IOWA STATE CENTER IN CONJUNCTION WITH THE PERFORMING ARTS COUNCIL PRESENTS
“TSCHAIKOWSKI” — ST. PETERSBURG STATE ORCHESTRA with Alexandre Pirojenko, Piano Soloist and Roman Leontiev, Conductor
SATURDAY, MARCH 3, 2012 7:30 pm Sponsored by Ames International Orchestra Festival Association Ames Commission on the Arts
“TSCHAIKOWSKI” – ST. PETERSBURG SYMPHONY ORCHESTRA Roman Leontiev, Music Director and Chief Conductor Dr. Elena Kostyuchenko, General Director
“TSCHAIKOWSKI” — ST. PETERSBURG STATE ORCHESTRA Roman Leontiev, Music Director and Chief Conductor Alexandre Pirojenko, Piano Soloist
PROGRAM Richard Wagner Fryderyk Chopin
Prelude and Liebestod from the opera Tristan und Isolde Piano Concerto No. 2 in F minor, Op. 21 Alexandre Pirojenko, pianist Symphony No. 5 in B-flat major, Op. 100
Anna Orekhova, Principal Tatiana Naletskaya Alexandr Anisimov Anna Yakovleva Vladimir Troitskiy Maya Yudina Elena Ananieva Olga Egorova Lilia Elakhovskaya Galina Kharitonova Vera Kharitonova Galina Kuzmicheva Maria Platonova Anna Prudentova Gleb Rezvykh Larissa Rybakova Evgenii Zinin Yulia Zorina
Elena Andreeva, Principal Aliaxandr Bogdanovich Konstantin Plekhanov Irina Morozova Vadim Dvoynishikov Irina Prodan Tatiana Soldukhina Marina Zakharova Ksenia Ivanova
Evgeny Khvalovsky, Principal Elena Kissel Julia Orlova
Rifat Vildanov, Principal Alexandr Sevastianov Alexei Bogdanov Victor Perevoznikov
Anton Dereza, Principal Vyacheslav Korshunov Anna Kochegura Musheg Mikaelyan
Yuri Niniev, Principal Vadim Kaminskiy Sergei Mikhailychev Ilya Elinson Elena Bystrova Anastasia Golenischeva Daria Morozova Inna Yakupova Alexandra Karpenko
Anatoly Buvalenko, Principal Anna Kolesnikova Sergei Nikulin
Andrei Belichkov, Principal Vasily Katanov Olga Kosyreva Artem Chigrik Taras Tkach
SECOND VIOLINS Kristina Popova, Principal Oxana Dolya Elvira Kapustinskaya Evgenia Karpova Natalia Mitsura Inna Pivneva Elena Popova Gyuzel Sultanova Praskovia Tanikova Elena Vedayko Nina Zayatz Daria Khvalovskaia Anna Chertova
BASSES Alexandr Kuznetcov, Principal Vitalii Goriachev Mikhail Tcimbalenko Rustam Murtazin Kirill Benediktov Dmitri Perminov Elena Lazareva
FLUTES Mikhail Tokarv, Principal Natalia Chernousova Anton Alexeevskii Anna Suzdalkina
HORNS Maxim Kuvychko, Principal Anna Kolesnikova Sergey Fausto Anatoly Tarov Roman Bazanov Ragim Karakhmazli Victor Kostiuchenko
TRUMPETS Yuri Poliakov, Principal Ilya Kulenko Nikolaj Aseev Vasily Karbyshev
TIMPANI Kirill Ksenofontov
HARP Olga Pilyukova
KEYBOARD Julia Grekhova
COLUMBIA ARTISTS MANAGEMENT LLC. 1790 Broadway, 16th Floor New York, NY 10019 Andrew S. Grossman Senior Vice President & Senior Producer W. Seton Ijams Vice President
“TSCHAIKOWSKI” – ST. PETERSBURG SYMPHONY ORCHESTRA famous Russian Romantic composers (Tschaikowski, Rachmaninoff) to the classical composers of the 20th Century (Honegger, Poulenc, Hindemith, Stravinsky). The Orchestra performs in the best St. Petersburg halls, such as the Dmitry Shostakovich St. Petersburg Philharmonic Grand Hall, State Academic Capella, Smolny Cathedral, and City Cultural Center. Since 1990’s the Orchestra has held a regular subscription series in addition to standard concerts throughout Russia. The Orchestra offers many educational and charity programs aimed at exposing children and young people with vast repertoire and performs very popular Young People’s Concerts in St. Petersburg on a regular basis.
