December, 2010. A second performance of the same production took place in 2013 with the Lyric Opera of Chicago. Mariachi Aztlán also premiered the mariachi opera El Pasado Nunca Se Termina with the Chicago Lyric Opera in 2015. Other national performances include guest artists at the Tuscan International Mariachi Conference, the San Diego International Mariachi Festival and at the Chicago Mariachi Festivals. The mariachi has served as guest clinicians at the Mariachi Vargas Extravaganza and the Mariachi Spectacular. Most recent concerts include performances since 2019 with “La Reina Del Mariachi”, Aida Cuevas, who has invited this Mariachi for her U.S. Tour 2022 including more than 30 shows in North America.

GRAMMY® Award winner MARIACHI LOS CAMPEROS was founded in 1961 by Jose Natividad “Nati” Cano Ruiz. Cano played a fundamental role in the development of mariachi music in the United States by training and mentoring new generations of mariachi musicians. The Mariachi “Giant” was a visionary leader that wanted to take the mariachi performance out of customary locations such as Cantinas and into concert halls where celebrities performed. Cano fulfilled his dream by presenting Los Camperos and performing at casinos in Las Vegas, Reno, Sparks, Lake Tahoe and other places where mariachis had never previously performed. Los Camperos became well known and in 1964, they were the first Mariachi to perform in New York’s Carnegie Hall. In 1969, Cano opened the first ever Mariachi Dine and Show at “La Fonda Casa de Los Camperos” now known as a landmark in the city of Los Angeles, California. Today, mariachi restaurants all over the world are modeled after La Fonda.

1987 milestone album, Canciones de Mi Padre and Ronstadt’s sequel album, Mas Canciones (released in 1992), and toured with the singer nationwide.

Mariachi Los Camperos, one of the most popular mariachi ensembles in the world, is noted for innovative shows and distinction as a concert ensemble. The group has performed for over 60 years on stage and television, including various PBS specials: In Performance at the White House, The Spirit of Mexico, Viva La Tradicion and others, and motion pictures such as: Sex in the City 2, The Lost World: Jurassic Park, Jerry Maguire and many more. The GRAMMY® Award-winning ensemble has recorded and performed with many artists including Pedro Fernandez, Pepe Aguilar, Angeles Ochoa, Eugenia Leon, Lila Downs, Alejandro Fernandez, Luis Miguel and many more. The group collaborated on Linda Ronstadt’s

Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program PROGRAM NOTES | AIDA CUEVAS: 45TH ANNIVERARY YO CREO QUE ES TIEMPO SAN DIEGO SYMPHONY 2022-23 SEASON OCTOBER 2022 PERFORMANCES MAGAZINE P17

Guzman is known for his musical arrangements that highlight the skills and voices of the group. He is widely recognized as an arranger, director, instructor, and musician in the genre of Mariachi music. Mr. Guzman has served as head instructor for numerous international mariachi festivals in the United States and Mexico. He is the Musical Director for the Mariachi Master Apprentice Program (MMAP) in San Fernando and continues as the instructor for Music of Mexico, at the University of California, Los Angeles (UCLA).

Under the direction of Dr. Dahlia Guerra and Mr. Francisco Loera, MARIACHI AZTLÁN has been captivating audiences throughout Mexico, Canada and the United States since its establishment in 1989. They travel as musical ambassadors representing the beauty of Hispanic music and its cultural traditions. Recognitions for performance excellence initiated an invitation from the White House to perform at the signing ceremony of an Executive Order renewing and enhancing the White House Initiative on Educational Excellence for Hispanics, performing for President Barack Obama in 2010.

PROGRAM CARL MARIA von WEBER Overture to Der Freischütz ("The Marksman") SERGE PROKOFIEV Sinfonia concertante for Cello and Orchestra, Op.AndanteAllegroAndante125giustoconmoto – Allegretto – Allegro Alisa Weilerstein, cello INTERMISSION LUDWIG van BEETHOVEN Symphony No. 5 in C minor, Op. 67 Allegro con brio Andante con moto ApproximateAllegroAllegro program length: 1 hour, 40 minutes (includes one 20-minute intermission) FRIDAY, OCTOBER 7 | 7:30PM The Rady Shell at Jacobs Park ™ SATURDAY, OCTOBER 8 | 7:30PM California Center for the Arts, Escondido BEETHOVEN 5 JACOBS MASTERWORKS Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program Rafael Payare, conductor Alisa Weilerstein, cello San Diego Symphony Orchestra THE OCTOBER 7 PERFORMANCE IS MADE POSSIBLE, IN PART, THROUGH THE GENEROSITY OF SAN DIEGO SYMPHONY 2022-23 SEASON OCTOBER 2022P 20 PERFORMANCES MAGAZINE

With her multi-season new project, “FRAGMENTS,” Weilerstein aims to rethink the concert experience and broaden the tent for classical music. A multisensory production for solo cello, the six-chapter series sees her weave together the 36 movements of Bach’s solo cello suites with 27 new commissions. After premiering the first two chapters in Toronto in early 2023, with subsequent performances at New York’s Carnegie Hall and beyond, she looks forward to touring all six chapters in seasons to come. Weilerstein recently premiered Joan Tower’s new cello concerto, A New Day, at the Colorado Music Festival. The work was co-commissioned with the Detroit Symphony; the Cleveland Orchestra, where Weilerstein performed it last fall; and the National Symphony, where she reprised it in May. An ardent proponent of contemporary music, she has also premiered and championed important new works by composers including Pascal Dusapin, Osvaldo Golijov and Matthias Pintscher. Already an authority on Bach’s music for unaccompanied cello, in spring 2020 Weilerstein released a best-selling recording of his solo suites on the Pentatone label, streamed them in her innovative #36DaysOfBach project and deconstructed his beloved G-major prelude in a video, viewed more than two million times. Her discography also includes chart-topping albums and the winner of BBC Music’s “Recording of the Year” award, while other career milestones include a performance at the White House for President and Mrs.

PROGRAM NOTES | BEETHOVEN 5 San Diego Symphony is pleased to have Sycuan as the Lead Sponsor of Music Connects, the Symphony’s community engagement series! We are thrilled to deepen our long-term partnership with this valued sponsor. SAN DIEGO SYMPHONY 2022-23 SEASON OCTOBER 2022 PERFORMANCES MAGAZINE P21




THE CONDUCTOR RAFAEL PAYARE Please turn to page 6.

the same,” agrees the Los Angeles Times. As the U.K.’s Telegraph put it, “Weilerstein is truly a phenomenon.”

type 1 diabetes at nine years old, Weilerstein is a staunch advocate for the T1D community. She lives with her husband, Venezuelan conductor Rafael Payare, and their two young children.

ALISA WEILERSTEIN is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer’s wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein’s cello is her id. She doesn’t give the impression that making music involves will at all. She and the cello seem simply to be one and

And for good reason. The overture is a small drama in itself, a perfect encapsulation of the forces that will be unleashed in the opera. The fire and beauty of its themes, as well as the virtuoso playing Weber demands of his orchestra, have made it an audience favorite. The slow introduction evokes the opera’s magic atmosphere, and soon a quartet of horns quietly echoes the sound of distant hunters. Into this golden nobility steps an unwelcome visitor: tremolo strings and deep timpani strokes give us the music associated with the evil Samiel. The overture leaps ahead at the Molto vivace, where – over pulsing, syncopated strings–clarinets give out the theme of Max’s Act I aria, “Doch mich umgarnen finstre Mächte.” Resounding horns herald the overture’s second subject, a flowing tune for clarinet and violins drawn from Agathe’s radiant Act II aria, “Süss entzückt entgegen ihn.” The terrific development of these themes is enlivened by returns of Samiel’s ominous music and hints of the Wolf’s Glen episode. The music comes to a pause, then Weber offers a great orchestral eruption in C Major, and the overture drives to its resplendent close on Agathe’s theme, which now assumes a properly heroic character.

The first production of Weber’s opera Der Freischütz, in Dresden in 1821, was one of those events that at one stroke signal the change of an era. With its conflict between the forces of shining good and a dark and mysterious evil, its evocation of magic and sorcery, and its deliberate use of German, Der Freischütz sounded an entirely new note in music, and over the next century composers as different as Schumann, Wagner and Mahler would fall under its magic spell. Briefly, the opera tells of a contest of marksmanship between the heroic but troubled Max and the evil Caspar, who has made a pact with the demon-like Samiel. If Max loses, he cannot wed his beloved, the pure Agathe; Caspar’s pact with Samiel—which involves magic bullets forged in the dead of night in the demonic Wolf’s Glen— guarantees that Max’s final bullet will murder Agathe and deliver his soul to Samiel. That plot is foiled, Samiel (and the forces of sorcery he represents) are defeated, and Max wins his way to ask for the hand of Agathe. Though written after the opera was complete, the overture to Der Freischütz was in fact performed before the full opera’s premiere: Weber led a triumphant first performance of the overture in Copenhagen in October 1820, and since that moment it has remained one of the greatest of German romantic overtures.


Born November 18, 1786, Eutin Died June 5, 1826, London

Sinfonia concertante for Cello and Orchestra, Op. 125

Prokofiev was unsure what to call the new piece. At the premiere it was billed as his “Cello Concerto No. 2,” but that was not a good title because it was not a wholly new piece. He decided to call the “new” work Sinfonia concertante (“Symphony-concerto”), and apparently he was not completely pleased with the premiere, because he continued to revise the piece afterward. The final version of this work was not performed until 1954, a year after Prokofiev’s death.

