BERNSTEIN @ 100 2018‑19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

Pacific Symphony Bernstein PRELUDE, FUGUE AND RIFFS Prelude for the Brass Carl St.Clair, conductor Fugue for the Saxes Pacific Chorale—Robert Istad, artistic director Riffs for Everyone Augustin Hadelich, violin Joseph Morris Angel Garcia, vocalist SERENADE (AFTER PLATO’S “SYMPOSIUM”) Celena Shafer, soprano Phaedras; Pausanias (Lento – Allegro) Aristophanes (Allegretto) Joseph Morris, clarinet Eryximachus (Presto) Agathon (Adagio) Socrates; Alcibiades (Molto tenuto - Allegro molto) Augustin Hadelich Intermission Bernstein CHICHESTER PSALMS Psalm 108:2 Psalm 100 Psalm 23 Psalm 2:1-4 Psalm 131 Psalm 133:1 Pacific Chorale, Angel Garcia SELECTIONS FROM ARIAS AND BARCAROLLES “Greeting” “Little Smary” Celena Shafer “A LITTLE BIT IN LOVE” FROM WONDERFUL TOWN Celena Shafer SELECTIONS FROM CANDIDE “Glitter and Be Gay” Celena Shafer “Make Our Garden Grow” Preview talk with Alan Chapman at 7:00 PM Pacific Chorale

Thursday, October 25, 2018 @ 8:00 PM Augustin Hadelich’s performances have been generously underwritten Saturday, October 27, 2018 @ 8:00 PM by a gift from Sam and Lyndie Ersan. Segerstrom Center for the Arts Saturday’s concert will be recorded for later broadcast on 91.5 KUSC Renée and Henry Segerstrom Concert Hall on February 10, 2019.

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12 OCTOBER BERNSTEIN: CROSSING BOUNDARIES CLASSICAL KUSC AT PACIFIC SYMPHONY

Carl St.Clair, conductor Bernstein PRELUDE, FUGUE AND RIFFS Pacific Chorale—Robert Istad, artistic director Prelude for the Brass Angel Garcia, vocalist Fugue for the Saxes Riffs for Everyone Celena Shafer, soprano Joseph Morris Joseph Morris, clarinet Alan Chapman, host CHICHESTER PSALMS Psalm 108:2 Psalm 100 Psalm 23 Psalm 2:1-4 Psalm 131 Psalm 133:1 Pacific Chorale, Angel Garcia

“A LITTLE BIT IN LOVE” FROM WONDERFUL TOWN Celena Shafer

SELECTIONS FROM CANDIDE “Glitter and Be Gay” Celena Shafer “Make Our Garden Grow” Pacific Chorale

Friday, October 26, 2018 @ 8:00 PM Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