The Tschaikowski – St. Petersburg Symphony Orchestra was founded in the years following World War II. During this time the Orchestra successfully worked in different musical genres and received broad acknowledgement and popularity throughout Russia. In the course of the history of the Orchestra it has worked with many of the outstanding conductors from the St. Petersburg Conducting School. The Orchestra has undergone much change since its inception, including a change of name and leadership but through all this time it has been developing its repertoire strengths and building a devoted audience. The Orchestra’s repertoire is extremely diverse ranging from Baroque music right through to music of the 20th Century. The Orchestra’s repertoire includes a range from Baroque compositions by Vivaldi, Bach, Handel and contemporary compositions by Schnitke, Banshikov, Desyatnikov, Kancheli. The Orchestra is at home in the works of
For the past ten years the Tschaikowski – St. Petersburg Symphony Orchestra has become an ensemble with unlimited musical possibilities including the regular commissioning and performances of new compositions, a testament to the high standard of the Orchestra, which commissions many new works written especially for the Orchestra each season. The Orchestra has a special relationship with several local composers in St. Petersburg but also collaborates and premieres works of foreign composers, who have dedicated may of their works to the Orchestra. The Tschaikowski – St. Petersburg Symphony Orchestra tours regularly all over the world and has had successful concert tours in Europe, China and Japan. Many of Russia’s legendary and most distinguished soloists and conductors have worked with the Orchestra over the past several decades including Montserrat Caballé, Sviatoslav Richter, Elena Obrastsova, Yevgeni Nesterenko, Yuri Egorov and Viktor Tretyakov.
BIOGRAPHIES ROMAN LEONTIEV Music Director and Chief Conductor St. Petersburg, Russia
Roman Leontiev, Music Director and Chief Conductor of the Tschaikowski – St. Petersburg Symphony Orchestra is widely regarded as one of the preeminent Russian conductors of his generation. Mr. Leontiev’s career has been accented by distinguished engagements throughout Russia and Western Europe since his graduation in 1981 with highest honors from the Glinka Conservatory of Music in St. Petersburg, where his mentors included the People’s Artists of Russia (Russia’s highest cultural honor) Gennady Rozhdestvensky and Dr. A.M. Katz. Upon his graduation from the Glinka Conservatory of Music, Mr. Leontiev was accepted as an apprentice to the St. Petersburg State Conservatory of Music, which is St. Petersburg’s leading conservatory, where he was accepted as a pupil of the People’s Artist of Russia, I.A. Mussin. Mr. Leontiev’s first professional acclaim was received in 1985 upon being awarded the USSR State Medal of Excellence in Conducting for his leadership of the Moscow International Festival Orchestra. This success was followed in 1986 when Mr. Leontiev was awarded a Special Award for Conducting at the Third Annual Russian National Folk Music Festival. These honors led to Mr. Leontiev being engaged to conduct the leading orchestras of Russia including the Moscow State Radio Symphony Orchestra, Bolshoi Theatre Orchestra, and USSR State Symphony. The critical acclaim of these engagements led to Mr. Leontiev being invited to France to conduct that country’s greatest orchestra. Mr. Leontiev was invited to return to France to conduct a series of important concerts, which included appearances at the Palais des Congrès, Notre Dame Cathedral, and at the UNESCO Conference, which was broadcast nationally on French Television and Radio (ORTF). Mr. Leontiev’s
additional European engagements included performances in Germany, Finland, and Sweden. In 1997 Mr. Leontiev was engaged to conduct the Symphonica Toscanini for his Italian debut, which was followed by engagements in Hungary with the Budapest Radio and Television Orchestra and Budapest Philharmonic Orchestra. The success of these concerts led Mr. Leontiev to be invited to conduct the Bolshoi Theatre Orchestra in the Bolshoi’s Great Hall, the Orchestra of the Mariinski Theatre, and the State Symphony Orchestra of St. Petersburg. Mr. Leontiev’s engagements with the Tschaikowski – St. Petersburg Symphony Orchestra led to the Tschaikowski – St. Petersburg Symphony Orchestra engaging Mr. Leontiev as Principal Guest Conductor in 2001, and that season he performed with the Tschaikowski – St. Petersburg Symphony Orchestra the complete Beethoven Symphony cycle, which was met with critical acclaim. Following the success of these performances, Mr. Leontiev and the Tschaikowski – St. Petersburg Symphony Orchestra were invited to undertake a tour of the United Kingdom. In 2002 Mr. Leontiev was named Music Director of the Tschaikowski – St. Petersburg Symphony Orchestra, and in honor of this title was invited to lead the Tschaikowski – St. Petersburg Symphony Orchestra in the world premiere of the work “Vladimirskaya Square” in commemoration of the 300th Anniversary of the founding of the City of St. Petersburg, Russia. That same year Mr. Leontiev was also named Principal Guest Conductor of the Symphony Orchestra of Konstants, Germany. Continued on next page
As Music Director of the Tschaikowski – St. Petersburg Symphony Orchestra Mr. Leontiev led the Orchestra in performances in the leading cities of Russia in 2004. In 2012, Mr. Leontiev will led the Tschaikowski – St. Petersburg Symphony Orchestra on its inaugural trans-continental tour of the USA.
