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Home , Dark Waves (composition), Jane Eaglen

Verdi and Valkyries

July 27, 2016 7 pm at the DCR’s Hatch Shell Boston Landmarks I FLUTE Gregory Vitale, concertmaster Lisa Hennessy, principal Dana Oakes, principal Christine Vitale Theresa Patton Jesse Levine Pattison Story Iva Milch Greg Whitaker Gerald Mordis PICCOLO Brian Diehl Tera Gorsett Iva Milch BASS TRUMPET Clayton Hoener Rachel Braude Brian Diehl Rebecca Katsenas Colin Davis Robert Couture, principal Natalie Favaloro Andrew Price, principal Olga Kouznetsova Lynda Jacquin Don Davis Mary Cicconetti Joseph McEttrick VIOLIN II Benjamin Fox David Hagee Paula Oakes, principal Heidi Braun-Hill ENGLISH HORN Donald Rankin, principal Maynard Goldman Benjamin Fox Robert Curtis HARP Melissa Howe Steven Jackson, principal Hyunjung Choi, principal Stacey Alden Margo McGowan Amanda Romano Forman Lisa Brooke Ryan Yuré TIMPANI Annegret Klaua Gary Gorczyca Jeffrey Fischer, principal BASS CLARINET Robert Schulz Kenneth Stalberg, principal Gary Gorczyca PERCUSSION Jean Haig Robert Schulz, principal Donna Jerome Donald Bravo, principal Craig McNutt Don Krishnaswami Elah Grandel Neil Grover Noriko Futagami Sally Merriman Joseph DeMarco Willine Thoe Gregory Newton Maynard Goldman, HORN Personnel Manager Aron Zelkowicz, principal Kevin Owen, principal Melanie Dyball Jane Sebring Kristo Kondakci, Jolene Kessler Whitacre Hill Assistant Conductor Miriam Bolkosky Nancy Hudgins Kevin Crudder Lee Wadenpfuhl Michael Curry Vanessa Gardner BASS Sarah Sutherland Robert Lynam, principal Iris Rosenstein Barry Boettger Kevin Green Irving Steinberg Anthony D’Amico

North End Music and Performing Arts Center Youth Choir Annie Huffstutler Grace Connolly Dinero Jelley Vivian Dykema Walker Cox Vinnie O’Byrne Sarah Connolly Gabriela Guadagno-Kaluski American Sign Language (ASL) Interpretation Team Adrianna Neefus, Christopher Robinson Verdi and Valkyries Boston Landmarks Orchestra Christopher Wilkins, Music Director Boston Landmarks One City Choir Back Bay Chorale, Scott Allen Jarrett, Music Director North End Music and Performing Arts Center Youth Choir

Edgar Prelude to Act I (1858–1924)

Manon Lescaut Puccini Act I: Introduction and Brindisi Act II: Madrigal Act III: Intermezzo

Il trovatore Anvil Chorus (1813–1901)

Libera me, Domine (original version of 1869) (New premiere) Verdi

Jane Eaglen, soprano

INTERMISSION

Das Rheingold At the bottom of the Rhine (1864–1949) Dark waves gradually turn to clouds Daybreak in the mountain heights Journey to Nibelheim Furious din of anvils Donner’s hammer dispels the clouds with a thunderclap Entry of the Gods into Valhalla