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13 PROGRAM NOTES : understanding of the violin, with its unique PRELUDE, FUGUE AND RIFFS ability to sing and to skitter, and as always, SERENADE (AFTER PLATO’S he is sensitive to the expressive possibilities Rarely does a title tell us so much about “SYMPOSIUM”) of the accompanied solo voice. Was he shy the music to come. The of the showiness behind that loaded word words prelude and fugue, Bernstein’s Serenade is actually a violin “concerto”? Perhaps. But a concerto by any when seen together, say concerto of five movements based on other name… In this one, some listeners, “classical”; more than that, five Platonic monologues exploring the including your intrepid annotator, hear they say seriously classical, nature of love. The form of the concerto is not only a convincing evocation of the as in the preludes and cyclical, with each movement incorporating Symposium’s legendary collegiality, but also fugues of J.S. Bach. But to elements of the previous movement, a Freud-savvy appreciation of the erotic riff is the essence of jazz—repeating a short transmuting them and adding new ones. impulse as the unseen Energizer Bunny musical figure in a way that’s improvisatory, Bernstein had begun framing his musical powering all human creativity. of-the-moment and invested with soul. ideas for the operetta Candide around the Bernstein composed Prelude, Fugue and time he resumed work on his long-neglected Riffs in 1949 on commission from Woody sketches for Serenade, in 1953. But while Herman, a swingin’ saxophonist and Candide was a collaboration on broad scale CHICHESTER PSALMS clarinetist who led one of the era’s best that was rife with problems that continued “big bands.” But by the time he finished for years, the concerto—a commission Located in the West Sussex town of it, Herman’s “big band” jazz ensemble was from the Koussevitzky Foundation that he Chichester, Chichester Cathedral has a no longer so big, and the score was left had never quite gotten around to—proved tradition of commissioning artworks by unheard. Bernstein recycled parts of it for a perfect respite. Very much a solo effort, leading modern artists of many faiths and dance scenes in the musical Wonderful Town it was completed in less than a year, mainly nationalities, including a dazzling stained- (mostly later cut), then revised his original during the summer of 1954, and dedicated glass window by Marc Chagall and one conception in 1952 for the hugely influential to his friend Isaac Stern, who performed of Leonard Bernstein’s most cherished television series Omnibus—still a high- the premiere in September of that year with compositions, Chichester Psalms. As is the water mark in cultural programming. The the Israel Philharmonic Orchestra under case with many of its artworks, in Chichester premiere occurred on live TV, with Bernstein Bernstein’s direction. Psalms the cathedral received much more conducting saxophone soloist Al Gallodoro Bernstein, a Harvard alum, had a than was asked for. and the NBC Symphony. lifelong interest in literary subjects, and his Chichester Psalms was commissioned by The three parts of Prelude, Fugue and treatment of the Symposium happened to the dean, Walter Hussey, along with organist Riffs form an unbroken sequence, but each coincide with a vogue for ancient Greek and John Birch. Bernstein composed it two is distinct. The prelude is bright, brassy Roman subjects among artists including years after completing his dark-hued third and dramatic, drawing us in as a Baroque Picasso, Cocteau and Stravinsky. But that symphony, Kaddish, a meditation on the prelude might. The fugue section is less doesn’t mean we hear the specifics of a Hebrew prayer for the dead. By contrast, his Baroque in its fugal construction, but richly Platonic dialog in Serenade or even a general psalm settings are lyrical and affirmative. contrapuntal, taking full advantage of the musical representation of the aspects of The suite resonates with biblical tradition: saxophone’s bluesy, throaty sound. And the Eros under discussion; instead, the music the prominence of the harps is a reminder of third movement’s riffs pay generous dividends proceeds with the structured ease of a the original psalmist, King David, who played for sax, clarinet and the entire ensemble, even conversation among students of philosophy. the harp as he sang his own verses, and the showcasing a piano in the mix. It is modern, but tender rather than spiky: vocal scoring—for boy soprano or counter- Like 20th-century violin concertos by Alban tenor soloist—echoes David’s own voice. Berg and Karol Szymanowski, Serenade replaces traditional melody with motifs that are lyrical even when conventional tonality is not present. In it Bernstein shows his deep

