Lawrence Brownlee | Tenor John Churchwell | Piano Thursday, July 22, 2021 | 7:30PM LAWRENCE BROWNLEE Tenor JOHN CHURCHWELL Piano

Thursday, July 22, 2021 | 7:30pm Herbst Theatre

SONGS OF MY YOUTH

Selections from the 24 Italian Songs and Arias A. SCARLATTI Già il sole dal Ganga TORELLI Tu lo sai CACCINI Amarilli, mia bella LEGRENZI Che fiero costume

German Art Songs SCHUBERT Der Jüngling an der Quelle SCHUBERT Nacht und Träume STRAUSS Heimliche Aufforderung STRAUSS Cäcilie

French Art Songs FAURÉ Après un rêve POULENC Montparnasse LISZT Oh! Quand je dors

2 Spirituals BURLEIGH Deep River BURLEIGH Sometimes I Feel Like a Motherless Child JOHNSON Walking JOHNSON Ride on, King Jesus

This program is made possible in part by the generous support of Helen Berggruen for the Five Arts Foundation

Lawrence Brownlee is represented by IMG Artists Pleiades House, 7 West 54th Street, New York, NY 10019 imgartists.com

Hamburg Steinway Model D, Pro Piano, San Francisco

3 ARTIST PROFILES

San Francisco Performances presents Lawrence Brownlee for the second time; he made his SF Performances debut in March 2018. John Churchwell also returns for a second time; he appeared with mezzo-soprano Joyce DiDonato in November 2009.

Lawrence Brownlee is a leading figure in opera, both as a singer on the world’s top stages, and as a voice for activism and diversity in the industry. Captivating audiences and critics around the globe, he has been hailed as “an international star in the bel canto operatic repertory” (The New York Times), “one of the world’s leading bel canto stars” (The Guardian), and “one of the most in-demand opera singers in the world today” (NPR). Amidst the challenges of COVID-19, Brownlee has emerged as a pivotal voice in classical music’s shift toward digital program- ming and the resurgence of conversations around racial justice. Highlights of Brownlee’s 20–21 season include Don Ramiro in La Cenerentola at Palau de les Arts Reina Sofía, his role debut as Edgardo in Lucia di Lammermoor at New National Theatre Tokyo, Arturo in I Puritani with Teatro dell’Opera di Roma, and Tonio in La Fille du Regiment with Opéra Royal de Wallonie-Liège. In concert, Brownlee reprised Lawrence Brownlee and Friends at Lyric Opera of Chicago, Giving Voice at Houston Grand Opera, Lawrence Brownlee and Friends and Cy- cles of My Being with Opera Philadelphia, as well as a virtual recital with pianist Myra Huang for the Schubert Club Inter- national Artist Series, a virtual concert with the Tallahassee Symphony, the tenor solo in Beethoven’s 9th Symphony with the Tulsa Symphony, and a virtual recital with Music Worces- ter. In spring 2021, Brownlee joined The Juilliard School as a Distinguished Visiting Faculty Member. Brownlee is the fourth of six children and first discovered music when he learned to play bass, drums, and piano at his family’s church in Hubbard, Ohio. He was awarded a Master of Music from Indiana University and went on to win a Grand Prize in the 2001 Metropolitan Opera National Council auditions. Brownlee is a winner of numerous awards and distinc-