ALEXANDRE PIROJENKO Pianist St. Petersburg, Russia
“Pianist Alexandre Pirojenko has the technical skills to do anything he wants with a piano; better yet, what he wants to do is sensitive, original, and brilliant,” wrote The Washington Post after Mr. Pirojenko’s Washington, D.C. debut at the Kennedy Center. His international piano competition prizes include First Prize in the XXV Ettore Pozzoli International Piano Competition in Italy, First Prize in the Young Concert Artists International Auditions in New York, First Prize in the XVI Ibiza International Piano Competition in Spain, First Prize in the Paula Cussi International Piano Competition to celebrate the Tercentenary of St. Petersburg, First Prize in the 8th Newport International Piano Competition in Wales, and Second Prizes in Concorso Internazionale Musicale Valsesia — Musica in Italy, the 3rd International Piano Competition in Memory of Emil Gilels in Odessa, the 7th New Orleans International Piano Competition, the Vendome Prize International Piano Competition, the 4th International Piano Competition in Memory of Vladimir Horowitz in Kiev, and the Bremen International Piano Competition. He has appeared on stages in Russia, Ukraine, Estonia, Latvia, Kazakhstan, Georgia, Germany, Austria, France, UK, USA, Netherlands, Italy, Portugal, Spain, Switzerland, Japan, Slovenia, Croatia, Serbia, Lebanon, and Peru, performing at such concert halls as St. Petersburg Grand and Chamber Philharmonic Halls, Capella Concert Hall and Mariinsky Theatre Concert Hall, Moscow Conservatoire Small Hall and Rachmaninov Hall, Kiev Grand Philharmonic Hall and Conservatoire Grand Hall, Paris Salle Alfred Cortot and Insert 6
UNESCO Concert Hall, Cologne Philharmonie, New York 92nd Street Y (Kaufmann Hall) and Lincoln Center, Washington D. C.’s Kennedy Center, New Orlean’s Roussel Performance Hall, Amsterdam Concertgebouw Kleine Zaal, Geneva Palais des Nations, Zagreb Croatia Music Hall, Ljubljana Cankarjev dom, and Salzburg Mozarteum (Solitar) among many others. He has performed in numerous festivals including the International Festival “Musical Olympus” in St. Petersburg, the International Festival “Petersburg Musical Spring,” the St. Petersburg International Piano Festival, the Music Festival “The Stars of the White Nights” in St. Petersburg, the Piano Music Festival “Gradus ad Parnassum” and the Music Festival “M. Glinka. Bicentenary” in Moscow, the International Festival “Kyiv Summer Music Evenings,” the Sintra Festival in Portugal, the Honest Brook Music Festival in the USA, Festival Internazionale “In Viaggio... con la Musica” in Cividino, Italy, and “Alles Beethoven & Scubert!” — Zyklus in Salzburg. Mr. Pirojenko frequently performs as soloist with orchestras including the St. Petersburg Philharmonic Orchestra, the Mariinsky Theatre Symphony Orchestra, the Tchaikovsky – St. Petersburg Symphony Orchestra, the St. Petersburg Capella Symphony Orchestra, the TRC “Petersburg”
Symphony Orchestra, the St. Petersburg Symphony Orchestra “Klassika,” the St. Petersburg Symphony Orchestra of the Mikhailovsky Opera and Ballet Theatre, the Symphony Orchestra of the Opera and Ballet Theatre of the St. Petersburg Conservatoire, the Saratov Philharmonic, the Karelia Philharmonic, the Volgograd Symphony, and the Ukraine National Symphony. He has also appeared with the Ukraine Philharmonic Orchestra in Kiev, the Kharkov Philharmonic, the Odessa Philharmonic, Latvian National Symphony, the BBC National Orchestra of Wales, the Nordwestdeutschen Philharmonie, L'Orchestra de I Pomeriggi Musicali di Milano, the Gulbenkian Orchestra in Portugal, the RTV Slovenia Symphony Orchestra, Orchestra Filarmonica “Mihail Jora” di Bacau (Romania), the Wroclaw Philharmonic Orchestra “Witold Lutoslawski”, the Contemporaneous Orchestral Ensemble in France, Orchestra of St. Luke’s, The Naples (Florida) Philharmonic Orchestra, the Louisiana Philharmonic Orchestra, the Albany Symphony Orchestra, and the Fort Smith Symphony in the USA, among others. He worked with conductors including Nikolai Alexeev, Alexander Dmitriev, Vladimir Altshuler, Alexander Sladkovsky, Sergey Stadler, Alexander Tchernushenko, Stanislav Gorkovenko, Alexander Kantorov, Edward Serov, Andrei Anikhanov, Tugan Sokhiev, Volodimir Sirenko, Mykola Dyadyura, Hobart Earle, Imants Resnis, Grant Llewellin, Ulf Schirmer, Nicholas Carthy, Neil Varon, En Shao, Ovidiu Balan, Mariusz Smolij, Olivier Dejours, Michael Stern, Jorge Mester, Klauspeter Seibel, Claire Fox Hillard, and John Jeter. In 2007, Alexandre Pirojenko’s CD was released in Italy by Ettore Pozzoli International Piano Competition. Biography