The Sinfonia concertante is a big, dramatic piece in three movements that stretch out to nearly forty minutes. Their titles might seem to suggest that those three movements take a slow-fast-slow sequence, but there are so many changes of tempo within each movement that such a generalization is not very useful. The opening Andante gets off to a spiky start from the orchestra, and the soloist’s entry—passionate

bullets—whether they are cursed or blessed—will find their target with supernatural accuracy.





Composers sometimes have second thoughts about their music. During the 1930s Prokofiev worked for five years on his Cello Concerto in E minor, Op. 58 before it was premiered in Moscow in November 1938. It was not a success. The performance was apparently poor, the critical reaction was harsh, and the disappointed Prokofiev moved on to other things. Then came World War II, and Prokofiev threw himself into the war effort, composing his opera War and Peace, the ballet Cinderella and the mighty Fifth Symphony. But a few days after conducting the premiere of the Fifth Symphony in January 1945, Prokofiev fell down a flight of stairs and suffered a concussion so serious that it left him unconscious for days. Many thought that the composer, then only 53, would die.

Overture to Der Freischütz (The Marksman)

Prokofiev did regain his health, however fragile it would be for the rest of his life, and in 1947 he had an inspiring experience: he heard Mstislav Rostropovich, then only 20, play the cello. Prokofiev was so impressed by the young man’s musicianship that he composed his Cello Sonata in C Major, one of his finest late works, for Rostropovich. Prokofiev and Rostropovich premiered that sonata in 1950, and then they took on a new joint project: they decided to go back and revise Prokofiev’s failed Cello Concerto of 1938. This amounted to a virtual re-composition of the original—they kept the general shape of its three movements but expanded all of them, and Rostropovich participated fully in these changes, rewriting the solo part to make it much more difficult and brilliant. Rostropovich was soloist at the premiere of the new version in Moscow on February 28, 1952. (Incidental note: leading the orchestra on that occasion was none other than pianist Sviatoslav Richter, the only time that fine artist ever conducted).

A NOTE ON THE TITLE: Der Freischütz is one of those German phrases that apparently defies satisfactory translation into English. “The Marksman,” as we’ve rendered it for these concerts, is admittedly flat, while the more literal “Free-Shooter” is a little too prosaic and misses the full sense. In German, that title suggests a shooter with magical powers, one whose

Born April 23, 1891, Sontsovka Died March 5, 1953, Moscow



Born December 16, 1770, Bonn

The stark opening of the Allegro con brio, both very simple and charged with volcanic fury, provides the musical content for the entire movement. That (seemingly) simple figure saturates the first movement, giving it extraordinary unity. Those four notes shape the main theme, generate the rhythms, and pulse insistently in the background—they even become the horn fanfare that announces the second theme. One of the most impressive features of this movement is how short it is: the Fifth has the shortest first movement in all Beethoven’s nine symphonies. The power unleashed at the beginning is unrelenting, and this movement hammers to a close with the issues it raises still unresolved.

Died March 26, 1827, Vienna

None of us can remember the first time we heard Beethoven’s Fifth Symphony – this music is so much a part of us and our culture that we seem to be born knowing it . The Fifth surrounds us: as background music for chocolate and motor oil commercials, as the symbol for Victory in World War II, as the stuff of jokes. Even children who know nothing about classical music sing its opening four notes on playgrounds. Those four notes are the most famous in classical music, and Beethoven’s Fifth is certainly the most famous symphony ever written.

Instead of going back, Beethoven pushes ahead. Bits of the scherzo flit quietly over an ominous pedal, and suddenly the final movement —a triumphant march in C Major—bursts to life: this dramatic moment has invariably been compared to sunlight breaking through dark clouds. Beethoven’s scoring here reminds us of something easy to overlook—his concern with instrumental color. The march theme is announced by a full orchestra that includes three trombones (their first use in a symphony), and Beethoven employs a piccolo and contrabassoon to good effect here as well. Near the middle of this movement, Beethoven brings back some of the scherzo, which briefly—and darkly—slows progress before the triumphant march bursts out again to drive the symphony to its close. The coda itself is extremely long, and the final cadence—extended almost beyond reason—is overpowering.

No matter how familiar this symphony is, no matter how overlain it has become with extra-musical associations, the music remains extraordinary. Heard for itself, free of the cultural baggage it has acquired over the years, Beethoven’s Fifth Symphony is as original, powerful and furious today as it was when it burst upon an unsuspecting audience on a cold winter night in Vienna two centuries ago.


- Program notes by Eric Bromberger

The Allegro giusto is nominally the fast movement. Prokofiev marks the cello part con brio, and the opening rides along a shaft of non-stop energy full of busy passagework. The harmonies in this movement can be sharply dissonant, which makes the molto cantabile episode at its center all the more striking. An extended cadenza for the soloist leads to an Allegro assai coda and an exciting rush to the close.

but did not begin work in earnest until after finishing the Fourth in 1806. Most of the composition took place in the summer of 1807, and the score was completed that fall. The first performance took place on December 22, 1808, six days after Beethoven’s 38th birthday.

Music so white-hot in intensity, so universal in appeal, cries out for interpretation, and over the last two centuries many have been ready to tell us what this symphony “means.” To some, it is fate knocking at the door. To one nineteenth-century critic, it told the story of a failed love affair. Others see it as the triumph of reason over chaos and evil. Still others have advanced quite different explanations. But engaging as such interpretations are, they tell us more about the people who make them than about the music itself. The sad truth is that this music is so over-familiar that we have almost stopped listening to it: the opening rings out, and our minds go on automatic pilot for the next thirty minutes—we have lost the capacity to listen to the Fifth purely as music, to comprehend it as the astonishing and original musical achievement that it is.

5 in C minor, Op. 67

and full-bodied—sets the tone for much of what will follow. Though there is no cadenza in this movement, the writing for cello is extremely demanding, with much of it set high in the instrument’s range. This movement introduces a number of themes, and after a vigorous development of these ideas it comes to an enigmatic conclusion.

The concluding Andante con moto is in themeand-variation form, and one of the principal effects of Prokofiev and Rostropovich’s revisions was to expand the variations. The cello announces the long fundamental theme at the start of the movement, and a wealth of variations grow out of this extended melody. These variations can take many forms—one of them is essentially chamber music for the principal string players—and once again the writing for cello is brilliant. The very ending of Prokofiev’s final concerto is most Symphonyemphatic.No.

Beethoven made the first sketches for his Fifth Symphony in 1804, soon after completing the Eroica,

The Andante con moto contrasts two themes. Violas and cellos sing the broad opening melody in A-flat Major; Beethoven reportedly made eleven different versions of this theme before he got the one he wanted. The second subject, in heroic C Major, blazes out in the brass, and Beethoven simply alternates these two themes, varying each as the movement proceeds. The third movement returns to the C-minor urgency of the beginning. It seems at first to be in scherzo-and-trio form, with lower strings introducing the sinuous opening idea. But horns quickly sound the symphony’s opening motto, and the movement never quite regains its equilibrium; the trio, with lumbering fugal entries in the strings, subtly incorporates the opening rhythm as well. At just the point where one anticipates a return to the scherzo comes one of the most famous—and original—moments in music.


Op. 88 Allegro con brio AllegroAdagio grazioso Allegro ma non troppo Approximate program length: 1 hour, 45 minutes (includes one 20-minute intermission) SATURDAY, OCTOBER 15 | 7:30PM SUNDAY, OCTOBER 16 | 5PM The Rady Shell at Jacobs Park ™ DE DVOKORNGOLDLEADSWAARTCOPLAND,ANDŘÁK JACOBS MASTERWORKS Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program

ANTONIN No. in G Major,


DVOŘÁK Symphony





Moderato nobile Romance: Andante Finale: Allegro assai vivace Simone



ERICH WOLFGANG KORNGOLD Concerto in D Major, Op. 35 Lamsma,

COPLAND Suite from Appalachian Spring (full orchestra version)

As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as Music Director in Milwaukee, Antwerp and Hong Kong, often conducted semi-staged and opera in concert performances.

De Waart kicks off the 2022/23 season by returning to Sydney Symphony Orchestra with three performances in the newly renovated Sydney Opera House. Further engagements include Milwaukee, San Diego, Dallas, Fort Worth and Antwerp symphony orchestras, and a special recording project of Rachmaninov’s Piano Concerto No.2 and Grieg’s Concerto for Piano with Royal Scottish National Orchestra and regular collaborator Joyce Yang.

SIMONE LAMSMA played splendidly, with crisp clarity and brightly radiant sound, conveying both the rhapsodic fervor and intriguing pensiveness of the music.“ (The New York Times, December 2018)

Lamsma regularly performs with such eminent conductors as Jaap van Zweden, Vladimir Jurowski , Karina Canellakis, Kent Nagano, Ed Gardner, Francois Xavier Roth, Gustavo Gimeno, John Storgards, James Gaffigan, Omer Meir Wellber, Elim Chan, Mark Wigglesworth, Fabien Gabel, Carlos Kalmar, Robert Trevino, Case Scaglione, Kazuki Yamada, Alexander Shelley, Juraj Valcuha, Andris Poga, Valentina Peleggi, Stanislav Kochanovsky, Michael Francis, Edo de Waart, Marc Albrecht, James Feddeck, Nuno Coelho, Jun Märkl and Jonathon Heyward. She also played with Yannick Néet-Seguin, Hannu LIntu, Stéphane Denève, Andrés Orozco-Estrada or Jukka-Pekka Saraste.

De Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc and RCA. Recent recordings include Henderickx’s Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1 and Elgar’s Dream of Gerontius , all with Royal Flemish BeginningPhilharmonic.hiscareeras an Assistant Conductor to Leonard Bernstein at New York Philharmonic, de Waart then returned to Holland where he was appointed Assistant Conductor to Bernard Haitink at the Royal Concertgebouw Orchestra.


With an extensive repertoire of over 60 Violin Concertos, Lamsma's recent seasons have seen her perform with many of the world’s leading orchestras.

De Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts.


A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara.

Hailed for her “brilliant… polished, expressive and intense” (Cleveland Plain Dealer) and “absolutely stunning” (Chicago Tribune) playing, Dutch violinist Lamsma is respected by critics, peers and audiences as one of classical music’s most striking and captivating musical personalities. Conductor Jaap van Zweden with whom Lamsma enjoys a regular collaboration, describes her as one of the leading violinists in the world.

Notable recent highlights include her debut with the New York Philharmonic under Jaap van Zweden, and with the Chicago Symphony, described by the Chicago Tribune as “piercingly beautiful”, tours with Orchestre Philharmonique du Luxembourg and Orchestre Symphonique de Montréal, as well as return invitations to the Cleveland Orchestra Royal Concertgebouw Orchestra, Seoul Philharmonic, San Francisco Symphony, Hong Kong Philharmonic, Warsaw Philharmonic BBC Philharmonic and Dallas Symphony Orchestra. Other significant debuts included the Royal Stockholm Philharmonic, Sydney Symphony Orchestra, Milwaukee Symphony Orchestra, Detroit Symphony Orchestra, Pittsburgh Symphony Orchestra, Oslo Philharmonic, Iceland Symphony Orchestra, Hessischer Rundfunk Orchester, Finnish Radio Symphony, Les Siécles and Orchestre Philharmonique de Radio France.

Throughout his long and illustrious career, renowned Dutch conductor EDO DE WAART has held a multitude of posts with orchestras around the world including Music Directorships with San Francisco Symphony and San Francisco Opera, the Minnesota Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic, Rotterdam Philharmonic Orchestra and Sydney Symphony Orchestra, and a Chief Conductorship with De Nederlandse Opera. He has also held posts with the Saint Paul Chamber Orchestra and the Santa Fe Opera. De Waart is Principal Guest Conductor of San Diego Symphony, Conductor Laureate of both Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and Music Director Laureate of Milwaukee Symphony Orchestra.

Highlights for the 20/21 and 21/22 seasons included debuts with the Konzerthaus Orchester Berlin, Gürzenich Orchester, Vienna Symphony Orchestra, Singapore Symphony Orchestra, Helsinki Philharmonic, NordWest Deustche Philharmonie and returns to the Orchestre Symphonique de Montréal, London Philharmonic Orchestra, Rotterdam Phiharmonic, Royal Liverpool Philharmonic Orchestra, MDR Sinfonieorchester, Yomiuri Nippon Symphony, Houston Symphony, Oregon Symphony Orchestra, National Symphony Orchestra, Hallé, RTE Symphony Orchestra, Residentie Orkest and Dutch Radio Philharmonic Orchestra.


the violin at the age of five and moved to the U.K. aged 11 to study at the Yehudi Menuhin School with Professor Hu Kun. At the age of 14, Lamsma made her professional solo debut with the North Netherlands Orchestra performing Paganini’s 1st Violin Concerto, her debut highly praised by the press. She continued her studies at the Royal Academy of Music in London with Professor Hu Kun and Professor Maurice Hasson, where she graduated aged 19 with first class honours and several prestigious awards. In 2019, she was made Fellow of the Royal Academy of Music in London, an honour limited to 300 former Academy students, and awarded to those musicians who have distinguished themselves within the profession.

ABOUT THE MUSIC Suite from Appalachian Spring (Full Orchestra Version)

Copland began composition in June 1943 and completed the ballet the following summer. Graham was delighted with Copland’s music and adapted her choreography to fit his score (she chose the title Appalachian Spring just weeks before the first performance, taking it from Hart Crane’s poem The Bridge). For his part, Copland conceived this music specifically for Martha Graham rather than for her constantly-evolving plot-lines: “When I wrote Appalachian Spring, I was thinking primarily about Martha and her unique choreographic style, which I knew well. Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably very American: there something prim and restrained, simple yet strong, about her which one tends to think of as American.”

In 2017 Lamsma's most recent recording featuring Shostakoviich’s first violin concerto and Gubaidulina’s In Tempus praesens with the Netherlands Radio Philharmonic under James Gaffigan and Reinbert de Leeuw was released on Challenge Classics and received high accolades from the press, as did her previous Mendelssohn, Janáček and Schumann CD with pianist Robert Kulek.

Aaron Copland’s Appalachian Spring has become such a classic that it is surprising to learn that this ballet took shape rather haphazardly. Copland and Martha Graham had long wanted to work together before that opportunity came in 1942 when Elizabeth Sprague Coolidge commissioned three new dance works from Graham and gave the choreographer her choice of composers. One of those Graham chose was Copland, and they set to work. But their plans were unclear. It was wartime and Graham wanted a specifically American subject, but her initial thought of something that would include spoken text, an Indian girl, and the Civil War did not appeal to Copland. And so the composer went ahead with only a general sense of Graham’s evolving scenarios.

The premiere on October 30, 1944, was a great success, and Copland’s score was awarded the Pulitzer Prize and the New York Music Critics Circle Award the following year. Because the pit at the premiere was so small, Copland originally scored Appalachian Spring for an ensemble of only thirteen instruments, but the following year he arranged a suite from the ballet for full symphony orchestra, and this is the version heard at this concert.

A note in the score outlines the subject of Appalachian Spring as Graham and Copland finally evolved it: the ballet tells of “a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.”

In addition to her many international prizes and distinctions, Lamsma was awarded the national Dutch VSCD Classical Music Prize in the category ‘New Generation Musicians’ in 2010, awarded by the Association of Dutch Theatres and Concert Halls to artists that have made remarkable and valuable contributions to the Dutch classical music scene.


Born November 14, 1900, Brooklyn Died December 2, 1990, North Tarrytown, NY


Lamsma plays the “Mlynarski” Stradivarius (1718), on generous loan to her by an anonymous benefactor.

This scenario is rather simple, but the story is timeless, and Copland’s wonderful music—glowing, fresh, strong—catches its mood perfectly. The action is easily followed. The opening section, which introduces the characters one by one, outlines the main theme of the ballet—a simple rising-and-falling shape—within a quiet haze of sound, and out of this bursts the general gathering: Copland portrays this with a jubilant A Major explosion that suggests country fiddling. A hopping little episode for woodwinds is the dance of the Bride and her Intended, who look forward to their life together. (There is a dark interlude here—not all of life will be happy.) Suddenly the revivalist and his flock appear and help celebrate the wedding with a barn dance. The Solo Dance of the Bride, marked Presto, is her attempt to convey her complex feelings on this day, and this leads to one of the most striking moments in Appalachian Spring: Copland has a solo clarinet sing the Shaker melody “Tis the Gift to be Simple,” and there follow five variations, each a vision of the married couple’s life together. The last is stamped out triumphantly, and, then over prayer-like music from the strings, the Bride goes to take her place among her neighbors. The young couple is left together, “quiet and strong” as the ballet fades into silence on the music from the very beginning.


In May 2018 Lamsma was invited by His Majesty King Willem-Alexander and Her Majesty Queen Máxima of The Netherlands to perform during their official state visit to LamsmaLuxembourg.beganstudying


In 1934 Max Reinhardt invited Korngold to Hollywood to arrange Mendelssohn’s A Midsummer Night’s Dream music for use in a film, and Korngold discovered that his neo-romantic idiom was perfectly suited to the movies. With the rise of the Nazis in Europe, Korngold moved his family to Hollywood and over the next decade wrote a succession of brilliant film scores. These included the music for such swashbuckling epics as The Adventures of Robin Hood and The Sea Hawk, and Korngold’s success was rewarded with several Oscars. After the war, Korngold tried to return to writing “serious” music, but found that he could not escape his past as a film composer. And so Korngold is forever identified as a film composer, but he continued to write for the concert hall, and one of his finest compositions—the Violin Concerto—bridges these two worlds. Korngold’s Violin Concerto, completed in the summer of 1945, was written with Jascha Heifetz’s silky tone and breathtaking virtuosity in mind, and it was Heifetz who gave the premiere in Saint Louis on June 15, 1947.

Probably no child composer—including Mozart— has been as precocious as Erich Wolfgang Korngold. The son of a leading music critic in Vienna, Korngold demonstrated his incredible gift very early. Korngold’s cantata Gold, composed when he was ten years old, amazed Mahler, and those impressed by his abilities included Richard Strauss and Puccini, who said: “That boy’s talent is so great, he could easily give us half and still have enough left for himself!” In the 1920s Korngold was one of the most admired young composers in Europe, and then his career took a completely unexpected turn that would re-define him as a composer.

A distinguishing feature of this “serious” composition is that it is largely based on music Korngold had written for movies produced during the late 1930s. A curious problem faced film composers of that era: they might write a wonderful score, it would be heard while the film was in distribution, and then—in those days before DVDs or soundtracks—that music would vanish into studio archives, never to be heard again. Korngold felt that some of his film music was too good to “lose,” and he used it as the basis of his Violin Concerto.