Leonard Bernstein Serenade (After Plato’s “Symposium”) Chichester Psalms Born: 1918. Lawrence, Mass. Composed: 1954 Composed: 1965 Died: 1990. New York, NY World premiere: Sept. 11, 1954 at La Fenice in World premiere: July 15, 1965 at the Philharmonic Prelude, Fugue and Riffs Venice with Israel Philharmonic Orchestra Hall in New York Composed: 1949 First Pacific Symphony performance: today Most recent Pacific Symphony performance: May 3, 2001, Carl St.Clair conducting World premiere: Oct. 16, 1955 on “The World of Instrumentation: timpani, percussion, harp, Jazz” with Benny Goodman strings, and solo violin Instrumentation: three trumpets, three trombones, timpani, percussion, two harps, Most recent Pacific Symphony performance: Estimated duration: 31 minutes May 20, 2010, Carl St.Clair conducting strings, chorus, and solo boy soprano. Instrumentation: five trumpets, four trombones, Estimated duration: 19 minutes percussion, piano, one double bass, two alto saxophones, two tenor saxophones, one baritone saxophone, and solo clarinet. Estimated duration: 8 minutes 14 OCTOBER Martin Beck Theatre. Almost as quickly, a legend began to spring up around the show. ARIAS AND BARCAROLLES WONDERFUL TOWN Having seen Candide became a badge of status that theatergoers boasted and lied about. And Before the election of John F. Kennedy, the The experiences of author Ruth McKenney so began a succession of revisions and revivals arts often met resistance in our nation’s and her sister Eileen first captivated readers in search of a masterpiece that, if not lost, capital. At a 1946 art show sponsored by of The New Yorker as short stories in the was hidden: less than a year after its closing the State Department, President Truman 1930s, then found life on Broadway in the on Broadway, the New York Philharmonic took one look at a sensitive oil study by play My Sister Eileen. The 1953 adaption presented a concert version of Candide. For a the American artist Yasuo Kuniyoshi and as the musical Wonderful Town preceded 1973 revival at the Broadway Theatre, Stephen remarked “If that’s art, I’m a Hottentot.” Give- Bernstein’s West Side Story by four years Sondheim was brought in for additional lyrics ’em-Hell Harry’s successor, Ike Eisenhower, and was an early collaboration with the and Lillian Hellman’s book was reworked was a skilled Sunday painter, but was lyricists Betty Comden and Adolph Green. by Hugh Wheeler, the successful British scarcely less skeptical when he confronted Among the team’s challenges was writing screenwriter, librettist, poet and translator— Leonard Bernstein at the White House in the songs for Rosalind Russell, who created a after which Hellman renounced her association spring of 1960. The title Arias and Barcarolles sensation in the play as older sister Ruth, but with the show. was inspired by their encounter. Here’s how was no singer. She insisted that her singing In subsequent revivals, production teams the maestro described it to former New York range was limited to four notes, and asked worked to recapture Candide’s original Times writer Will Crutchfield: Bernstein, Comden and Green for songs that scope in expanded performing editions. It “I took about 30 members of the New went “note-note-note-joke.” And that’s what is now recognized as a masterwork with York Philharmonic down and played a Mozart they gave her. Of course, no musical comedy a succession of brilliantly witty musical concerto and [George Gershwin’s] Rhapsody would be complete without romance, and in numbers, of which the laugh-out-loud in Blue,” Bernstein recounted. “Afterward, “A Little Bit of Love” we hear it—a delicious coloratura showstopper “Glitter and Be the President said, ‘You know, I liked that combination of simplicity, sophistication Gay” and the moving final chorale “Make Our last piece you played—it’s got a theme, you and a lot more than four notes, sung by the Garden Grow” are the most famous. know what I mean?’ We didn’t know what he younger sister Eileen. meant, [but] obviously, he was bored stiff by Michael Clive is a cultural reporter living the Mozart. Finally, I said, ‘I think I know what in the Litchfield Hills of Connecticut. He is you mean, Mr. President, it has a beat.’ ‘No,’ program annotator for Pacific Symphony and he said, ‘I mean a theme. I like music with a CANDIDE Louisiana Philharmonic, and editor‑in‑chief theme, not all them arias and barcarolles.’” for The Santa Fe Opera. Almost three decades had elapsed by the The red-baiting witch hunts of Senator time Bernstein used the phrase to title this Joseph McCarthy and the House Un- poignant cycle of seven songs, which doesn’t American Activities Committee were at THANK YOU TO OUR SPONSORS: actually contain any barcarolles. Originally their worst in 1953, the year when the SAM AND LYNDIE ERSAN scored for four singers and two pianists, it playwright Lillian Hellman proposed the We are grateful to Sam and Lyndie Ersan, was first reduced to an arrangement for two idea of a musical play based on Voltaire’s for their generous underwriting of the singers and later arranged for orchestral Candide to Bernstein. Outraged by performances by Augustin Hadelich. accompaniment. The cycle begins with McCarthy’s “Washington Witch Trials,” An avid lover of classical music since an expression of the love that takes many Hellman envisioned a musical satire that childhood, Mr. Ersan is an enthusiastic forms, often layered and ambiguous, in the would critique McCarthyites as Voltaire and passionate supporter of chamber songs that follow. The cycle’s musical styles critiqued church and state in his own times: and orchestral music in San Diego and range from klezmer, jazz and full-on 12-tone unmistakably, but without “naming names.” Orange County. He serves on the Board rows to simple, lyrical melodies. By opening night, Candide was a work of of the San Diego Symphony, and has compromise: an opera designed by committee. established a chamber music series at It closed after 73 performances at Broadway’s UCSD. Thank you, Sam and Lyndie Ersan!