Die Walküre Wagner The Ride of the Valkyries

Götterdämmerung Wagner ’s Death and Funeral March Immolation Scene

Jane Eaglen, soprano Boston Landmarks One City Choir SOPRANO Dottie Pitt (Dorchester)* Dina Ali (Cambridge) Frances Marie Price (Jamaica Plain)* Laura Althoff (Cambridge) Anne Rennie (Fayville) Laura Amweg (Somerville) Sara Rhuda (Danvers) Karen Baart (Brookline)* Debbie Roaquin (Allston) Heather Bachelder (Allston) Christine Rutledge (Franklin) Camille Bélanger (Cambridge) Renee Saindon (Somerville) Lisa Bello (Needham) Margaret Salinger (North End) Gabriëlla Blokland (Cambridge) Peg Schadelbauer (Waltham) Claire M. Byrne (Medford)* Mary-Margaret Segraves (Cambridge)* Anjman Chowdhury (Sharon) Lynn Shane (Georgetown) Lilian Dayan Cimadoro (Waltham) Kendrick Smaellie (Brighton) Casey DeMarsico (Somerville) Erin Smith (Springfield) Mary Louise Dill (Cambridge) Linda Steiff (Brighton) Meredith Dill (Waltham)* Emma Stickgold (Cambridge) Patricia Driscoll (Roslindale) Diane Stickles (Chelsea)* Sara Epstein (Concord) Sheryl Stockless (Framingham) Roselyn Frank (Back Bay) Lily Tseng (Brighton) Kelly Horan Galante (Somerville) Kathryn Wang (Cambridge) Diane Garner (Cambridge) Elizabeth Wharff (South End) Kristin Griffin (Cambridge) Eloise Wheeler (Beverly) Melissa Glenn Haber (Somerville)* Rachel Yurman (Cambridge) Susan Halling (Wenham) ALTO Sophia Halling (Wenham) Laurie J. Arnone (Roslindale) Cynde Hartman (Dedham)* Debbie Benador (Jamaica Plain) Alison Hickey (Cambridge)* Karen Burns (Newton) Sarah Holmes (Back Bay) Margaret K. Burt (Harvard) Layla Hormozi (Cambridge) Mary Collins (Brookline) Priscilla Hunt (Amherst) Louisa Connaughton (Cambridge) Mimi Huntington (Cambridge) Deborah Devine (Cambridge) Kristina Jackson (Newton) Jane Dreskin (Cambridge) Susan Jackson (Brookline) Stephanie Engel (Cambridge) Sally Jenkins (Marshfield)* Cathryn Fassbender (Brighton) Kate Judd (Cambridge) Heather Fernald (Acton) Faye Kalmbach (Millis) Sylvia Ferrell-Jones (Belmont) Liya Kang (Watertown) Lisa M. Fitzgerald-McKeon (Walpole) Kelsey Kinney (Glendale, KY) Linda Frayling (South End) Carol Kountz (Jamaica Plain) Adrienne Fuller (Watertown) Rosie Latto (Acton) Alicia Garza (Malden) Yi-Hsin Lin (Cambridge) Valerie Gordeski (Cambridge) Ashley Mac (Dorchester) Nadja B. Gould (Watertown) Jean MacGowan (Northampton) Kellie Gutman (West Roxbury) Barbara McGovern (Needham)* Deborah Haber (Cambridge) Kelly McMullin (West Roxbury)* Catherine Haines (Somerville) Eleanor Meegoda (Cambridge) Karen Hawthorne (Medford) Judith Melin (Brookline) Laura Hicks (Belchertown) Andrea Mercado (Somerville) Janet Hobbs (Cambridge) Lisa Micali (Beacon Hill) Jin Hong (Ayer) Sarah Milt (Winchester)* Sonya Huang (Somerville) Shannon Moran (East Boston) Marie Huhta (South End) Brenda Mosetich (Walpole) Erika Hutchinson (Melrose)* Tammy Ngai (Brookline) Mary Saudek Jaffee (South End) Anne Noonan (Concord) Jacqueline Kann (Brookline) Barbara Papesch (Back Bay) Julia Krol (Brighton) Sarah Peterson (Brookline) Sara D. Kunz (South End)* Aino Laine (Cambridge) BASS Joanne LaPlant (Allston) David Ames (Newton)* Susan Maxwell (Needham) Michael Baum (Brookline)* Hope Medoff (Stoughton) Stephen R. Baum (Needham) Susan Meurling (North End) Gordon A. Bellemer (Hyannis) Kathleen M. O'Donnell (Milton) RaShaun D. Campbell (Jamaica Plain) Lucia Papile (Cambridge) David Clough (Arlington) Anupama Pattabiraman (Cambridge) Richard Cobbe (Malden) Patricia Pepper (Watertown) Michael Edson (Sharon) Jeannie M. Plugis (Natick) John Elder (Brookline)* Joan Regan (West Roxbury)* Greg Fernandes (Brockton) Kathleen Reine (Cambridge) John Fox (Greenfield) Shirley Riga (Millis) Mark Franklin (Cambridge) Paige Rowse (Stoughton) Bob Goldsmith (Carlisle) Sandy Sachs (Jamaica Plain) Mike Halling (Wenham) Tammy Sadok (Needham) David Hammond (Malden)* Mariflor Salas (Newton) Cam Huff (Winchendon) Molly Schen (Roslindale) Chip Huhta (South End) Helen Shedden (Everett) Dan Huse (Sharon) Jennifer St. Pierre (Medford) Mark Iredale (Cambridge) Cynthia Sung (Cambridge) Geary A. Jarrett (Tampa, FL) Susan Turner (Cambridge) Jim Lawton (Brookline) Pooja Usgaonkar (Cambridge) Daniel Malis (Cambridge) Barbara Wallraff (North End) Paul McLean (Cambridge) Jeanne Walsh (Brighton) Jonathan Mott (Somerville)* Cynthia Welch-Moriarty (Amherst) Tobias Otto (Watertown) Mary M. Wendell (Milton) David J. Pogue (Dorchester) Deborah Wheeler (Beverly) Nathaniel Pulsifer (Ipswich) Jessica Wilson (Somerville) Henry Rea (Beacon Hill) Vivian Yu (Jamaica Plain) Thomas R. Rowen (Peabody) TENOR David Shane (Georgetown) George Batcgelir (Newton) Neil St. Clair (Fenway) Wendy Brown (Burlington) Terry R. Watson (Hyde Park) Donald Di Salvo (Jamaica Plain)* Crispin Weinberg (Brookline) Susan Dobbie (Harvard) Sam Wheeler (Beverly) Mary Jane Dohert (Back Bay) *Back Bay Chorale members Pepper Greene (Somerville) Michael Harnett (Belmont)* Talib Hussain (Arlington) Max Klein (Lincoln) John E. Meurling (North End) Justin Mazzola Paluska (Cambridge) Stephen Pepper (Jamaica Plain) Paul Rabin (Jamaica Plain)* Joseph Reid (Winchester)* Jennifer Rochow (Cambridge) Lucas Sanders (Cambridge) Andrey Shubin (Brookline) Peter Smith (Roslindale)* Kathryn Soderholm (Brighton) William Tuttle (West Roxbury)* Robert Tuttle (Fitchburg) The BOSTON LANDMARKS ORCHESTRA performs free outdoor concerts in the City of Boston throughout the summer, delighting thousands on a weekly basis. The Orchestra—made up of some of Boston’s most accomplished professional musicians—uses great symphonic music as a means of gathering together people of all backgrounds and ages in joyful collaboration. The Orchestra regularly collaborates with a range of cultural and social service organizations to ensure participation across ethnic, economic, and cultural divides. BREAKING DOWN BARRIERS The Boston Landmarks Orchestra is committed to removing barriers to access for people with disabilities. It offers braille and large-print programs, assisted listening devices, and ambassadors to greet and assist people at a handicap drop-off point. The Orchestra works with American Sign Language (ASL) interpreters as performers at select concerts. In 2014, in recognition of its efforts to embrace inclusiveness as core to its mission, the Orchestra was named an “UP organization” by the Massachusetts Cultural Council. CHRISTOPHER WILKINS was appointed Music Director of the Boston Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed founder Charles Ansbacher’s vision of making great music accessible to the whole community, emphasizing inclusive programming and collaborative work. Mr. Wilkins also serves as Music Director of the Akron Symphony. As a guest conductor, he has appeared with many of the leading of the United States, including those of Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Pittsburgh, and San Francisco. Previously he served as Music Director of the San Antonio Symphony and the Colorado Springs Symphony. He also served as Resident Conductor of the Youth Orchestra of the Americas, assisting in the formation of the orchestra in its inaugural season, and leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins earned his bachelor's degree from Harvard College in 1978 and his master’s from the Yale School of Music in 1981. As an oboist, he performed with many ensembles in the Boston area including the Tanglewood Music Center and the Boston Philharmonic under Benjamin Zander. JANE EAGLEN has enjoyed one of the most formidable reputations in opera for the past two decades. Her performances of roles such as Isolde in , the title roles in Puccini’s , Bellini’s , and Strauss’s , Brünnhilde in Wagner’s have earned her acclaim on stages of the leading opera houses of the world, including the , , San Francisco Opera, Royal Opera House, Covent Garden, Teatro alla Scala, Vienna State Opera, and l’Opera National de