Born on November 3, 1979, in St. Petersburg, Russia, Alexandre Pirojenko began his piano studies with Irina Saravayskaya at the age of five and studied with Marina Wolf at the Special Music School of the St. Petersburg Rimsky-Korsakov State Conservatory. In 1998 he began studies with Prof. Alexander Sandler at
the St. Petersburg Conservatory, graduating with highest honors in 2003 and completing postgraduate studies two years later. He also did postgraduate studies with Prof. Arie Vardi at the Hochschule fur Musik und Theater Hannover. Since 2006, Mr. Pirojenko has taught piano at the St. Petersburg State Conservatory. He has given master classes in the USA, Ukraine and Italy, and served as a jury member of international competitions in Spain and Ukraine.
PROGRAMME NOTES Prelude and Liebestod, from Tristan und Isolde RICHARD WAGNER Born May 22, 1813, in Leipzig Died February 13, 1883, in Venice
For a performance of the Prelude and Liebestod, Wagner referred to the story in the program notes as one of “endless yearning, longing, the bliss and wretchedness of love; world, power, fame, honor, chivalry, loyalty and friendship all blown away like an insubstantial dream; one thing alone left living — longing, longing unquenchable, a yearning, a hunger, a languishing forever renewing itself; one sole redemption — death, surcease, a sleep without awakening.” Wagner’s masterful use of the orchestra makes the Prelude and Liebestod the most often played part of the operatic literature that can be performed without the vocal part. His ingenious use of leitmotivs tells the entire story of the opera. This pairing of the prelude to the opera with the final scene, played segue, shows the seamlessness and continuity that Wagner proselytized in his book Oper und Drama of 1851. Referring to the score of Tristan und Isolde, Leopold Stokowski once said: “Wagner created for himself a new style, a new technique, new harmonic sequences, new combinations of Continued on next page
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timbres, and a new orchestral palette.” All this is never more apparent than in the Liebestod, the climax and close of the opera that has often been called the greatest in the literature of music. At the end of the third act, Isolde is restored to her lover, Tristan, only to have him die in her arms. She herself expires in the anguish of her devotion to complete the tragedy of the love-potion. Once again quoting Stokowski, “... the music leaps toward us like a flame with burning impulsiveness. It mounts up into great climaxes of sound. The tempo is always agitated — always changing — and yet an unbroken line passes through every impulsive phrase and unifies the seemingly improvised tonal design. This love music continues its overpowering eloquence when words cannot continue, when even life cannot further express itself. It is the supreme and ultimate of the poetry of love.” 1998 Columbia Artists Management Inc. Edited by Elizabeth E. Torres
Martin Panteleev, Cape Town Philharmonic Orchestra, 2010
Concerto No. 2 in F minor for Piano and Orchestra, Op. 21 FRÉDÉRIC CHOPIN Born March 1, 1810 in Zelazowa Wola, near Warsaw Died October 17, 1849 in Paris
The Piano Concerto in F minor of Chopin, known as the “Second” Piano Concerto, was written in 1829, one year before the so-called Concerto No. 1 in E minor, but was published later. The work was premiered on March 17, 1830 at the National Theater in Warsaw, along with the composer’s Fantasia on Polish Airs. As was the practice at the time, the first movement was separated from the other two by another piece, in this instance a divertissement for solo horn. The performance was a great success; a review of the concert stated “Chopin knows what sounds are heard in our fields and woods, he has Continued on next page
WE BELIEVE GREAT CLASSICAL MUSIC SHOULD BE ACCESSIBLE TO ALL. Since 1969, the Ames International Orchestra Festival Association (AIOFA) has presented world-class musicians here. It’s a grand tradition we want to continue. A simple bequest to the Performing Arts Fund/AIOFA will assure affordable tickets for more people. Even a portion of your IRA or life insurance can have a great impact on classical music at Stephens Auditorium. That will be music to everyone’s ears.