4 tions including “Male Singer of the Year” (2017 Internation- al Opera Awards), the Kennedy Center’s Marian Anderson Award, and the Opera News Award (2021). In October 2019, he had the distinct honor of singing at Jessye Norman’s funeral in her hometown of Augusta, Georgia. One of the leading collaborative pianists of his generation, John Churchwell enjoys a career on the concert stage as well as in the nation’s leading opera houses. In August 2011, Mr. Churchwell was named Head of Music for San Francisco Opera. Previously, Mr. Churchwell was an assistant conductor for both the Metropolitan Opera and the San Francisco Opera for 14 years. He has assisted on more than 100 productions and has collaborated with some of the world’s leading conductors including James Levine, Nello Santi, Nicola Luisotti, James Conlon, Donald Runnicles, Sir Charles Mackerras, Marco Armiliato, and Fabio Luisi. A champion of American music, John was involved in the world premieres of John Harbison’s The Great Gatsby and Jake Heggie’s Dead Man Walking. In recent seasons, Mr. Churchwell has prepared the world premieres of Mark Adamo’s The Gospel of Mary Magdalene, Christopher Theofanidis’ Heart of a Soldier, as well as the Philip Glass opera Appomattox, the Stewart Wallace/ Amy Tan collaboration The Bonesetter’s Daughter, Tobias Picker’s Dolores Claiborne, and the recent world premiere of Girls of the Golden West by John Adams, all for San Francisco Opera. From 2005–2008 Mr. Churchwell was the official accompanist for the Metropolitan Opera National Council auditions. On the recital stage, Mr. Churchwell has partnered some of today’s most sought-after vocalists including Joyce DiDonato, Susan Graham, Diana Damrau, Larry Brownlee, Lisette Oro- pesa, Frederica von Stade, Leah Crocetto, Dawn Upshaw, Car- ol Vaness, David Pittsinger, Patricia Schuman and Jill Grove. In addition to song recitals, Mr. Churchwell is an active chamber musician and has appeared regularly with members of the Metropolitan and San Francisco’s Opera Orchestras. A native of Knoxville, TN, Mr. Churchwell studied at the New England Conservatory of Music and Tufts University where he earned a Bachelor of Music in Piano and a Bache-

5 lor of Arts in French, respectively. Mr. Churchwell continued his studies at the University of Minnesota where he earned a Master of Music and a Doctorate of Musical Arts in Accom- panying. Mr. Churchwell studied song literature at the Banff Centre for the Arts and remains the only pianist to be invited for three summers as a Tanglewood Fellow. Mr. Churchwell has been a member of the faculty of Music Academy of the West since 2000.

PROGRAM NOTES

Selections from the 24 Italian Songs and Arias

The works on this recital divide into four distinct groups, and the first offers music from 17th-century Italy. Listeners should be alert to the name of the first composer on this recital—it is not Domenico Scarlatti, remembered today for his many keyboard sonatas, but Domenico’s father Alessandro Scarlatti (1660–1725). Alessandro’s opera L’honestà negli amori was first produced in Rome in February 1680, when the composer was only 19. That opera has been largely forgotten, but one aria lives on in the concert hall: “Già il sole dal Ganga” tells of the sun rising over the Ganges, bringing light and dry- ing out the mists of night. This aria, bright and sparkling, has been recorded a number of times. Giuseppe Torelli (1658–1709) made his living as a perform- er—he played both violin and viola—and he composed pri- marily for instrumental ensembles: sonatas, concerti grossi, concertos for individual instruments. “Tu lo sai,” however, is a vocal work: it is the final movement of his solo cantata Come potesta mai. “Tu lo sai” is a lament by one rejected in love, but rather than being full of fury, this is beautiful, painful music. Giulio Caccini (1551–1618), who served in the Medici court, was known in his own day as a singer and teacher, though he did compose three operas, songs, and madrigals. His best- known work is the madrigal “Amarilli, mia bella,” a plaintive expression of love and longing. Giovanni Legrenzi (1626–1690) was an organist and compos-

6 er of opera who eventually became the music director of St. Mark’s in Venice. “Che fiero costume,” an aria from his opera Eteocle e Polinice, is a fiery rant against Cupid, full of the frus- trations of love.