The main theme of the Romance comes from the film Anthony Adverse (1936), for which Korngold won an Oscar. The finale, a rondo marked Allegro assai vivace, sounds as if it was written specifically for Heifetz’s talents: after a dizzying beginning, the movement is built on music from yet another Errol Flynn film, The Prince and the Pauper (1937). The ending is guaranteed to send everyone involved— soloist, orchestra, and audience—out the door with their hearts

in G Major, Op. 88

Born September 8, 1841. Muhlhausen, Bohemia Died May 1, 1904, Prague

From the moment of the premiere, audiences have loved this symphony, but the Eighth Symphony has come in for a tough time from certain critics, who find much to complain about. One finds the music plain and claims to hear signs of haste in its composition, another criticizes the music’s harmonic sequences, while yet another calls the finale a “not altogether satisfactory design.” All seem baffled by the structure of the




Dvořák also composed a great deal that summer. On August 25 he made the first sketches for a new symphony, and the music poured out of him: he began composing on September 6, and by the 13th the first movement was done. The second took three days, the third one day, and the entire symphony had been sketched by September 23. The orchestration was completed on November 8, and Dvořák himself led the triumphant premiere of his Eighth Symphony in Prague on February 2, 1890. From the time Dvořák had sat down before a sheet of blank paper to the completion of the full score, only 75 days had passed.

We feel this from the first instant. “Symphony in G Major,” says the title page, but the beginning is firmly in the “wrong” key of G minor, and this will be

The concerto is in the expected three-movement form, with the solo violin entering in the first instant on a theme drawn from Another Dawn, an Errol Flynn film released in 1937. This theme arcs grandly upward and then soars dramatically—it is a theme perfectly suited to show off the violin (and a good violinist!). The second subject is taken from Korngold’s music for the film Juarez (1939). The movement is classical form, complete with development and recapitulation of these ideas, a cadenza and a grand close.


The summer of 1889 was an unusually happy time for Dvořák. At age 48, he found himself a successful composer with a large family. Now he took his family to their summer retreat at Vysoka in the countryside south of Prague. There, amid the rolling fields and forests of his homeland, Dvořák could escape the pressures of the concert season, enjoy the company of his wife and children, and indulge one of his favorite pastimes—raising pigeons.

one might conclude that Dvořák’s Eighth is a disaster. Actually, this is one of the loveliest pieces of music ever written. It is true that Dvořák went his own way here rather than attempting to compose a “correct” symphony, and that may be what bothered those critics; Dvořák’s biographer Otakar Šourek noted that the composer himself felt that in this music he was trying to write “a work different from his other symphonies, with individual thoughts worked out in a new way.”

Born May 29, 1897, Brno Died November 29, 1957, Hollywood




PROGRAM SAMUEL BARBER Essay No. 1, Op. 12 SAMUEL BARBER Violin Concerto, Op. 14 PrestoAndanteAllegroin moto perpetuo Paul Huang, violin INTERMISSION LEI LIANG Bamboo Lights Coarse and Wild Fragile,Relentlesson the Verge of Breaking Gently Pulsing, with Warmth IGOR STRAVINSKY Symphony in Three Movements Quarter-note = 160 Andante - Interlude Con Approximatemoto program length: 1 hour, 30 minutes (includes one 20-minute intermission) WEDNESDAY, OCTOBER 19 | 7:30PM The Rady Shell at Jacobs Park ™ MADE IN AMERICA: BARBER, LIANG & STRAVINSKY JACOBS MASTERWORKS Scan this QR code with your smartphone or text SDS to 55741 to access the interactive version of the program PAUL HUANGELENA SCHWARZ Elena Schwarz, conductor Paul Huang, violin San Diego Symphony Orchestra SAN DIEGO SYMPHONY 2022-23 SEASON OCTOBER 2022P 30 PERFORMANCES MAGAZINE



A frequent guest artist at music festivals worldwide, Huang recently stepped in for Anne-Sophie Mutter at Bravo! Vail Music Festival playing Mozart’s Violin Concerto No. 4 with Chamber Orchestra ViennaBerlin and made recital debuts at the Lucerne Festival and Aspen Music Festival, all to critical acclaim.

Widely admired for her advocacy of new music, she has conducted world premiere performances by Peter Eötvös and George Aperghis and works regularly with specialist contemporary ensembles such as Ensemble Modern, MusikFabrik, Klangforum Wien, Ensemble Intercontemporain and the Luzern Festival Contemporary Orchestra conducting works by George Benjamin, Thomas Adès, Arnulf Herrmann, Olga Neuwirth, Lisa Streich and Francesco Filidei, amongst

Recipient of a 2015 Avery Fisher Career Grant and a 2017 Lincoln Center Award for Emerging Artists, violinist PAUL HUANG recent appearances included Detroit Symphony with Leonard Slatkin, Baltimore Symphony with Markus Stenz and the Houston Symphony with Andrés Orozco-Estrada.


In the 2022-23 season, Huang opens the National Symphony Orchestra of Taiwan season (also a U.S. tour at the Kennedy Center and Lincoln Center's David Geffen Hall), and appears with the Hiroshima Symphony, the Rotterdam Philharmonic with Lahav Shani, Dallas Symphony Orchestra with Fabio Luisi and Residentie Orkest Den Haag with Jun Markl. Other highlights include engagements with the Buffalo and Fort Wayne Philharmonics, and the Colorado, San Diego and Pensacola symphonies. In January 2023, Huang launches the first edition of "Paul Huang & Friends" International Chamber Music Festival in Taipei, Taiwan.


In Fall 2021, Huang also became the first classical violinist to perform his own arrangement of the National Anthem for the opening game of the NFL at the Bank of America Stadium in Charlotte, North Carolina to an audience of 75,000.

Winner of the 2011 Young Concert Artists International Auditions, Huang earned both bachelor’s and master’s degrees at the Juilliard School. He plays on the legendary 1742 ex-Wieniawski Guarneri del Gesù on loan through the Stradivari Society of Chicago. He is on the faculty of Taipei National University of the Arts and resides in New York.


Schwarz was awarded 1st Prize at the Princess Astrid Competition (Trondheim 2014), 2 nd Prize at the Jorma Panula Competition (Vaasa 2015) and was a former Dudamel Fellow (2018-19). She studied conducting at the Geneva Conservatoire and Conservatorio della Svizzera Italiana whilst further studies brought her to Peter Eötvös and Matthias Pintscher, and masterclasses with Bernard Haitink and Neeme Järvi. She was assistant to Mikko Franck at the Orchestre Philharmonique de Radio France, Marko Letonja at the Tasmanian Symphony Orchestra and Asher Fisch at the West Australian Symphony Orchestra where she was subsequently appointed Associate Conductor.

Highlights of the 2022-23 season include debuts with the Philharmonia Orchestra, City of Birmingham Symphony, Bremen Philharmoniker, Royal Philharmonique de Liège, Orchestre National de Lille, Deutsche Staatsphilharmonie Rheinland-Pfalz and the San Diego Symphony and Melbourne Symphony Orchestras.

Elena Schwarz has also guest conducted orchestras including the Deutsches Symphonie-Orchester Berlin, Los Angeles Philharmonic Orchestra, Norwegian Radio Orchestra, Lucerne Symphony Orchestra, Orchestre Philharmonique de Radio France, Orchestre de Chambre de Paris, Lausanne Chamber Orchestra, Gulbenkian Orchestra and the Orquestra Sinfónica do Porto Casa da Música.

Swiss-Australian conductor ELENA SCHWARZ is rapidly gaining a reputation for her musical vision, versatility and insightful interpretations. With regular invitations from orchestras such as the WDR Sinfonieorchester and BBC Philharmonic, her re-invitations in the 2022-23 season also include the Royal Liverpool Philharmonic, National Symphony Orchestra of Ireland and South Netherlands Philharmonic.

work includes productions at Norwegian Opera (Hansel & Gretel ), Opéra de Lyon (Peer Gynt), Festival d’Aix-en-Provence (The Sleeping Thousand by Adam Maor) and future productions include Kat’a Kabanova (Opéra de Lyon) and Rusalka (Opéra de Nice).


Violin Concerto, Op. 14

Excited by the invitation, Barber set to work at once and in 1937-38 wrote two pieces for Toscanini: an arrangement for string orchestra of the slow movement of his String Quartet (we know this today as the Adagio for Strings) and a brief work that he called Essay for Orchestra. And then the young man’s high hopes turned to ash—Toscanini mailed the two scores back to him without comment. Stung by the rejection, Barber refused to join Gian-Carlo Menotti when the latter went to visit Toscanini that fall, claiming that he was ill. “I don’t believe that,” Toscanini told Menotti. “He’s mad at me. Tell him not to be mad. I’m not going to play one of his pieces, I’m going to play both.” Toscanini had memorized both pieces and—not needing the scores—had mailed them back to Barber. He did not ask to see the scores again until the day before their joint premiere, on November 5, 1938.

The 1937 Salzburg Festival offered some magnificent performances, particularly the three operas conducted that summer by Arturo Toscanini: Die Meistersinger, Die Zauberflöte and Falstaff. But Toscanini also went to concerts in Salzburg that summer, and on one of them he heard Artur Rodzinski lead the Vienna Philharmonic in the first work by an American composer ever performed at the Salzburg Festival, the Symphony in One Movement by the 27-year-old Samuel Barber. Toscanini had known Barber for some years, and now he invited the young composer to write a piece for him to lead with the NBC Symphony Orchestra, which was then being formed for Toscanini in New York.