Visit center.iastate.edu/plannedgift for examples. Contact Patti Cotter at 515-294-1238, email email@example.com, or visit isugift.org. Supported by Ames International Orchestra Festival Association (AIOFA) Irish Chamber Orchestra, 2011 Insert 8
listened to the song of the Polish villager, he has made it his own and has united the tunes of his native land in skillful composition and elegant execution.” The adulation was so great that the concert was repeated five days later. In Polish eyes, Chopin was viewed as a Polish national composer. The first movement is marked Maestoso and is in common time. Chopin patterned the first movements of his concerti on the style of Hummel, who was in vogue at the time. The exposition is in the “classic” manner, first stated by the orchestra and then by the soloist. The principal subject, played by the strings, is followed by a second theme in A-flat major which is presented by the oboe, then repeated by the strings. After a few introductory measures, the piano enters abruptly with the first subject and then extends it. A transitional section leads to the reappearance of the second subject. A short orchestral tutti introduces the development section based on the first four notes of the principal theme. With the recapitulation, the first theme is again presented, this time in a truncated version. The second subject is restated then transposed to C minor. The movement ends with an orchestral tutti. In the second movement, in A flat major, the theme is stated and embellished by the soloist. A middle section in declamatory style is followed by a return of the first theme in a more florid form. A short coda ends the movement. Chopin’s inspiration for this movement was his affection for a young singer, Constantia Gladkowska. Calling her “my ideal...whom I dream of,” he wrote in a letter to a friend in 1829, “while my thoughts were with her, I composed the adagio (actually a larghetto) of my concerto.” The piece is dedicated, however, to another singer, Countess Patocka. Liszt, an ardent supporter of Chopin, wrote of this movement, “Passages of surprising grandeur may be found in the adagio of the Second Concerto...the accessory designs are in his best manner, while the principal phrase is of an admirable breadth. It alternates with a Recitative, which assumes a minor key, and which seems to be its antistrophe. The whole of the piece is of a
perfection almost ideal; its expression, now radiant with light, now full of tender pathos.” The third movement, marked Allegro vivace, begins with the soloist announcing the principal subject. Following an orchestral section, the theme returns. After much development and dialogue between the orchestra and soloist, the second theme is presented by the soloist, with an understated accompaniment in the strings. A horn solo announces the final section, notable for the triplet figures in the piano part. Unlike some composers, Beethoven and Wagner for example, Chopin’s compositional style did not “develop” as he grew older; the elements found in pieces written in his teens, such as this concerto, are evident also in those works from later in his life. Because the concerto is by nature a large work, elements from smaller works can be found in various sections. The listener can detect throughout the piece the lyricism of a nocturne, the vitality of a mazurka and the technical difficulty of an etude. Following the 1830 performances Chopin left Warsaw, never to return. 1998 Columbia Artists Management Inc.
Symphony No. 5 in B-flat major, Op. 100 SERGEI PROKOFIEV Born April 23, 1891 in Sontzovka, Ukraine Died March 5, 1953 in Moscow
Like many of history’s greatest composers, Sergei Prokofiev was a precocious child. He began composing for the piano at age five and had completed his first opera at age eight. He breezed through his formal studies at the St. Petersburg Conservatory graduating with highest honors in 1910. He studied composition with some of Russia’s greatest composers including Glière, Taniev, RimskyKorsakov and Tcherepnine, giving him a firm foundation in form, style and counterpoint. By the time he turned twenty-three he had already Continued on next page Insert 9
established himself as the enfant terrible of Russian music with the composition of his Scythian Suite. After a successful world tour in 1918, Prokofiev decided to settle in Paris, a place where he stayed for ten years. As he established his reputation abroad, his native Soviet Union still followed his exploits and revered his talent by giving him a hero’s welcome during a 1927 visit.
pieces for the country. The Soviet government rewarded him with the Stalin Prize for his Stalingrad Piano Sonata in 1943. He composed his Fifth Symphony in the summer of 1944; the first symphony written after his voluntary repatriation, and in a sense, the first one composed by the fullfledged symphonist. He again won the Stalin Prize (First Class) for the composition of the symphony.