German Art Songs

“Der Jüngling an der Quelle” (1821) by Franz Schubert (1797– 1828) takes a stock situation and gives it a nice little twist: a youth seeks relief from the pain of lost love in the soft sound of the brook, only to have the brook repeat his love’s name; the stream murmurs right up to the final chord. The piano prelude to Schubert’s “Nacht und Träume” (1822) sets the delicate, suspended mood of this song perfectly; the piano accompaniment looks ominously “black” on the page, but so restrained is the smoothly-rocking pattern of 16th notes that the vocal line seems to float above this glowing accompaniment. Matthäus von Collin’s magic evocation of night and the ineffable, unknowable world of dreams seems an almost pure statement of romantic sentiment. Half a century later, Gabriel Fauré would get at exactly this same sen- sation in a very different song, “Après un rêve,” heard later on this recital. Richard Strauss (1864–1949) wrote the four songs of his Opus 27 in 1894 and presented them as a wedding present to the soprano Pauline de Ahna, shortly before the two were mar- ried on September 10 of that year. “Heimliche Aufforderung,” the second of the four songs, is on a text by the Scottish-born John Henry Mackay. That text is perfect for a wedding song, for it details the private emotion of two lovers in the midst of revelry swirling around them. Strauss catches this happy tur- moil with the piano’s rolling accompaniment, above which the singer has the lyric text (the title means “Secret Invita- tion”). The music grows more subdued as the speaker invites his love into their private world of love, rushes ahead with ex- citement, and closes quietly. The passionate “Cäcilie,” the second song of Opus 27, was in fact written the day before the composer’s wedding. It sets a

7 love poem by Heinrich Hart (Cäcilie was the name of the poet’s wife)—beginning quietly, it rises to a passionate climax.

French Art Songs

One of the best-known songs of Gabriel Fauré (1845–1924), “Après un rêve” sets an ancient Tuscan text that had been adapted by the poet Romain Bussine. This beautiful song (1878) catches a universal human experience—waking from a dream and then longing painfully for that evanescent world—and Fauré’s setting rises to a moment of despair on the climactic “Helas!” So haunting is this music that it has been arranged for a number of different instruments. The poetry of Guillaume Apollinaire (1880–1918) takes us into a strange urban setting, where reality and fantasy exist in equal parts: it was Apollinaire who coined the term “surre- alism.” Francis Poulenc (1899–1963) met Apollinaire when the composer was still a very young man, and he set Apollinaire’s poetry to music across his entire life. Composing “Montpar- nasse” proved a challenge for Poulenc, who said, “I took four years to write ‘Montparnasse.’ I do not regret the care I lav- ished on it because it is probably one of my best songs.” Pou- lenc marks it “Very calm,” and the piano’s quiet syncopated accompaniment beneath the singer’s steady rhythms seems soothing at first, though the piano then rounds the song off with an unexpectedly stern postlude. Franz Liszt (1811–1886) may have been born in Hungary, but he spent many years in France, and he was fluent in French. Early in his years in Paris, Liszt became acquainted with Vic- tor Hugo and set a number of Hugo’s poems. “Oh! Quand je dors” was first composed in 1842, then revised seven years later. Taking as its starting point Petrarch’s hopeless longing for Laura, Hugo’s poem creates that same sense of dreamlike yearning for blissful fulfillment. Beginning very delicately (Liszt’s marking is dolce), the song rises to a heartfelt intensi- ty, then trails off into silence.

8 Spirituals

The final section of this program offers four great spirituals in arrangements for solo voice and piano by two men who devoted much of their careers to bringing spirituals to a wide audience. The grandson of slaves, H.T. Burleigh (1866–1949) was born in Pennsylvania the year after the Civil War ended, and the boy quickly showed musical talent. He studied piano, composition, and singing and was admitted to the National Conservatory of Music in 1892, when Dvořák was serving as the conservatory’s director. Burleigh helped pay his tuition by cleaning the conservatory’s hallways, and Dvořák heard him singing spirituals as he worked. He had the young man sing spirituals to him, and these had a profound influence on his own music—Dvořák came to feel that any American classical music would need to make use of these songs, and they influenced his own “New World” Symphony. Dvořák en- couraged Burleigh to edit and present these songs for general audiences, and the young man did just that—his arrange- ment of “Deep River” (1917) made that song world-famous, and Burleigh himself performed it before President Theodore Roosevelt and before King Edward VII of England. Hall Johnson (1888–1970) trained originally as a violinist and studied at the University of Pennsylvania, Juilliard, and USC. He performed professionally as a violinist, but was soon drawn to choral conducting, and he created choirs in both Los Angeles and New York. Choirs led by Johnson were heard in more than thirty Hollywood films, and he toured with choirs in Europe. Though Johnson composed vocal works, he is remembered today for his editing and publishing spirituals. This program concludes with two of his arrangements, “Walking” and the powerful “Ride on, King Jesus.”