The finale—Presto in moto perpetuo—brings a sharp change of character. Gone is the lyricism of the first two movements, and in its place comes a gritty, acerbic quality. Except for two brief interludes, the soloist is playing constantly, and the part is full of blistering triplets, awkward string-crossings and endless accidentals—the effect is of a hard-driving perpetual motion. In the coda, the pulse of triplets suddenly gives way to racing sixteenths, and Barber’s Violin Concerto concludes as the soloist rips upward to the very top of the violin’s range.



Eighty years after its composition, Barber’s Violin Concerto has become the most popular violin concerto by an American composer, and the source of this popularity is no mystery: the concerto shows off Barber’s considerable melodic gift, particularly over the first two movements, while the finale is a breathless virtuoso piece. While the opening movement is marked Allegro, its actual pace feels somewhat restrained, so that this concerto seems to open with two slow movements, followed by a fast finale. The opening movement is notable for its continuous lyricism. Solo violin has the long opening melody, and the triplet that recurs during this theme will figure importantly throughout the development. Solo clarinet has the perky second idea, full of rhythmic snap, and the violin has a dancing subordinate figure, marked grazioso e scherzando. There is no cadenza as such, but in the first two movements Barber gives the solo violin extended cadenza-like passages over deep orchestral pedals. The coda of the first movement recalls its two main themes, and the movement concludes quietly on the triplet rhythms that have shaped so much of it.

Barber’s choice of title needs to be understood carefully. A literary essay is a concise form, brief and unified around a single point. Barber’s First Essay (he would later write two more) is likewise brief—it lasts only eight minutes—and the entire work grows out of one seminal idea, the lush, dark gesture announced at the beginning by divided violas and cellos. Violins transform this into a soaring melody, and soon it builds to a grand restatement. Massed brass lead the way into the second section, marked Allegro molto. Here the skittering, dancing main idea—it is derived intervallically from the very beginning—leaps between sections as it too grows to a great climax; along the way, Barber combines it with the theme in its original form. The ending is a surprise. Rather than offering a full reprise of his opening section, Barber recalls the opening theme very briefly, and the Essay fades into silence.

The Andante is very much in the manner of the opening movement. Over muted strings, solo oboe sings the long main theme; the violin’s entrance is delayed, and Barber marks its appearance senza affretare: “without hurrying.” The music rises to an expansive, soaring climax before the quiet close.



Essay No. 1, Op. 12

Samuel Barber began composing his Violin Concerto during the summer of 1939 while living in a small village in Switzerland. He moved to Paris later that summer and then—as war broke out—returned to the United States, where he completed the concerto. That completion, however, brought problems. The concerto had been commissioned by the wealthy American businessman Samuel Fels (of Fels Naphtha fame), who intended it for the use of a young violinist he was promoting. That violinist, however, was dissatisfied with the last movement and asked for changes. Barber refused, and soloist and composer found themselves at an impasse. This awkward situation was resolved when the violinist renounced his right to the first performance, and Barber was free to find a new soloist. Albert Spalding gave the premiere on February 7, 1941, with the Philadelphia Orchestra conducted by Eugene Ormandy.

Born March 9, 1910, West Chester, Pennsylvania Died January 23, 1981, New York City


A brief survey of that symphonic landscape: the Symphony in Three Movements comes to life with a violent rip up the scale of an augmented octave, and this slashing opening introduces the swaggering march that constitutes the first theme. This music is very fast—though Stravinsky gives the movement no Italian tempo marking, this opening is set at “ .” The second theme-group (at half the opening speed) arrives in strings and solo piano above murmuring horns, and the active development reaches its climax on great wrenching chords. The furious scales from the very beginning return at the coda, but now that opening fury feels spent—the music collapses, and finally the bass clarinet murmurs its way to the movement’s subdued close on a quiet string chord.

Stravinsky was normally adamant that there was no connection between his music and extra-musical

Lei Liang studied piano and composition in his native Tianjin, then at age 17 came to the United States for further study. He completed his Bachelors and Masters of Music at the New England Conservatory of Music, then earned his Ph.D. at Harvard. In his compositions, he has been particularly concerned with social and environmental causes, and his A Thousand Mountains, A Million Streams was awarded the Grawemeyer Award for Music Composition as the finest new classical work of 2021. Lei Liang has taught at the Tianjin Conservatory of Music and Middlebury College, and since 2009 he has been a member of the music faculty at UC San Diego.


We expect a symphony written near the end of a major war to make a statement about the time from which it springs, and there were a large number of symphonies composed around the end of World War II that registered some reaction to that tumultuous time. Prokofiev’s Fifth Symphony and Copland’s Third were hailed because they captured the spirit of that moment so successfully (at least for the victors); Shostakovich’s Ninth got into trouble precisely because it did not. The relation of Stravinsky’s Symphony in Three Movements to World War II is more complicated. He began work on the first music that would become part of the symphony in 1942, shortly after America’s entry into the war, and composed music that would eventually find its way into the symphony across the span of the war. He finished the Symphony in Three Movements as the war came shuddering to its conclusion and led the premiere with the New York Philharmonic on January 24, 1946.


Bamboo Lights

The Andante is in ternary form, and the concertante role given to the piano in the opening movement is here assumed by the harp. The poised opening, announced by second violins and violas, gives way to a slightly faster central episode of more somber character as solo flute dances gravely above harp accompaniment. An abbreviated return of the opening leads to a seven-measure Interlude that takes us directly into the concluding movement.

Bamboo Lights is a memorial for my family members who perished in the war. Dense bamboo forests surround and shelter the villages in southern China. These groves bore witness to the horrors and atrocities of war: howling winds, flickering lights, eyes shining, gazing, peering through the leaves . . .

Born June 17, 1882, Oranienbaum (now Lomonosov), Russia

For the premiere of Bamboo Lights in Boston in February 2013, the composer prepared a brief introduction:

Born November 28, 1972, Tianjin, China

Died April 6, 1971, New York City

Yet eighteen years later, in 1963, Stravinsky was quite ready to judge. Now he drew direct connections between moments in the symphony and events from the war, particularly as they had appeared in newsreel footage. The opening of the first movement, he said, was composed in reaction to a newsreel about “scorched-earth tactics in China,” while its second theme-group was inspired by scenes of “the Chinese people scratching and digging in their fields.” The fugue in the third movement had an even sharper topical reference, said Stravinsky: “The immobility at the beginning of this fugue is comic, I think—and so, to me, was the overturned arrogance of the Germans when their [war] machine failed. The exposition of the fugue and the end of the Symphony are associated in my plot with the rise of the Allies, and the final, rather too commercial, D-flat sixth chord—instead of the expected C—in some way tokens my extra exuberance in the Allied triumph.” This discussion of the inspiration of specific moments—and of an underlying “plot”—would seem to make the Symphony in Three Movements program music, but at this point Stravinsky drew back, saying coolly that this music “does and does not ‘express my feelings’ [about the war]” and finally insisting: “the Symphony is not programmatic. Composers combine notes. That is all.”

Bamboo Lights (for chamber orchestra) was commissioned by the Callithumpian Consort and its artistic director, Stephen Drury, who gave its premiere at the recently completed Calderwood Hall at the Isabella Stewart Gardner Museum. (-Lei Liang)

Symphony in Three Movements

events, but in his program note for the premiere he was willing to soften this usually severe stance: “This Symphony has no program, nor is it a specific expression of any given occasion; it would be futile to seek these in my work. But during the process of creation in this, our arduous time of sharp and shifting events, of despair and hope, of continual torments, of tension and, at last, cessation and relief, it may be that all those repercussions have left traces in this Symphony. It is not I to judge.”


Marked simply Con moto, the finale opens with another march, the one Stravinsky felt had been inspired by newsreels of strutting Nazis. Soon comes a buoyant, dancing figure in the high winds that Stravinsky linked with the motion of “war machines,” and at the center of the movement is the fugue—laid out at first only by trombone, piano, and harp—that the composer associated with the defeat of the Nazis. The symphony then powers its way to the close on great blocks of rhythm and sound. Shortly before writing this movement, Stravinsky had revised the Sacrificial Dance of The Rite of Spring, and some have heard the savage sounds of that music in this symphony’s closing moments. At the end, the Nazis have been crushed, the Allies are triumphant, and the symphony pounds its way to the “extra exuberance” of that final chord.



The finale is a variation movement—sort of. It opens with a stinging trumpet fanfare, but this fanfare was an afterthought on Dvořák’s part, added after the rest of the movement was complete. Cellos announce the noble central theme (derived from the flute theme of the first movement), and a series of variations follow, including a spirited episode for solo flute. But suddenly the variations vanish: Dvořák throws in an exotic Turkish march full of rhythmic energy, a completely separate episode that rises to a great climax based on the ringing trumpet fanfare from the opening. Gradually things calm down, and the variations resume as if this turbulent storm had never blown through. A raucous, joyous coda—itself one final variation of the main theme—propels this symphony to a rousing close.

only the first of many harmonic surprises. It is also a gorgeous beginning, with the cellos singing their long wistful melody. But—another surprise: this theme will have little to do with the actual progress of the first movement. We soon arrive at what appears to be the true first subject, a flute theme of an almost pastoral innocence (commentators cannot resist describing this theme as “birdlike”), and suddenly we have slipped into the “correct” key of G Major. There follows a wealth of themes—someone counted six separate ideas in this movement. The cellos’ somber opening melody returns at key moments: quietly to begin the development and then blazed out triumphantly by the trumpets at the stirring climax.