Explaining that he had not realized that the USSR “demanded the collaboration of all citizens, not only men of politics, but men of art, as well,” he decided to move back to the Soviet Union in 1932. The Communist Party wanted the leading Soviet composers to simplify their compositions to make them more understandable to the Soviet people. As the “people’s composer,” Prokofiev wrote, “As far as I am concerned, elements of formalism were peculiar to my music as long as fifteen and twenty years ago. Apparently the infection was caught from some contact with some Western ideas.” During World War II, he became a national hero by writing several
Programmatically, this symphony is not about war, but during 1944 war was certainly an omnipresent part of Prokofiev’s life, and as such played a part in determining the character of the work. The symphony was premiered with the war’s victorious conclusion clearly in sight on January 13, 1945 with Prokofiev, himself, conducting. About the Fifth Symphony he wrote: “The Fifth Symphony was intended as a hymn to free and happy man, to his mighty powers, his pure and noble spirit…I cannot say that I deliberately chose this theme. It was born in me and clamored Continued on next page
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for expression. The music matured within me. It filled my soul.” Reminders of his recently completed ballet scores are frequently found in this symphony. The expressive touches common to the scores of the symphony and his ballets Cinderella and Romeo and Juliet remind us of how especially close all three were to the heart of the composer. Unlike the structure of Classical and Romantic symphonies, the four movements of the Fifth Symphony take on a more Baroque form of slow/fast/slow/fast. The first movement, Andante, is in sonata form, with a soaring first theme in octaves presented by the woodwinds. Using techniques previously employed by Beethoven and Brahms, he seems to repeat the exposition, with a sudden turn of harmony revealing the development section. The recapitulation, and especially the coda, restates the first theme at length. The Scherzo is the second movement. The clarinet poses the theme while the violins serve a decidedly
more background role. The impertinent response by the oboe and violas reflect back to the old Prokofiev. A slower section leads to the Trio, which is actually a little faster than the opening section. The same material leads back again, and a repeat of the Scherzo ensues with a rather sinister turn, ending with a bang. Arpeggiated chords à la Beethoven’s Moonlight Sonata mark the character of the third movement. The movement is weighty and slow, both lyric and tender. It reaches an emotional climax and the first theme returns in a slightly new guise. A slow clarinet arpeggio to silence ends the movement. The Finale begins with a reflective moment in the woodwinds and strings followed by the theme of the first movement scored for the cellos divided into four parts. A joyous theme abruptly ends this mood, and except for a brief sentimental interlude, the movement rushes toward an electrifying ending. 1998 Columbia Artists Management Inc. Edited by Elizabeth E. Torres
A TRIBUTE TO THE BEATLES The Fab Four — The Ultimate Tribute Friday, March 23, 2012 at 7:30 pm The Fab Four is elevated far above every other Beatles Tribute due to their precise attention to detail. With uncanny, note-for-note live renditions of Beatles’ songs, the Fab Four will make you think you are watching the real thing. This incredible stage show includes three costume changes representing every era of the Beatles’ ever-changing career.