Arias and Barcarolles “A Little Bit in Love” from Wonderful Town Candide Composed: 1988 Composed: 1954 Composed: 1956 World premiere of version orchestrated by World premiere: Feb. 25, 1953 at Winter Garden World premiere: Dec. 1, 1956 on Broadway at the Bright Sheng: Aug. 19, 1990 with Carl St.Clair Theatre in New York Martin Beck Theatre in Manhattan conducting Most recent Pacific Symphony performance: Most recent Pacific Symphony performance: Most recent Pacific Symphony performance: Feb. 1, 2015, Carl St.Clair conducting. Feb. 1, 2015, Carl St.Clair conducting (“Glitter and Jan. 31, 2016, Carl St.Clair conducting. Be Gay”); Feb. 10, 2018, Carl St.Clair conducting Instrumentation: one flute, three clarinets (“Make Our Garden Grow”). Instrumentation: one flute (doubling piccolo), (one doubling bass clarinet), one bassoon, four one oboe (doubling English horn), one clarinet, trumpets, three, trombones, percussion, piano, Instrumentation: one flute, one piccolo, one oboe one bassoon, two horns, one trumpet, strings, and solo soprano. (doubling English horn), one clarinet, one bass percussion, piano, strings, and solo soprano. clarinet, one bassoon, two horns, two trumpets, Estimated duration: 3 minutes two trombones, one tuba, timpani, percussion, Estimated duration: 6 minutes harp, and strings; solo soprano (“Glitter and be Gay”); chorus (“Make our Garden Grow”). Estimated duration: 6 minutes 15 of Lukas Foss; Danielpour’s An American Requiem and Goldenthal’s Fire Water Paper: A Vietnam Oratorio with cellist Yo‑Yo Ma. Other commissioned composers include , Zhou Long, Tobias Picker, Frank Ticheli, Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (Pacific Symphony’s principal tubist) and Christopher Theofanidis. In 2006‑07, St.Clair led the orchestra’s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark 2005‑06 season that included St.Clair leading the Symphony on its first European tour—nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews. From 2008‑10, St.Clair was general music director for the Komische Oper in Berlin, where he led successful new productions such as La Traviata (directed by Hans Neuenfels). He also served as general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he led Wagner’s Ring Cycle to critical acclaim. He was the first non‑European to CARL ST.CLAIR hold his position at the GNTS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in The 2018‑19 season marks Music of America, conducted by St.Clair. Among America and one of the oldest in Europe. Director Carl St.Clair’s 29th year leading St.Clair’s many creative endeavors are the In 2014, St.Clair became the music Pacific Symphony. He is one of the highly acclaimed American Composers director of the National Symphony longest‑tenured conductors of the major Festival, which began in 2000; and the Orchestra in Costa Rica. His international American orchestras. St.Clair’s lengthy opera initiative, “Symphonic Voices,” which career also has him conducting abroad history solidifies the strong relationship continues for the eighth season in 2018‑19 several months a year, and he has appeared he has forged with the musicians and the with Puccini’s Madame Butterfly, following with orchestras throughout the world. community. His continuing role also lends the concert‑opera productions of The Magic He was the principal guest conductor of stability to the organization and continuity Flute, Aida, Turandot, Carmen, La Traviata, the Radio Sinfonieorchester Stuttgart to his vision for the Symphony’s future. Few Tosca and La Bohème in previous seasons. from 1998‑2004, where he completed a orchestras can claim such rapid artistic St.Clair’s commitment to the three‑year recording project of the Villa– development as Pacific Symphony—the development and performance of new Lobos symphonies. He has also appeared largest-budgeted orchestra formed in the works by composers is evident in the with orchestras in Israel, Hong Kong, United States in the last 50 years—due in wealth of commissions and recordings by Japan, Australia, New Zealand and South large part to St.Clair’s leadership. the Symphony. The 2016‑17 season featured America, and summer festivals worldwide. During his tenure, St.Clair has commissions by pianist/composer Conrad In North America, St.Clair has led the become widely recognized for his Tao and composer‑in‑residence Narong Boston Symphony Orchestra (where he musically distinguished performances, Prangcharoen, a follow‑up to the recent served as assistant conductor for several his commitment to building outstanding slate of recordings of works commissioned years), New York Philharmonic, Philadelphia educational programs and his innovative and performed by the Symphony in recent Orchestra, Los Angeles Philharmonic and approaches to programming. In April years. These include William Bolcom’s the San Francisco, Seattle, Detroit, Atlanta, 2018, St.Clair led Pacific Symphony in its Songs of Lorca and Prometheus (2015‑16), Houston, Indianapolis, Montreal, Toronto Carnegie Hall debut, as the finale to the ’s Symphony in G‑sharp and Vancouver symphonies, among many. Hall’s yearlong celebration of pre‑eminent Minor (2014‑15), Richard Danielpour’s A strong advocate of music education composer ’ 80th birthday. He Toward a Season of Peace (2013‑14), for all ages, St.Clair has been essential to led Pacific Symphony on its first tour to Philip Glass’ The Passion of Ramakrishna the creation and implementation of the China in May 2018, the orchestra’s first (2012‑13), and Michael Daugherty’s Mount Symphony’s education and community international tour since touring Europe in Rushmore and The Gospel According to engagement programs including Pacific 2006. The orchestra made its national PBS Sister Aimee (2012‑13). St.Clair has led the Symphony Youth Ensembles, Heartstrings, debut in June 2018 on “Great Performances” orchestra in other critically acclaimed Sunday Matinées , OC Can You Play With with Peter Boyer’s Ellis Island: The Dream albums including two piano concertos Us?, arts‑X‑press and Class Act.