Paris. Other notable roles in her repertoire include the title roles of ( as well as in Argentina, Australia, and Japan), La Gioconda (English National Opera and Lyric Opera of Chicago), and Donna Anna in (Bavarian State Opera, English National Opera, Los Angeles Opera, Metropolitan Opera, Vienna State Opera, Teatro Comunale di Bologna, etc.), Amelia in Un Ballo in Maschera (Paris and Bologna). She has appeared with many of the world’s leading orchestras, including the conducted by (“Immolation” Scene from Die Götterdämmerung and the final scene from Strauss’s ), Chicago Symphony conducted by (Strauss’s Four Last Songs), Boston Symphony Orchestra conducted by (“Immolation” Scene from Die Götterdämmerung), Orchestra of Santa Cecilia conducted by (Verdi ), Mahler’s Symphony No. 8 conducted by , Schoenberg’s Gurre- Lieder conducted by for the Salzburg and Edinburgh Festivals, plus concert performances of Die Walküre and Die Götterdämmerung with the Gurzenich Orchestra of Cologne conducted by . The BACK BAY CHORALE is a 120-member auditioned chorus drawing experienced singers from the Greater Boston area. From its inception, the Chorale has committed to sharing music in the community with repertoire that ranges from Renaissance to contemporary. Musician, minister, and social activist Larry Hill founded the Chorale in 1973 at Boston’s Church of the Covenant to create a musical ministry that would bring meaning to both singers and their audience. In the years since Hill’s death in 1989, the Chorale has continued to grow in stature and is now regarded as one of Boston’s premier nonprofessional choruses. www.backbaychorale.org SCOTT ALLEN JARRETT is one of North America’s most exciting and versatile musicians, sought after as a conductor, keyboard artist, and teacher of conducting. He serves as Director of Choruses and Assistant Conductor of the Charlotte Symphony (NC), Music Director of Back Bay Chorale, Director of Music at Boston University’s Marsh Chapel, and Acting Director of Choral Activities in the BU School of Music. He is a frequent guest conductor at Trinity Wall Street. The NORTH END MUSIC & PERFORMING ARTS CENTER (NEMPAC) is a 501(c)(3) non-profit arts organization with a mission to enrich Boston’s North End Waterfront and surrounding neighborhoods through the inspirational power of the arts. NEMPAC fosters creativity and elevates social culture in our community through quality programming and education accessible to all. Founded in 2001 and celebrating their 15th Year Anniversary this Season, NEMPAC has grown to serve thousands in our community through its quality, educational music programs and performing arts events including their Summer and Winter Concert Series and annual Opera Project at Faneuil Hall, The Great Hall. NEMPAC is pleased to partner with the Boston Landmarks Orchestra for their second year in row at the Hatch Shell! The NEMPAC Youth Choir is a group of children ages 10 through 15 who are participating in this special choral workshop over the summer. NEMPAC looks forward to collaborating with the Boston Landmarks One City Choir again in December for its 2nd Annual presentation of Handel's "Messiah". www.nempacboston.org ADRIANNA KATHRYN NEEFUS has interpreted for Wheelock Family Theatre's productions of Pinocchio, It's a Wonderful Life, and Pippi Longstockings, Central Square Theater’s The Edge of Peace, Boston University Theater's The Cripple of Inishmaan, and Broadway in Boston's productions of Pippin, Flashdance the Musical, Once and War Horse. She has also worked with the Landmarks Orchestra, Boston Lyric Opera, Commonwealth Shakespeare Company, and Outside the Box. Adrianna has a degree in Sign Language Interpreting from the University of New Hampshire in Manchester and professional credentials in both MA and NH. The FREE FOR ALL CONCERT FUND, an independent grant-making public charity, ensures that everyone from the Boston region (children, adults, families) will