For Tickets: Stephens Auditorium Ticket Office Ticketmaster: www.ticketmaster.com or 1-800-745-3000 | All Ticketmaster Outlets Insert 11
Thank You for Supporting the Performing Arts Fund at Stephens Auditorium The Iowa State Center gratefully acknowledges those who contribute to the Performing Arts Fund at Stephens Auditorium. Every gift plays an important part in the success of the Performing Arts Series’ far-reaching programs. By bridging the gap between expenses and ticket revenues, the Performing Arts Fund at Stephens Auditorium provides critical support for all Performing Arts Series activities. Gifts listed are current as of January 31, 2012. We make every effort to be accurate and present your name in the way you wish. If we have made an error or your preference has changed, please contact Patti Cotter, Sponsorship & Development Manager, at 515-294-1238 or email@example.com. IMPRESARIO $ 5,000 and above The Lauridsen Family Endowment EXECUTIVE PRODUCER $ 2,500 and above Jim Beckwith George C. & Susan J. Christensen Harry & Cecilia Horner Kawaler Family Charitable Foundation Jayne Larson & Ira White Beverly & Warren Madden Sue & Al Ravenscroft DIRECTOR $ 1,000 and above Irene Beavers Elizabeth Cole Beck Kelli Bennett Jay & Karen Heldt-Chapman John & Judy Clem Wayne P. & Ferne Bonomi Davis Durbin, Zheng & Son, Inc. David Coe & Anne C. Durland 1st National Bank — Ames Willa & Dave Holger Mitchell & Sherilyn Hoyer Arthur Klein Jane W. Lohnes James & Jody Mueller John & Cynthia Paschen Mary Jean & Maurice Reimers Gary F. & Harriet M. Short PRINCIPAL ARTIST $ 500 and above Anonymous (2) Brian & Tanya Anderson Claire Andreasen Rick Bartosh Insert 12
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Martha Anderson Jose & Jeanie Angel Bob & Elizabeth Angelici Sandi & Dave Austin Rod & Janice Avey Terry & Debbie Barger JoAnn Barten-Bigelow Richard J. Baumhover Charles & Jan Beall Senator Daryl & Jo Ann Beall Amy & Steven Becker Judy & Don Beitz Kay & Roger Berger Robert & Mary Bergmann Nancy L. Besch Kiran & Kalyani Chuck & Carmel Biskner Gail & Janeen Boliver Charlene Boll Ira Delilovic Boomgarden Diane Borcherding Linda Borst Angela Bradley Jean Krusi & Ed Braun Jeff & Jan Breitman Rick & Janet Brimeyer John Britt & Diane Vigneau Donald & Ruth Ann Buck Robert O. & Anne K. Buck Bob & Rosemary Bulman Kathryn Burkholder Daniel & Sandra Buss Margy Chamberlin Stephanie Clark John & Donna Cleasby Gladys & Peter Colwell Jim & Carolyn Cornette Roger & Bette Coulson Harold & Rachel Crawford Paula J. Curran Nancy & Pete Cyr William & Kathryn David Herbert A. David Stan & Helen Davidson Mary M. de Baca Michelle Delury Deborah Dice Drake Holding Co. David & Diane Drake Dee Dreeszen Carl Duling Frank Dunn Carol Elbert George Englesson John & Marcia Even Insert 13
COMPANY MEMBER continued
Dorothy Ewing Kay Faaberg Anne & Richard Farr Marvin Beck & Jane Farrell-Beck Maria Fedorova Walter & Elinor Fehr Taena Fowler & Jon Greising Mim & Jim Fritz Rebecca Fritzsche Herb & Katherine Fromm John E. Galejs Mary Jo Ganske Mary Garst Ann & Howard Garton Helen K. Geisler Tom & Mary Jo Glanville Kenneth Graham Lowell & Jennie Greimann John & Sally Greve Jean Griffen Timothy & Kellie Guderian Margaret Dempsey & William Gutowski Curt & Kathryn Robertson Hammer Melissa Hanna Mary Harms Duane Harris Marjorie Hartman Jerry & Pat Hatfield Marian Heady Thomas Andre & Susan Hegland Steve & Nancy Heideman Craig & Martha Heineman Martha Helland Isabel Hendrickson Pete & Janet Hermanson Richard & Janet Hersom Randy & Liz Hertz Joan Herwig Mary Ann & John Hicks Gary & Debra Hintze Bill & Judy Hoefle Robert & Janice Holland William & Barbara Holt Tim & Susan Hooper Frank Horn Carole & Jack Horowitz Dick & Sandy Horton Ted & Karen Huiatt Marcia Imsande Lincoln & Janet Jackson Mina Hertz Jacobs Mary James Marian & Roger Jansen Tim & Sue John Marilyn & Wendell Johnson Insert 14
Ken & Sue Johnson Marilyn R. Johnson Kent & Sara Johnson Bruce & Marie Johnson Margaret S. Johnson Carolyn Johnson Darron & Julie Jones Rich & Judy Jones Steven D. Jordening Cheryll & Tom Kierski Bette & Jim King Barbara Kiser Karen & Wayne Klaiber Jim & Joyce Kliebenstein Cathy Kling & Terry Alexander Marianne Klinsky Jerry & Margaret Knox Bianca Zaffarano & Nicholas Koszewski Richard & Nelle Kottman Dan & Sharon Krieger Asrun Yr Kristmundsdottir Richard Kruger Marilyn Kruse John & Diane Kubik Richard & Kim Langholz Harvey & Sally Lapan Randy & Beth Larabee Ruth G. Larson Michael Lazere & Lynn Anthony Rev. Selva Lehman Nels & Patricia Lersten Dorothy & Donald Lewis Alfredo & Amelia Lim-Yao Efstathia Lingren Mark & Angela Logsdon Marion & Robert Lorr John & Lorijo Lounsberry Lowell & Elma Lynch Carole Magilton Dick & Jackie Manatt Audrey & Steve Marley Gary D. Mason James Maxwell Edith A. McClure Richard & Donita McCoy John & Renee McPhee Laura McVay Clete & Joyce Mercier Todd & Barbara Meyer Terrence Meyer Kris & Al Jergens John B. Miller & Kathryn Madera Miller Patricia & Kemp Miller John Miranowski & Susana Goggi Larry & Sara Mitchell Marilyn & Steve Moehlmann