Program notes by Eric Bromberger

9 SONG TEXTS & TRANSLATIONS

Please hold your applause until the end of each set.

Selections from the 24 Italian Songs and Arias

ALESSANDRO SCARLATTI

Già il sole dal Gange Già il sole dal Gange Più chiaro sfavilla, E terge ogni stilla Dell’alba che piange.

Col raggio dorato Ingemma ogni stelo, E gli astri del cielo Dipinge nel prato.

Text: Anonymous

Already, from over the Ganges, the sun Already, from over the Ganges, the sun Sparkles more brightly And dries every drop of the dawn, which weeps.

With the gilded ray It adorns each blade of grass; And the stars of the sky It paints in the field.

10 GIUSEPPE TORELLI

Tu lo sai Tu lo sai quanto t’amai, Tu lo sai, lo sai crudel! Io non bramo altra mercè, Ma ricordati di me, E poi sprezza un infedel.

Text: Anonymous

You Know Now You now know how I loved you, You now know, my cruel love ! Other loves I don’t desire, just remember your old lover bringing scorn to the unfaithful.

GIULIO CACCINI

Amarilli, mia bella Amarilli, mia bella, Non credi, o del mio cor dolce desio, D’esser tu l’amor mio? Credilo pur: e se timor t’assale, Dubitar non ti vale. Aprimi il petto e vedrai scritto in core: Amarilli, Amarilli, Amarilli è il mio amore.

Text: attributed to Giovanni Battista Guarini (1538–1612)

Amaryllis, my lovely one Amaryllis, my lovely one, do you not believe, o my heart’s sweet desire, That you are my love?

11 Believe it thus: and if fear assails you, Doubt not its truth. Open my breast and see written on my heart: Amaryllis, Amaryllis, Amaryllis, Is my beloved.

GIOVANNI LEGRENZI

Che fiero costume Che fiero costume D’aligero nume, Che a forza di pene si faccia adorar! E pur nell’ ardore Il dio traditore Un vago sembiante mi fe’ idolatrar.

Che crudo destino Che un cieco bambino Con bocca di latte si faccia stimar! Ma questo tiranno Con barbaro inganno, Entrando per gli occhi, mi fe’ sospirar!

Text: Anonymous

What fierce power What fierce power [Has] this winged god, Who by force of punishments, should make himself adored! And nevertheless in [my] ardor The traitorous god Made me idolize a lovely face.

12 What a cruel destiny, That a blind child [still] With a mouth of [mother’s] milk, should make himself esteemed! But this tyrant With barbarous deception, Entering through [my] eyes, made me sigh!

German Art Songs

FRANZ SCHUBERT

Der Jüngling an der Quelle Leise, rieselnder Quell, ihr wallenden, flispernden Pappeln, Euer Schlummergeräusch wecket die Liebe nur auf. Linderung sucht’ ich bei euch, und sie zu vergessen, die Spröde; Ach! und Blätter und Bach seufzen: Luise dir nach!

Text: Johann Gaudenz Freiherr von Salis-Seewis (1762 - 1834)

The youth by the spring Softly, trickling spring! Ye churning, rustling poplars! The sounds of slumber you make will only awaken my love. Balm was I seeking from you and to forget her indifference. Ah, the brook and each tree sigh for my loved one, for thee.

13 Nacht und Träume Heil’ge Nacht, du sinkest nieder; Nieder wallen auch die Träume, Wie dein Mondlicht durch die Räume, Durch der Menschen stille Brust; Die belauschen sie mit Lust, Rufen, wenn der Tag erwacht: Kehre wieder holde Nacht, Holde Träume kehret wieder. Heimliche Aufforderung

Text by Matthäus Kasimir von Collin (1779–1824)

Holy night, you sink down Holy night, you sink down; Dreams, too, drift down Like your moonlight through space, Through the quiet hearts of men; They listen with delight Calling out when day awakens: Return, holy night! Fair dreams, return!