16 OCTOBER in the arts, particularly with his talent in Elsewhere Shafer’s operatic highlights AUGUSTIN HADELICH singing, characterized by his emotions and have included Johanna in Sweeney Todd for interpretations in multiple music genres the Lyric Opera of Chicago and Nanetta in in English and Spanish. In 2015, Garcia and Falstaff with the Los Angeles Opera, both Augustin Hadelich has his father won, among 1,500 participants, with Bryn Terfel; Zerbinetta in Ariadne auf established himself the opportunity to represent the U.S. in Naxos at the Concertgebouw; and Gilda in as one of the great Mexico on the internationally televised Rigoletto with the Welsh National Opera. violinists of today. He has show Me Pongo de Pie, captivating his She completed her undergraduate at the performed with every team captains. His participation and vocal University of Utah and received a master’s major orchestra in the potential also led to several national and degree from the University of Missouri-Kansas U.S., many on numerous international magazines and newspapers City Conservatory of Music and Dance. occasions, as well as an such as TV y Novelas. As a member of ever-growing number of major orchestras in Southern California Children’s Chorus, the UK, Europe and Asia. He is consistently Garcia was highlighted in the ‘Tis The ROBERT ISTAD cited for his phenomenal technique, Season! program at the Renée and Henry poetic sensitivity and gorgeous tone. Segerstrom Concert Hall last December. Abroad, Hadelich will play with the Seoul In June of 2018, he had the opportunity to Robert Istad is Artistic Philharmonic Orchestra, Polish National travel to Iceland and sing with the chorus Director of Pacific Radio Orchestra, Lahti Symphony in Finland, in the Harpa Concert Hall in Reykjavik. Chorale and Director Royal Scottish National Orchestra, The Hallé This year, Garcia was invited to participate of Choral Studies Orchestra in Manchester and the Orquesta on the show America’s Got Talent and at California State Sinfónica de Castilla y León in Spain. sang in Spanish to represent the Latino University, Fullerton. An active recitalist, Hadelich’s community. He regularly conducts numerous engagements include and collaborates appearances at Carnegie Hall, the with Pacific Chorale, Pacific Symphony Concertgebouw in Amsterdam, The Frick CELENA SHAFER Orchestra, Musica Angelica Baroque Collection in New York, Kennedy Center in Orchestra, Sony Classical Records, Yarlung Washington, Kioi Hall in Tokyo, the Louvre, Records, Berkshire Choral International and the Wigmore Hall in London. He will After two summers as and Long Beach Symphony Orchestra. He appear this summer in Portugal and in an apprentice at the is also Dean of Chorus America’s national Aspen with colleagues Martin Helmchen, Santa Fe Opera, Shafer’s Academy for Conductors. piano, and Marie-Elisabeth Hecker, cello, as career was launched to Istad has prepared choruses for a the “H³ Trio.” critical raves as Ismene number of America’s finest conductors and Hadelich’s career took off when he in Mozart’s Mitridate, orchestras, including: Gustavo Dudamel was named gold medalist of the 2006 Re di Ponto. Since that and the Los Angeles Philharmonic, Carl International Violin Competition of breakthrough debut, St.Clair and Pacific Symphony, as well as Indianapolis. Since then, he has garnered Shafer has garnered acclaim for her silvery conductors Esa–Pekka Salonen, Keith an impressive list of honors, including voice, fearlessly committed acting and Lockhart, Nicholas McGegan, Vasilly an Avery Fisher Career Grant (2009); a phenomenal technique. She spends much Sinaisky, Sir Andrew Davis, Bramwell Tovey, Borletti-Buitoni Trust Fellowship in the UK; of her time on the concert stage and has , Eugene Kohn, Eric Whitacre, Lincoln Center’s Martin E. Segal Award; the appeared with the orchestras in New York, Giancarlo Guerrero, Marin Alsop, George inaugural Warner Music Prize; a Grammy Chicago, Philadelphia, San Francisco, and Fenton and Robert Moody. Award; and in December 2017, he received Los Angeles with leading conductors such Istad is also professor of music and an honorary doctorate from the University as Christoph von Dohnanyi, Alan Gilbert, director of choral studies at California of Exeter in the UK. Bernard Labadie, Robert Spano, Nicholas State University, Fullerton. Recently, he Hadelich holds an Artist Diploma from McGegan, Kent Nagano, Donald Runnicles, and the University Singers performed with The Juilliard School, where he was a Michael Tilson Thomas, David Robertson the Los Angeles Philharmonic, Pacific student of Joel Smirnoff. He plays the 1723 and Sir Andrew Davis. Symphony, Andrea Bocelli, Kathleen Battle, “Ex-Kiesewetter” Stradivari violin, on loan Shafer’s 2018-19 season includes recorded albums with Yarlung Records and from Clement and Karen Arrison through performances of all-Bernstein programs with composer John Williams and Sony the Stradivari Society of Chicago. with the Orquesta Sinfonica Nacional de Classical. Costa Rica, Pacific Symphony and the Istad is president of the California Grand Rapids Symphony all led by Carl Choral Director’s Association, and is in ANGEL GARCIA St.Clair; the Britten War Requiem with demand as an adjudicator, guest conductor, the Fresno Philharmonic Orchestra and speaker and clinician throughout the Handel’s Messiah with the Indianapolis nation. Angelito Garcia was Chamber Orchestra. This season she makes born Feb. 6, 2006 two exciting operatic appearances: her in Los Angeles, CA. first performances as Queen of the Night in His parents are from The Magic Flute with the Utah Symphony/ Mexico. Since the age Utah Opera, and a return to the Cincinnati of 3, he demonstrated Opera for her first staged performances of extraordinary qualities Zerbinetta in Strauss’ Ariadne auf Naxos.