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COMPANY MEMBER continued
Dr. & Mrs. Sam Senti Hilary Seo & Paul Rounds Carole & Leverne Seversike Kenneth & Shirley Shaw Debra Shenk-Boudart Mark & Amy Slagell John & Sandra Slaughter Paul & Ann Smiley-Oyen Jim & Diane Smith Clifford Smith Richard & Frances Smith Gary Sorensen Galina & Philip Spike Dr. & Mrs. W. Robert Stephenson Bernard & Victoria Stephenson Mr. & Mrs. David Stephenson Curtis Struck & Megan Fairall Robert & Deanne Summerfelt Doris Roettger-Svoboda Calvin & Susan Swan Margaret & John Tait
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Bill & Amanda Fales-Williams Carla Wood Richard & Patricia Wood Kent & Linda Woodworth Steven & Lorraine Woolery Sharon L. Youngquist Suzanne Zaffarano Bill & Jean Zmolek MATCHING GIFT HONOR ROLL Alliant Energy Foundation AXA Foundation Bank of the West General Electric GMG Foundation Merck Company Foundation Meredith Corporation Foundation Pioneer Hi-Bred International, Inc. Piper Jaffray State Farm Companies Foundation Wells Fargo & Co.
PLANNED GIFTS These generous individuals have included the Performing Arts Series in their wills. Wayne P. Davis Frankee and Jim Oleson The late James Watson To learn how you can support the arts while honoring a loved one, or to create a legacy gift, contact Patti Cotter, Sponsorship & Development Manager, at 515-294-1238 or firstname.lastname@example.org.
Ames International Orchestra Festival Association Board of Directors Karl Gwiasda Larry Hansen Esther Harmison Herb Harmison Jacob Harrison
Sandy Hoenig Willa Holger Arthur Klein - President Marilyn Johnson Jane Mathison
Mary Richards David Stephenson Joan White Maureen Wilt
Iowa State University Performing Arts Council A university committee comprised of Iowa State University faculty, staff, and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the Performing Arts Series at Stephens Auditorium. Michael Golemo, President, Faculty–Music Tanya Anderson, Ames–Community Janice Baker, Faculty–Dance Sara Compton, Iowa State Center Patti Cotter, Iowa State Center Jane Cox, Faculty–Theater William David, Faculty–Music Homer Gartz, Ames–Community Debra Gibson, Faculty–Journalism & Mass Communication Karl Gwiasda, Ames International Orchestra Festival Association
Sam Johnson, Student–Music Nancy Marion, Ames–Community Nick Miller, Student–Music Patricia Miller, Faculty–Lectures Program Mark North, Advisor, Iowa State Center Lee Plummer, Student–Music Alissa Stoehr, Student–Educational Leadership and Policy Studies Victoria Stafford, Student–Performing Arts Nolan Vallier, Student–Music Insert 15
SPONSORS — The Iowa State Center recognizes and thanks its sponsors for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:
University Park Inn & Suites
Proud Sponsor of Proud Sponsor of
Proud Sponsor of
Proud Sponsor of
My Fair Lady
Beauty and the Beast
Young Frankenstein and Danú
Get two tickets to any Performing Arts Series event when you book a specially-priced hotel package at participating Ames hotels. Visit www.visitames.com for details. Sponsored by the Ames Convention & Visitors Bureau
MEDIA PARTNERS — The Iowa State Center recognizes and thanks its media partners for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:
Proud Media Partners of Beauty and the Beast,
Proud Media Partner of
Magic School Bus Live! and My Fair Lady
GRANTS — The Iowa State Center recognizes and thanks the following organizations for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:
Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), Irish Chamber Orchestra and “Tschaikowski” — St. Petersburg State Orchestra
Iowa Arts Council Proudly Supporting Doubt and Macbeth This project supported in part by a grant from the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs, and the National Endowment for the Arts.
Kiwanis International Proudly Supporting 2012 Youth Matinee Series and Magic School Bus Live! Insert 16