RICHARD STRAUSS

Heimliche Aufforderung Auf, hebe die funkelnde Schale empor zum Mund, Und trinke beim Freudenmahle dein Herz gesund. Und wenn du sie hebst, so winke mir heimlich zu, Dann lächle ich und dann trinke ich still wie du...

Und still gleich mir betrachte um uns das Heer Der trunknen Schwätzer -- verachte sie nicht zu sehr. Nein, hebe die blinkende Schale, gefüllt mit Wein, Und laß beim lärmenden Mahle sie glücklich sein.

14 Doch hast du das Mahl genossen, den Durst gestillt, Dann verlasse der lauten Genossen festfreudiges Bild, Und wandle hinaus in den Garten zum Rosenstrauch, Dort will ich dich dann erwarten nach altem Brauch,

Und will an die Brust dir sinken, eh du’s erhofft, Und deine Küsse trinken, wie ehmals oft, Und flechten in deine Haare der Rose Pracht. O komme, du wunderbare, ersehnte Nacht!

Text: John Henry Mackay (1864–1933)

Secret invitation

Up, raise the sparkling cup to your lips, And drink your heart’s fill at the joyous feast. And when you raise it, so wink secretly at me, Then I’ll smile and drink quietly, as you...

And quietly as I look around at the crowd Of drunken revelers – don’t think too ill of them. No, lift the twinkling cup, filled with wine, And let them be happy at the noisy meal.

But when you’ve savored the meal, your thirst quenched, Then quit the loud gathering’s joyful fest, And wander out into the garden, to the rosebush, There shall I await you, as often of old.

And ere you know it shall I sink upon your breast, And drink your kisses, as so often before, And twine the rose’s splendour into your hair. Oh, come, you wondrous, longed-for night!

15 Cäcilie Wenn du es wüßtest, Was träumen heißt von brennenden Küssen, Von Wandern und Ruhen mit der Geliebten, Aug in Auge, Und kosend und plaudernd, Wenn du es wüßtest, Du neigtest dein Herz!

Wenn du es wüßtest, Was bangen heißt in einsamen Nächten, Umschauert vom Sturm, da niemand tröstet Milden Mundes die kampfmüde Seele, Wenn du es wüßtest, Du kämest zu mir.

Wenn du es wüßtest, Was leben heißt, umhaucht von der Gottheit Weltschaffendem Atem, Zu schweben empor, lichtgetragen, Zu seligen Höhn, Wenn du es wüßtest, Du lebtest mit mir!

Text: Heinrich Hart (1855–1906)

Cecily If you only knew what it’s like to dream of burning kisses, of wandering and resting with one’s beloved, eye turned to eye, and cuddling and chatting – if you only knew, you would incline your heart to me!

16 If you only knew what it’s like to feel dread on lonely nights, surrounded by a raging storm, while no one comforts with a mild voice your struggle-weary soul – if you only knew, you would come to me.

If you only knew what it’s like to live, surrounded by God’s world-creating breath, to float up, carried by the light, to blessed heights – if you only knew, then you would live with me!

French Art Songs

GABRIEL FAURÉ

Après un rêve Dans un sommeil que charmait ton image Je rêvais le bonheur, ardent mirage, Tes yeux étaient plus doux, ta voix pure et sonore, Tu rayonnais comme un ciel éclairé par l’aurore;

Tu m’appelais et je quittais la terre Pour m’enfuir avec toi vers la lumière, Les cieux pour nous entr’ouvraient leurs nues, Splendeurs inconnues, lueurs divines entrevues,

17 Hélas! Hélas! triste réveil des songes Je t’appelle, ô nuit, rends moi tes mensonges, Reviens, reviens radieuse, Reviens ô nuit mystérieuse!

Text: Romain Bussine (1830–1899) based on an Anonymous text in Italian

After a dream In a slumber which held your image spellbound I dreamt of happiness, passionate mirage, Your eyes were softer, your voice pure and sonorous, You shone like a sky lit up by the dawn;

You called me and I left the earth To run away with you towards the light, The skies opened their clouds for us, Unknown splendors, divine flashes glimpsed,

Alas! Alas! sad awakening from dreams I call you, O night, give me back your lies, Return, return radiant, Return, O mysterious night.