17 has performed with such renowned Symphony Orchestra. PACIFIC CHORALE American ensembles as the Los Angeles The Pacific Chorale can be heard on Philharmonic, Boston Symphony Orchestra, numerous recordings, including American National Symphony Orchestra, San Voices, a collection of American choral Founded in 1968, the Pacific Chorale Diego Symphony, Los Angeles Chamber works; Songs of Eternity by James Hopkins is internationally recognized for Orchestra, Philharmonia Baroque and Voices by Stephen Paulus, featuring its exceptional artistic expression; Orchestra, and Musica Angelica Baroque Pacific Symphony; Christmas Time Is stimulating, American-focused Orchestra. Here; a live recording of Rachmaninoff’s programming; and influential education Other collaborations within the Vespers; the world premiere recording programs. The chorale presents a season Southern California community include of Frank Ticheli’s The Shore for chorus at Segerstrom Center for the Arts and performances with the Hollywood Bowl and orchestra; and the world premiere performs regularly with the nation’s Orchestra and the Long Beach, Pasadena, recording of Jake Heggie’s choral opera leading symphonies. It has infused an Old and Riverside symphonies. The chorale The Radio Hour. The chorale also appears World art form with California’s innovation has toured extensively in Europe, South on six recordings released by the Pacific and cultural independence, developing America, and Asia, and has collaborated Symphony: Elliot Goldenthal’s Fire Water innovative new concepts in programming, with the London Symphony Orchestra, Paper: A Vietnam Oratorio, Richard and expanding the traditional concepts of Munich Symphony Orchestra, Orchestre Danielpour’s An American Requiem and choral repertoire and performance. Lamoureux, Orchestre de Saint-Louis-en- Toward a Season of Peace, Philip Glass’ The Pacific Chorale comprises 140 l’Île, National Orchestra of Belgium, China The Passion of Ramakrishna, Michael professional and volunteer singers. In National Symphony Orchestra, Hong Kong Daugherty’s Mount Rushmore, and William addition to its longstanding partnership Sinfonietta, Estonian National Symphony Bolcom’s Prometheus with pianist Jeffrey with Pacific Symphony, the Chorale Orchestra and Argentine National Biegel—all conducted by Carl St.Clair.