-Program notes by Eric Bromberger

The two middle movements are just as free. The Adagio is apparently in C minor, but it begins in E-flat Major with dark and halting string phrases; the middle section flows easily on a relaxed woodwind tune in C Major in which some have heard the sound of cimbalon and a village band. A violin solo leads to a surprisingly violent climax before the movement falls away to its quiet close. The Allegretto grazioso opens with a soaring waltz in G minor that dances nimbly along its 3/8 meter; the charming center section also dances in 3/8 time, but its dotted rhythms produce a distinctive lilt. The movement rushes on chattering woodwinds right up to its close, where it concludes suddenly with a hushed string chord.

Are the critics’ charges about this symphony true? For the most part, probably yes. Do they matter? No. In this music , Dvořák followed his own instincts—“with individual thoughts worked out in a new way”—and audiences find the Eighth Symphony as lovely and exciting today as they did when it was premiered over a century ago.




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The Eleanor and Hank Family ElizabethTrust and Joseph◊ Taft

James B. Idell and Deborah C. Streett-Idell

JenniferEugeneandRumsey Jr. M.D. Ryan Family

Oliver EdwardMcGonigleandElizabeth McIntyre

Allison and Robert Price Colette Carson Royston and Ivor ScrippsRoystonResearch Institute

Kathleen Seely Davis

SYMPHONY $2,500-$4,999CIRCLE:

City of San Diego Commission for Arts and Culture

Elaine Galinson and Herbert Solomon

Drs. Larry and Mara Ybarrondo

Adele and Michael Lapadula

Norman Forrester and Bill GoldmanGriffinSachs Philanthropy

Art and Pam Handman

The Musicians, members of the Board of Directors and the Administrative Staff wish to gratefully acknowledge the growing list of friends who give so generously to support the San Diego Symphony. To make a gift, please call (619) 615-3901. The following listing reflects pledges entered as of August 15, 2022.

Judy MonicaMcDonaldandRobert Oder Price

PamFoundationandJerry Cesak

Ercil Brown and Linda Silverman

Sandra Timmons and Richard Sandstrom

Sandra and Arthur◊ Levinson Eileen DeborahMasonPate and John Forrest

David Bialis

Gloria and Rodney Stone Sylvia and Roger Thieme Jayne and Bill Turpin

Alan CohnBenaroyaRestaurant Group/ David Cohn

Rafaela and John Belanich

GUEST ARTIST $25,000-$49,999CIRCLE:

Kay and Bill Gurtin

The Conrad Prebys Foundation Dr. Bob and June Shillman

Sandy and Greg Rechtsteiner ResMed Foundation Harold and Evelyn Schauer


Dr. Seuss Fund

Karin and Gary Eastham

Mandell Weiss Charitable Trust Lynn and Sue Miller

San Diego Foundation Rancho Santa Fe Foundation Jewish Community Foundation ◊ Deceased

Anonymous (2) Terry L. Atkinson

ORCHESTRA $5,000-$9,999CIRCLE:

Morrison & Foerster

The Kong Tang Family Dr. William and Evelyn Lamden

Barbara and Harry Markowitz

MAESTRO $50,000-$99,999CIRCLE:

Julia Richardson Brown


Arlene Inch

Carol Rolf and Steven Adler Arthur J. Gallagher Insurance Dr. Thomas Beers Edgar and Julie Berner Denise Bevers Joyce EvelynBiffarTruitt and Dr. Paul Black Benjamin Brand Sophie Bryan and Matthew Lueders Ken Bullock Mr. Richard and Mrs. Eleanor Charlton Chicago GertrudeErikaBeritKarenRobertMarilynMelvinFoundationCommunityCohnColbyandNinaDoedeDowandTomDurlerandKyleFetterB.Fletcher

Hon. Stephanie Sontag and Hon. David Oberholtzer Diane and Bill Stumph Stephen L. Tierney

Joseph Caso

Fish PamMarketandHal Fuson

Cheryl and Rand Alexander

Helen and Sig Kupka Carol Lazier and James Merritt Dr. Marshall J. Littman Anne and Andy McCammon Riley◊ and Patricia Mixson James and Josie Myers Michael Nissman and Paige Stone Val and Ron Ontell Jane and Jon Pollock

Ellen Browning Scripps SusanFoundationSharin and

Elizabeth Li

Michael Blasgen

Jill Gormley and Laurie Lipman

VIRTUOSO $10,000-$14,999CIRCLE:

Karen Forbes Calvin Frantz

Vicki Garcia-Golden and Tim NancyJeffriesandRossStephen Howard Ken and Kim Krug Robert PamelaLeoneHamilton Lester

Sheryl and Harvey White

The Bjorg Family


Daniel DeborahLysneand Fred Mandabach

DouglasFund Flaker

The Herr Family Deborah Hirsch

Ray Henderson

Mr. and Mrs. Jerry Jordan Thomas Kelly Rhea and Armin Kuhlman


Malcolm Bund and Eve Benton


Jim Price and Joan Sieber

Auguste M. Quaintance

Judy NancyLeftwichandRobert Morgan

Dr. Thomas Moore

Lori and Bill Walton

Peggy and John Holl Nancy and Bill Homeyer

Brian Hays

Elena I. Foronda Linda RichardJudithFortierFullertonandSharon Gabriel

Tina Evans

◊ Luby

Jerald and Marge Katleman

Elizabeth Leech Lewis StaceyLeicherLeVasseur Vasquez

Stan Clayton Sue Lasbury and John Cochran Cochran Lasbury Fund Hilda and Neal Cohen Colwell Family Fund Community Association,ServiceSanDiego Unified School JeanetteDistrictandHal Coons

Rita Moore

Qualcomm Matching Grant

Susan and Douglas McLeod Mr. Paul J. McMahon

DeAnne Steele and Carlo NortonBarbaraS.andBarbaraWalbridge Fund

Jonathan McMullen

Lawrence and Rebecca Newman Patricia and Kent Newmark

Robert Jentner

Joseph Carmellino and Sandra Daley, M.D. Jeane Erley

Marylin Micheau

The Samuel I. and John Henry Fox Foundation

Sue DavidMarberryMcCalland Bill Cross

Dr. Robert and Lois Lasry

Jeff and Clare Quinn


Thomas Houlihan Warren Hu John BjornHurleyandBrigette Jensen

Kenneth F. Gibsen Memorial CarolFundand William Githens

Luann and Brian E. Wright

Ralph JosephBrittonH.Brooks and Douglas Walker

Pratt Memorial Fund

Jeanne and Roger McNitt

Audacity Health LLC

Mary Walshok

Alana and Roger Albertson June and Daniel Allen Linda Corey Allen Amber

Larry and Nancy◊ McCleary

Joseph K. Drag and Karen L. Lee Greg RobinJoniGayleLemkeM.LennardLeSageandCharles

Bibhu P. Mohanty

SONATA CIRCLE: $500-$999

Dimitri and Elaine Jeon

PeterTheMadonnaFrankJanChandraMoisesMukerjiandMarkNewmarkO'DeaOmensOppFamilyOttoandTheresaTunnicliffJulieParkSigridU.Pate-ButlerLauraNortonPetrovichEdwardPhelanSheilaandKenPoggenburgRenaissanceCharitableFoundationJohnRichardsonPatrickRittoNancyRobertsonSteveandCherylRockwoodEstherRodriguezBillandJanetRogersBillandMelanieRoperLouisRosenSherylRowlingLailaEscotoSalvadorSandersonFamilyFundJayandJulieSarnoGretchenLouiseSchaferElizabethSeiboldLawrenceandBarbaraShermanProfessorSusanShirkMarthaShivelyAnneandRonaldSimon ANNUAL GIVING HONOR

Robert FaithJustinNancyLuluGurdonHolmesHornorHsuHylbertJacksonandSteve Jennings

Marilyn Friesen and John Greenbush

The Grenada Fund

Mr. Mark Bramson and Ms. Ellen Bramson

Barbara and Salvatore Capizzi Kathleen Carroll Angela Chilcott

Virginia and Robert Black Marcus and Kimberley Boehm Robert Boltax

Walt FJC-Klatskin-SutkerMarilynFidlerField Family

Dr. and Mrs. William P. Haney Stephanie and John Hanson Sharon and Garry Hays Donna Hendrix Jill MertHerboldandJoanne Hill Barbara and Paul Hirshman

Gerald Hansen and Marilyn Southcott

Claudia Lowenstein

Max Fenstermacher

Joseph Witztum

Benjamin Johnson

Janet and Clive Holborrow

Patricia ROLL


R. Douglas and Jeanette Johnson

Richard Michaels

Narriman McNair

Roger Karnopp

K. Andrew Achterkirchen Dede and Michael Alpert David and Courtney Angeli Anonymous (2)

Robert and Laura Kyle George and Mei Lai Dr. Mary Lawlor

Irene, David◊ and Diana

Carol KenMaryMaureenDwightKearneyA.KelloggKilfoyleKlementKobayashiJohnLallyMayraCurielandCarlos Larios

Sondra Berk

Daniel and Chris Mahai Sandra Smelik and Larry MadonnaManzerChristine Maxwell

Janice and R. Nelson Byrne

Carol and Thomas Warschauer Dr. Jeffrey and Barbara Wasserstrom Steven Weindling

John M. Burns

CONCERTO $1,000-$2,499CIRCLE:

Dr. Sandra E. Miner

Daniel Soto

In memory of Wolfgang Horn Kathleen Seely Davis

In memory of Bob Kyle Kyle Vanguard

In loving memory of Ching H. Yang Peter Yang

Valerie Stallings

In honor of Robert Caplan Dr. Robert and Fran Preisman

In honor of Hal Fuson Jay and Julie Sarno

In honor of Leslie and Joseph Waters Judith Call

Dr. David E. and Susan F. Summers

In memory of Cherri Klueck Jonathan Kendrick

In memory of Nellora J. Walker Betty AdaCarolChicagoBlackCommunityFoundationHoltHuntBrianMcDermottNorthernTrust

In memory of RADM Riley Mixson Colonel and Mrs. W.R. Jones

In honor of Pat Francis' Birthday Eileen Wingard

In honor of Jack and Sherron Schuster Lawrence and Barbara Sherman

In honor of Jane and John Pollock from their children and grandchildren Lisa Pollock

John L. Stover

In honor of Warren O. Kessler Nomi Feldman Diane and Elliot Feuerstein Gayle Lennard

Gary and Rebecca Swenson

In honor of Nick Newcombe and Bryan Dittmer Reimer Memorial Fund

Marilyn and Brian Smith

Derek Stults


This is in memory of my Oma (grandmother) Ursula Stroebel who enjoyed the San Diego Symphony throughout her life. She passed in early 2021. Emily Renee Stroebel

In memory of Jim Bashor by Dianne Bashor and Cal West Apartments

Phoebe and Eugene◊ Telser Thomas Templeton and Mary NaimaStevenDr.KarenCarolSymphorosaMatthewJanetJ.DonRitaRexJohnJanisJeanJohnRichardErlenbornThillandNiruRamachandranandJohannaTomanandMarkTrotterVanderfordWalshandKathyWarburtonWatersandSharonWatkinsSusanWatsonandJoelWeberWiklerWilliamsandDennisWilsonandRodWoodandMrs.R.RonaldWoodYagyagenandMikeYelda

In memory of Caryln Rosse Eileen Wingard

In loving memory of Karen Pernela, mother of violist Ethan Pernela Ann Morrison

In honor of the birthday of Phyllis Epstein Malcolm Bund and Eve Benton

In honor of Martha Gilmer Martha Dennis

Seltzer Caplan McMahon Vitek

In honor of Herbert J. Solomon's 90th birthday


Robert Scott

Nancy and Charles Stewart

In honor of David Snyder

In honor of Hilda Yoder Marilyn Kogen

In honor of two moms on Mother's Day who support the Symphony strongly! Judith Wenker

Cal West Apartments

In memory of my mother Charlene Kenny, who was a professional violinist and violist for many decades. Cathleen Kenny

In honor of Aaron Brenes Linda Allen

In memory of Florence ShillerGoldman who loved classical music and was a loyal fan of the San Diego Symphony Rob Gilmore

Emily Renee Stroebel

In memory of Jospeh Taft Elizabeth Taft

In honor of Jeanette Steves and Gordon Brodfuehrer Todd Schultz


In honor of Florence ShillerGoldman who loved classical music and was a loyal fan of the San Diego Symphony Rob LynnGilmoreOsepchuk

In loving memory of Ed Reed. May his memory be a blessing. Marlee Jones


In honor of Deborah Pate Ingrid de Llamas


David and Claire Guggenheim Alice SusanDyer*andPaul Hering

Linda and Bob Snider



Judith Harris* and Dr. Robert Singer

John Forrest and Deborah Pate Norman Forrester and Bill Griffin Judith and Dr. William Friedel Pam and Hal Fuson Edward B. Gill

Joyce NancyGlazerandFred Gloyna

Dennis and Lisa Bradley Gordon Brodfuehrer

Carol Lazier and James Merritt Sandra and Arthur* Levinson

Stephen M. Silverman

Elaine Galinson and Herbert Solomon

Joseph H. Brooks and Douglas Walker Julia RobertaDonnaBrownBullockandMalin Burnham

Linda and Shearn* Platt Robert JimElizabethPlimptonPolterePriceandJoan

Todd MelynniqueSchultzand Edward Seabrook

Karen and Kit Sickels

Suellen and James Sorenson


David A. Wood

Karen and Warren Kessler

Dr. and Mrs. Philip Ziring

Catherine Cleary Elisabeth and Robert* Crouch Bob and Kathy Cueva Peter V. Czipott and Marisa SorBello Caroline S. DeMar


If you are interested in more information about joining The Legacy Society, please contact Vice President of Institutional Advancement, Sheri Broedlow at (805) 637-4948 or



Joan and Irwin Jacobs Marjory Kaplan

Pat KathleenShankand Lewis* Shuster

The Legacy Society honors the following outstanding individuals who have committed a gift from their estate to the San Diego Symphony Foundation and/or to the San Diego Symphony Orchestra's Annual Fund to ensure the success of the San Diego Symphony Orchestra Association for generations to come. The following listing reflects pledges entered as of August 15, 2022.

Mitchell R. Woodbury

Margaret A. Flickinger

Esther and Bud* Fischer Teresa and Merle Fishlowitz

Patricia A. Keller


Sarah Marsh-Rebelo and John Rebelo

LeAnna S. Zevely

Dave and Phyllis Snyder


Anne and Takashi Kiyoizumi Evelyn and William Lamden

Una Davis and Jack McGrory Sandra Miner Riley


Alan RosanneBenaroyaB.and W. Gregory Berton

Debra Thomas Richter and Mark Richter Colette Carson Royston and Ivor Royston Joan and Jack* Salb Craig Schloss

Lyn Small and Miguel Ikeda

Barbara M. Katz

Edward Witt

Gayle* and Donald Slate

S.* Williams

Carolyn and Eric Witt

Robert Caplan and Carol Randolph Barbara and Paul Chacon Melanie and Russ Chapman Nikki A. and Ben G. Clay

Drs. Bella and Alexander* Silverman

Daniel J. and Phyllis Epstein


Anonymous (2) William StephenBeamishandMichele* Beck-von-Peccoz

Lulu Hsu

This is the first art museum in Mayne's large portfolio. The Pritzker jury had singled him out for his “original architecture, one that is truly representative of the



At Long Last, OCMA

It debuts Oct. 8. Admission for the first 10 years is free.

Zuckerman, CEO and director of the $94 million Orange County Museum of Art (OCMA), says the project’s long and lurching journey was a good thing.

unique, somewhat rootless, culture of Southern California.”


Designed to showcase OCMA’s California-centric collection of modern and contemporary art, the 53,000-square-foot museum fills the last open space of Orange


County’s cultural hub, Segerstrom Center for the Arts in Costa Mesa.

Most people would think that’s a badButthing.Heidi


Nearly complete Orange County Museum of Art and Richard Serra's sculpture, Connector

“It actually benefited from its 17 designs over 14 years,” Zuckerman says. “It continued to get better.”

Mayne says the Orange County Museum of Art “takes an urban idea to Orange County. We gave the space … back to the public by introducing a grand stair, allée of trees, and an upper-level plaza.”


THE STRUCTURE'S undulating white design comes from the global architecture firm Morphosis, founded by Pritzker Prize-winning architect Thom Mayne.

THE MUSEUM BEGAN modestly 60 years ago when 13 women opened the Balboa Pavilion Gallery. In 1968, that small art gallery became the Newport Harbor Art Museum; by the 1990s, it was renamed the

(top) Heilmann, Surfing

Since joining OCMA in 2019, Zuckerman has raised close to $30 million; her goal is to launch with zero debt. Which is now.

Much of the exterior is covered with glazed terracotta panels— each an individual size and shape—assembled like a massive jigsaw puzzle to create the wavy appearance.Noticeable from outside is a mul tilevel atrium exposing three steel bridges with translucent glass floors.

“The Orange County Museum of Art is the final step in the decades-long journey,” says Anton Segerstrom, top OCMA donor, member of the its board of trustees and son of philanthropist Henry Segerstrom.Thiscompletes

on Acid, 2005 and (bottom) Barbara Kruger, Untitled, 1989 in 13 Women. (Middle) Fred Eversley, Untitled (parabolic lens), 2020 in Fred Eversley: Reflecting Back (the World). 14 PERFORMANCES MAGAZINE

Why did it take 14 years? OCMA went through different regimes with different visions. At times the economy sputtered; a pandemic hit; and the price tag kept increasing.

Paralleling that discussion was the development of Segerstrom Center for the Arts (initially called the Orange County Performing Arts Center). The center debuted in 1986, expanding over time into a multi-building complex showcas ing theater, music and dance.

About an acre was earmarked for an art museum. In 2007, Morphosis won the competition to design it. Its location was resolved later: It would be the grassy area adjacent to the center’s towering Richard Serra sculpture, Connector

“architectural gem” derives from Mayne’s concept, executed by the Morphosis team, led by project principal Brandon Welling.


Perhaps the most prominent feature, inspired by the Metropolitan Museum of Art in New York and the Colosseum in Rome, is a broad and swooping staircase designed as a public gathering spot.




Almost from the get-go, the goal was to expand its exhibition space.

Henry’s broad cultural vision, Anton says: “His real passions were the performing arts, architecture and sculpture.”

Orange County Museum of Art, hidden in plain sight near Fashion Island in Newport Center.

THE NEW MUSEUM doubles the size of its former location. Gallery space increases by 50 percent.

FREE FOR ALL THE MUSEUM HAD previously had an admission fee; Zuckerman wanted entry to be free.

A $2.5 million gift from Lugano Diamonds, a retailer based in Newport Beach, underwrites admis sion for the next decade.

Several peek-throughs allow visitors to peer into a gallery from elsewhere, allowing them to experi ence art from different perspectives.