have regular and permanent access to the rich world of classical, orchestral music and related cultural events. With 20 grantees presenting free concerts throughout Boston’s neighborhoods, the Fund is guaranteeing that classical music will remain free for all, forever. PODIUM NOTE: For six years, the One City Choir has symbolized the Landmarks Orchestra’s desire to bring people together from every neighborhood of Boston in joyful and meaningful collaboration. This year a record number of choristers have signed up—so many that we have had to place them both behind and in front of the stage. It’s just the kind of complication we love. A ‘symphony’ is a ‘concord of sweet sounds,’ to borrow a phrase. The Greek roots of the word—‘syn-’ (together) + ‘phone’ (voice or sound)— signify harmoniousness and community. In ad campaigns, leadership seminars, and business schools, orchestras are held up as models of cooperation. From the beginning, “sounding together” has been a foundational principle of the Boston Landmarks Orchestra. Choruses are also good at creating unity out of diversity. Membership in our One City Choir spans a range of ages, backgrounds, zip codes, and experience levels. At the heart of their sound is our principal collaborating organization, the illustrious Back Bay Chorale. Music Director Scott Allen Jarrett leads the combined ensembles with heart and skill, representing everything I wish this concert to be: good-natured, inspired, and a great learning experience for all. We also welcome the very young voices of the North End Music and Performing Arts Center Youth Choir, whose youngest member is eight years old. NEMPAC’s Executive Director Sherri Snow has ably guided this partnership over the past two years. Alexandra Dietrich has trained the choir, with cheerful assistance from Landmarks Orchestra’s Assistant Conductor, Kristo Kondakci. It is breathtaking to have on our stage people who are just beginning their lives in music, singing alongside one of the most admired and renowned singers of our time, Jane Eaglen. Jane has been a joy to work with, assisting the Landmarks Orchestra in numerous ways as performer, presenter, and advisor. Her biography speaks for itself. She has sung on the most prestigious concert and operatic stages in the world, and has worked with a legendary list of great conductors. However it was here, at the Hatch Memorial Shell, that she made her US debut in 1992 with the Boston Pops Esplanade Orchestra. Welcome back, Jane! Edgar was Puccini’s second opera, commissioned by the publisher Ricordi after a favorable reception of his first opera, Le Villi. Edgar was never a success, despite Puccini’s repeated attempts to improve it. By the time he was done revising it, the Prelude to Act I had been entirely eliminated. The music is influenced by Wagner, Bizet, and Massenet, but the colorful scoring and intense lyricism of the opera’s original Prelude are pure Puccini. Three excerpts from Puccini’s Manon Lescaut set a tone of celebration. We begin with the opening of the opera and the first chorus. Townspeople and students of Amiens stroll through the town square, celebrating a beautiful evening with dancing and toasts. We continue with the madrigal singers of Act II, who entertain Manon with a kind of formal singing that is worlds apart from her more passionate style of expression. Our short suite concludes with the well-known Intermezzo, which describes Manon’s journey from Paris to the prison at Le Havre. Its tone of urgency and longing reflect the love between Manon and her lover, Des Grieux. There is not much music more recognizable than the Anvil Chorus from Verdi’s Il trovatore. This grandly realized ‘work song’ gives us the opportunity to thank our dedicated and diligent MLK Scholars for their essential contributions. Funded by John Hancock, and joyfully led by our sterling stage manager Emerson Kington, they carry out essential tasks at every