ROBERT ISTAD, Artistic Director & Conductor JOHN ALEXANDER, Artistic Director Emeritus | NATE WIDELITZ, Assistant Conductor & Chorusmaster MOLLY BUZICK PONTIN, DMA, Managing Director | THOMAS A. PRIDONOFF, Board Chair

SOPRANO ALTO TENOR BASS Barbara Kingsbury, Rebecca Bishop Nicholas A. Preston, Karl Forsstrom, Rita Major Memorial Chair Janelle Burris Roger W. Johnson Memorial Singers Memorial Chair Rachel Blair Tina Chen Chair Ryan Thomas Antal Sharon M. Chang Kathryn A. Cobb-Woll Carl W. Porter, Robert David Breton Chelsea Chaves-Tan Carrie Dike Singers Memorial Chair Mac Bright Rebecca Hasquet Denean R. Dyson Daniel Alvarez James Brown Kathy Kerstein Jacline Evered Mike Andrews Scott Dilbeck Hannah Kim Marilyn Forsstrom Michael Ben-Yehuda Louis Ferland Susan Lew Mary Galloway Nate Brown Randall Gremillion Kathryn Lillich Kathryn Gibson David Bunker Tom Henley Susan Lindley Kathleen Gremillion Christopher Buttars Michael Jacobs Corinne Linza Sandy Grim James Cahill Matthew Kellaway Kala Maxym Aubrey Hawkinson Craig Davis Jonathan Krauss Anne McClintic Anne Henley James C. Edwards Nathan Landmon Lenora Meister Genie Hossain Phil Enns Jackson McDonald Maria Cristina Navarro Stacey Y. Kikkawa Marius Evangelista Tom Mena Hien Nguyen Nancy Lanpher David Evered Martin Minnich Kris Oca Kaii Lee Alan Garcia Emmanuel Miranda Sophia Park Anabel Martinez Johnny G. Gonzales Jason Pano Deborah Pasarow Lamia Mazegue Vincent Hans Ki-Hong Park Kathryn Pitts Marian Mine Steven M. Hoffman Seth Peelle Marisa C. Rambaran Jeanette Moon Cameron Barrett Johnson Ryan Ratcliff Meri Irwin Rogoff Pat Newton Craig S. Kistler George Reiss Joslyn Amber Sarshad Krystin Ohta Drew Lewis Robert Rife Jacqueline Taylor Rachel One Jinming Liao Thomas Ringland Sarah Thompson Kathleen Preston Chris Lindley William Shelly A. Hope Thompson Kaleigh Schiro David López Alemán Eric R. Soholt Rebecca Tomasko Grace K. Shen Gerald D. McMillan Jim Spivey Rachel Van Skike Jane Hyunjung Shim Jeff Morris Josh Stansfield Ruthanne Walker Alison D. Stickley Jesse Newby Joshua Stevens Kristen Walton Angel Yu McKay Gabriel Ratinoff Brandon Wilks Emily Wood Emilio Sandoval Tanner Wilson Victoria Wu 18 OCTOBER