FRANCIS POULENC

Montparnasse Ô porte de l’hôtel avec deux plantes vertes Vertes qui jamais Ne porteront de fleurs Où sont mes fruits? Où me planté-je? Ô porte de l’hôtel un ange est devant toi Distribuant des prospectus On n’a jamais si bien défendu la vertu Donnez-moi pour toujours une chambre à la semaine Ange barbu vous êtes en réalité

18 Un poète lyrique d’Allemagne Qui voulez connaître Paris Vous connaissez de son pavé Ces raies sur lesquelles il ne faut pas que l’on marche Et vous rêvez D’aller passer votre Dimanche à Garches

Il fait un peu lourd et vos cheveux sont longs Ô bon petit poète un peu bête et trop blond Vos yeux ressemblent tant à ces deux grands ballons Qui s’en vont dans l’air pur À l’aventure

Text: Guillaume Apollinaire (1880–1918)

Montparnasse Oh hotel door, with your two green plants which will never bear any flowers, say: Where are my fruits? Where am I planting myself? Hotel door, an angel stands outside you handing out leaflets (virtue has never been so well defended!). Give me in perpetuity a room at the weekly rate. Oh bearded angel, you are really a lyric poet from Germany who wants to get acquainted with Paris. You know that between its paving-stones there are lines which one must not step on. And you dream of spending Sunday at a mansion out of town.

19 The weather is a bit oppressive and your hair is long; oh good little poet, you’re rather stupid and too blond. Your eyes look so much like those two big balloons floating off in the pure air wherever chance takes them...

FRANZ LISZT

Oh! Quand je dors Oh! quand je dors, viens auprès de ma couche, comme à Pétrarque apparaissait Laura, Et qu’en passant ton haleine me touche... Soudain ma bouche S’entrouvrira!

Sur mon front morne où peut-être s’achève Un songe noir qui trop longtemps dura, Que ton regard comme un astre se lève... Soudain mon rêve Rayonnera!

Puis sur ma lèvre où voltige une flamme, Éclair d’amour que Dieu même épura, Pose un baiser, et d’ange deviens femme... Soudain mon âme S’éveillera!

Text: Victor Marie Hugo (1802–1885)

Oh! when I sleep Oh, when I sleep, approach my bed, as Laura appeared to Petrarch; and as you pass, touch me with your breath... at once my lips will part!

20 On my glum face, where perhaps a dark dream has rested for too long a time, let your gaze lift it like a star... at once my dream will be radiant!

Then on my lips, where there flits a brilliance, a flash of love that God has kept pure, place a kiss, and transform from angel into woman... at once my soul will awaken!

21 All of us at San Francisco Performances extend our deep appreciation to our many patrons who have helped keep us going during the pandemic by donating to our Bridge to the Future Campaign. Your generous support has ensured that we will gather again and share many more transformative performances together for years to come. Thank you!