FRONT AND CENTER, A COMMISSION FOR ITS OPENING, OCMA com missioned a large-scale work by Los Angeles artist Sanford Biggers that can be seen from both the center's

Rendering of the terrace and grand stair at the new Orange County Museum of Art

Works of art like natural light, Zuckerman says; the main exhibition areas have an ambient glow of white light beneath a scalloped fabric ceiling.

Contemporary art can be “weird or scary or off-putting,” Zuckerman acknowledges. “It’s important to remove as many barriers as possible. The first one is the admission price.”



WHAT YOU’LL SEE THE PERMANENT COLLECTION, much of it stored off-site, features nearly 5,000 works from the 20th and 21st centuries by mostly

California and Pacific Rim art ists. They include John Baldessari, Barbara Kruger, Chris Burden, Vija Celmins, Richard Diebenkorn, Catherine Opie, Charles Ray and Ed ZuckermanRuscha. had planned to add 60 new pieces in honor of the museum’s 60 years of existence; that goal was surpassed midsum mer. A focus of the new acquisitions has been on more works by women and artists of color.

“The museum has a diversity

of spaces for different types of art and different scales of art; smaller photographic works versus large sculptural works,” Welling says.

Fred Eversley: Reflecting Back (the World) expands on the museum’s 1978 exhibition featuring the sculptor.

Museum CEO and director Heidi Zuckerman. Opposite: architect Thom Mayne.


The 16-foot-tall24-foot-wide,steeland alu minum interactive sculp ture Of many waters… is described as “an arche type of a European reclin ing male figure with a 19th century Baule double-face mask made from metal sequins.”


plaza and from inside.

13 Women is curated as a nod to the founders and features rotating works by women, and some men, central to the OCMA collection.Thereturn of the muse um’s California Biennial, presented from 1984 to 2006, explores the latest developments in contem porary art and identifies emerging artists.

engaging.” — ST. LOUIS



Passersby experience art, too. The Window Gallery facing Avenue of the Arts, for instance, opens with a new mural by Alicia McCarthy in the California Biennial.


THE MUSEUM BRINGS the outside in and the indoors out. The terra cotta exterior wraps into the building; natural light floods the welcome desk.

That time-honored adage, “The Show Must Go On,” takes on new meaning in this endearing and moving comedy set at a small American playhouse in 1942. With the actors and director off at war, a group of passionate women face the daunting challenge of preserving the theatre’s reputation for mounting outstanding Shakespearean productions. Crammed with laughs and an abundance of visual humor, their fierce determination and unbridled enthusiasm will have audiences cheering as they prove that art and community triumph, even in times of peril. BY DIANA VAN



The terrace level expands onto the plaza, which can be configured for installations and events. It’s bordered on two sides by 25 oak and Palos Verdes trees— ingeniously deeply planted despite their elevation— and gardens of mostly succulents.

The exhibit Peter Walker: LandscapeMinimalist pays homage to the landscape architect who worked with the Segerstrom family start ing in the 1970s; he’s best known today as a codesigner of the National 9/11 Memorial in lower Manhattan.

“Delightful and


The restaurant, a full bar and the lobby coffee station are developed by chefs Ross Pangilinan and Nicholas Weber, both Patina Group alumni.

THE EDUCATION HALL serves as more than just an on-site classroom.

The plaza’s tile has no grout so the rainwater can be captured for the trees.


EVEN THE MOST avid museum-goer can need a break. Offerings include a gift shop, a coffee bar and plenty of benches and sit ting areas inside and out.

2022 / 2023 SEASON OCTOBER 29 - NOVEMBER 6 On Día de muertos, Diego Rivera reaches out to the afterlife for his beloved Frida Kahlo to return. There is an answer. El último sueño de Frida y Diego is a thrilling world premiere by Grammy Award-winning composer Gabriela Lena Frank and Pulitzer Prize-winning librettist Nilo Cruz. TICKETS START AT $25! Visit or call Patron Services 619-533-7000 The Conrad Prebys Foundation, Fall Season Sponsor

Pangilinan is known for his Mix Mix restaurants; in June, he and Weber opened bistro Populaire at South Coast Plaza.

Open for lunch on the terrace level, Verdant offers a seasonal, local, plant-forward menu.

“The education pavilion


is this energized organic form that cantilevers out over the entrance,” Zuckerman points out. “It says to the community that we prioritize learning, that education is at the core of what we do.”



The space can be configured as a black-box theater or a light-filled studio. The first outreach is for students from Santa Ana. There's a Mom’s Lounge for parents of kids taking classes.


Kristina Wong in Kristina Wong, Sweatshop Overlord; photo by Tom Fowler.

MORPHOSISCOURTESY Rendering of the newgallerymuseum'sspaces PERFORMANCES MAGAZINE 19


WHEN ZUCKERMAN gives tours of the site, she stops to points out 10,000 square feet on the terrace available for a museum expansion. No plans for that just yet.

3333 Avenue of the Arts, Costa Mesa.

Maza E TREME HOME MAKEOVER Box Office: ScrippsRanchTheatre.org858.395.0573directedbyOliviaEspinosaby CopelandMakasha Nov. 11 - Dec. 4 Fri & Sat 8pm Sun 2pm 5790 Armada Dr, Carlsbad • • 760.438.5996 Open Tuesday - Sunday, 10am - 5pm. Closed Mondays. Explore andbetweenconnectionspeople,instruments,themusicwemake. 20 PERFORMANCES MAGAZINE



We’ve studied the world of Diego and Frida with new eyes and distilled the elements that are constants in their homes and their worldview. It will seem familiar to the audi ence in some ways, but it will be Indeed,different.”librettist Nilo Cruz says that when Frank approached him with the idea of collabo rating on this new opera, it was the celebration of the Day of the Dead that gave him an entry into the story. “Día de Muertos was a holiday both Frida Kahlo and Diego Rivera adored,” he says. “The image of La Catrina [the fancily dressed skeleton woman now universally associated with Día de Muertos] was only cre ated around 1910, but Diego loved it immedi ately.” In fact, the original cartoon of La Calavera Catrina, by Mexican artist José Guadalupe Posada, was later turned into a mural in Mexico City by Diego Rivera himself, pic turing La Catrina linking arms with Posada—and

Frida Kahlo. The mural, Dream of a Sunday Afternoon in the Alameda Central, became a national treasure, cementing La Catrina’s image in the national ingsbysaysfromCruzthere’sonepassionateandhisofreturn.demise,withthegrievesdeathhavehasInsopranoinCatrinaFitting,consciousness.then,thatLaisacharactertheopera,sungbyMariaKatzarava.thefictionalstoryCruzdevised,threeyearspassedsincetheofFrida,andDiegoforhiswife.OnDíadeMuertos,facedhisownimpendinghepraysforherLaCatrina,keepertheunderworld,grantswish,allowingFridaDiegotorekindletheirrelationshipmoretime.However,acatch.Increatingthestory,drewinspirationseveralsources.HehewasfascinatedoneofKahlo’spaintfrom1949:



The Love Embrace of the Universe, the Earth, Myself, Diego and Señor Xolotl. In it, Kahlo depicts herself as a mother figure holding Rivera in her lap as an overgrown naked baby with a third eye. This

Gabriela Lena Frank

Finally, the ancient Greek legend of Orpheus and Eurydice, a tragic love story that has inspired countless artworks and several operas, is turned on its head in El último sueño de Frida y Diego. Without giving too much away, let’s just say that



A rendering by costume designer

AL Lic# 374600619 MC Lic# 374600619 SNF Lic# 080000367 | (760) 632-0081 211 Saxony Road Encinitas, CA 92024 COME BY AND TAKE A PEEK AT OUR COMMUNITY! COME BY AND TAKE A PEEK AT OUR COMMUNITY!

seemed to Cruz a rite of passage in which Kahlo finally accepted her role as mother, as well as lover and wife to Rivera. In his research on the couple, Cruz also found out that when he was dying, Rivera asked to be cremated and for his ashes to be united with Kahlo’s (her estate declined). “Diego was a bit gentler and more vul nerable as he was facing death,” Cruz concluded. “That’s why I chose to set the story at the time of his death. They were truly soulmates who loved each other deeply through all their ups and downs and the many controversies.”

instead of Orpheus travel ing to the Underworld to bring his love, Eurydice, back from the dead through the power of his music, it’s Kahlo who returns to life to guide a frightened Rivera across the divide. “But she does not do this primarily out of love for him, but rather for her art,” says Cruz. “Through art she re-enters the world of the living, where they have unfinished business.”

SDO is holding a num ber of community events surrounding these perfor mances, all at UC San Diego @ Park & Market (1100 Market St., downtown). These include a lecture on the art of Frida and Diego on Oct. 4; a community concert of Frida Kahlo’s favorite songs on Oct. 12; and a talk with Juan Coronel Rivera (Diego Rivera’s grandson) and Roxana Velásquez, executive director and CEO at the San Diego Museum of Art, on Oct. 20.

El ultimó sueño de Frida y Diego is a co-commission with San Francisco Opera, Fort Worth Opera and the DePauw University School of manceswithOct.Arts.attheadditionalMusic—withsupportfromUniversityofTexasAustinCollegeofFineItopensonSaturday,29,atCivicTheatre;additionalperforNov.1,4and6.

For more info and tickets:; 619.533.7000



In celebration of San Diego Opera’s world premiere (see p. 8): Frieda and Diego, painted by Frida Kahlo, housed at SFMOMA.



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