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23 Ms. Diana Nichols Ms. Karen Sharp Judith L. Nichols and Michael Berg Mr. William M. Sharp Ms. Sherri Nordwall Wylie and Judy Sheldon Neil O’Donnell and Chris Motley Mr. Daniel Shin Dr. and Mrs. Hans I. Orup Mr. and Mrs. Nathan Shoehalter Mr. David Ow Emilya Shtivelman Mr. Norman Packard Mr. Matthew Shuster Ms. Mitzi S. Palmer Stephen Siegelman Ms. Amy Panitz LaVerne C. and Alan Silverman, Mr. James Parsons and Ms. Andrea Hong in memory of Mary Huff and Hannah Silverman Ms. Barbara Paschke Mr. Dean A. Silvers Mr. Victor Penico Ms. Anne B. Simons Mr. Alan R Perlman Herbert and Glenda Smith Ms. Patricia E. Perry and Mr. Stephen J. McPhee Melanie Smith and Bill Pine Mark Phillips and Roberta Seifert Jennifer Sobol Rita Piagneri Ms. Cherrill Spencer Ms. Dorothy A. Praeger Mr. Paul Steckel Susan K. Prather Mrs. Gussie Stewart Mr. Philip Purcello Françoise Stone Martin and Maria Quinn Mr. and Mrs. Thomas H. Stone Ms. Fran Quittel Mr. Benedikt Strebel and Ms. Kathy Klausner Ms. Virginia Reames Victoria Sung Mr. Glenn Reid Mr. David Swain Ms. Becky Richardson Toby Symington Mr. and Mrs. John Richmond Nobuyuki Tanaka Penny Righthand, in memory of Richard I. Levine, M.D. Mr. Stanley Tanaka Mr. Robert Ripps and Mr. Steven Spector Alan Templeton Anmarie B. Roache Mr. Richard Terdiman and Ms. Linda Foy Mr. William Roberts The Laney and Pasha Thornton Foundation Mr. James Robinson Chris and Naomi Thorpe Mr. Ernest Robles Ms. Jill Tolfa Arthur and Toni Rembe Rock Ms. Katherine Triest Horacio and Angela Rodriguez Ms. Susan Tuohy Michael and Janet Rodriguez Mr. Paul Upham Mr. Michael Rodriguez Laura Vacco Jane P. Rogers and Michael L. Fischer Ms. Jacqueline S. Valentine and Mr. Robert J. Spjut Mr. Ronald Rogness Ms. Linda Vallee Heli Roiha and Terry McKelvey Ms. Jill Van Gee Ms. Elsa Rosenberg and Mr. David Zuckerman Mr. Leon Van Steen Ms. Bettina Rosenbladt Ms. Lucia Varela Ms. Lisa Rosenthal Mr. Douglas Vaughan Ms. Carol Rossi Mr. Patrick Vaz Mako U. Rova Mr. Eduardo Vergara William D. Radiak Walter Chalmers Smith Family Fund Ms. Julie Rulyak William Welch Ms. Abby Rumsey Mrs. Anne Wellner de Veer Bob and Terri Ryan Mr. Eric Wells Sack Family Fund Peter Weltner and Atticus Carr Ms. Judith Sahagen Julienne Weston Bill Saphir and Melissa Saphir, Mr. Mark D. Whatley and Ms. Danuta M. Zaroda in memory of Florence Saphir Mr. Doug Wilcoxen Fred Saunders and Charles Kredensor S.B. Hadley Wilson Thomas A. Savignano and Peter A. Benson Ms. Jennifer Winch Patricia Unterman and Tim Savinar Jerri Witt Carl Schaper Keeman Wong Mr. Dan Scharlin and Ms. Sara Katz Dr. Maylene Wong Mr. and Mrs. Dietar Scherer Ms. Betty Woo Stefan Hastrup and Gary Schilling Dr. and Mrs. Roger Wu J.P. Schlegelmilch Paul and Pien Yarbrough Mr. Justus J. Schlichting Mr. Norman Young David Gast and Elena Schmid Mr. Philip Young Mr. Jim Schwarz and Mr. Jim Zayac Carolyn Zaroff Mr. and Mrs. Dana S. Scott Frank and Nora Zepeda Pamela W. Sebastian Michael A. Zimmerman Mr. Terry Senne Carl and Betty Zlatchin Ms. Linda Shaffer Anonymous, in memory of Peter F. Ostwald, M.D. James and Connie Shapiro Anonymous (14) Stephen R. Shapiro

24 SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER: HERBST THEATRE Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San Francisco The Honorable London N. Breed, Mayor TRUSTEES Thomas E. Horn, President Charlotte Mailliard Shultz, Vice President Nancy H. Bechtle Stanlee Ray Gatti Lt. Col. Wallace I. Levin CSMR (Ret.) Gorretti Lo Lui Mrs. George R. Moscone Maj. Gen J. Michael Myatt, USMC (Ret.) Paul F. Pelosi Diane B. Wilsey Brenda Wright John Caldon, Managing Director Jennifer E. Norris, Assistant Managing Director

Elizabeth Murray, Managing Director Emerita

HERBST THEATRE EXIT MAPS In an emergency, follow any lighted exit sign to the street. Do not use elevator. Walk, don’t run.

25 2021–2022 SEASON A Joyful Return! Joyful A