rehearsal and concert. They are always the first to come and the last to go. Tonight they are also front and center, playing the anvils of Verdi’s hardworking gypsies. The first music Verdi wrote for his Requiem was the Libera me. That movement was composed in 1869, four years before the rest of the work. The occasion was the death of Rossini, whose memory Verdi wished to honor by organizing a collaborative Requiem Mass for the Dead. He enlisted a team of Italian composers to write a single movement each. Verdi’s Libera me was to be the final movement. Although the work was completed, it was never performed. Various obstacles could not be surmounted, including conflicts of scheduling and of egos. The “Libera me” text is an urgent personal plea for mercy. Verdi’s dramatic setting is for soprano, chorus and orchestra, with the soloist standing for all of humankind. The text is retrospective, referring back to two earlier passages in the text: the very first lines of the Requiem Mass, “Requiem aeternam” (Grant them eternal rest), and the beginning of the “Dies irae” (Day of Wrath). In 1873, Verdi wrote the remaining movements to create his own Requiem, borrowing some passages from his earlier Libera me to create music for additional movements. He also altered the original Libera me, mostly in order to quote directly from the newly composed movements. Tonight we perform the original version. It is thrilling to know that this is the first performance in New England of an important late work of Verdi. The second half of tonight’s concert is music from Wagner’s epic cycle of four operas, The Ring of the Niebulung. It is not a condensed version of the cycle, nor is it a “Ring Without Words.” All the excerpts are taken in order, and we begin and end as the cycle does. The first opera, Das Rheingold (The Rhine Gold) sets the epic in motion. Primordial sounds of nature are heard as gradually, through the mists, we see the flowing Rhine River and the Rhine Maidens who swim merrily in it, protecting the river’s gold. Scene II takes us to the mountain abode of Wotan, ruler of the gods, and his wife Fricka. In the transition to Scene III, we travel down a sulfur chute to Nibelheim, deep beneath the Rhine. It is the domain of Alberich, who has stolen the gold from the Rhine Maidens. He has enslaved the other dwarfs, the Nibelungs, commanding them to fashion from the gold a ring, which will give him absolute dominion over the world. As Wotan and Loge, god of fire, pass the workshop, they hear the “furious pounding” of anvils. Wagner specifies three different sizes of anvil in the score: small, large, and very large. Scene IV takes us back to the gods’ mountaintop, where Donner, god of thunder, creates a rainbow bridge across which the gods enter their new home, Valhalla. In the opening of Act II of Die Walküre (The Valkyrie), Brünnhilde and the other warrior maidens fly on their horses as they prepare to deliver heroes who have fallen on the battlefield to Valhalla. This exceptionally energetic—and familiar—music is assembled from heroic gestures, galloping rhythms, leaping intervals, and the characteristic battle cry of the Valkyries, “Hojotoho!” Our excerpts from Gotterdämmerung (The Twilight of the Gods) are from the third and final act. We hear first the signature horn call of the hero, Siegfried, sounding from afar. It is answered by the “cow horn” of the Gibichungs, a rival clan to Siegfried’s Volsungs. In our performance, this music is followed by the killing of Siegfried by Hagen, son of the dwarf Alberich. The great Funeral March that follows weaves together many of the primary musical motives of The Ring, including Siegfried’s horn call slowed down to create a broad and heroic tribute. The ring, which Siegfried is still wearing, bears a curse Alberich had placed on it. To begin the Immolation Scene, which closes the opera, Brünnhilde, Siegfried’s wife, takes the ring off his finger and places it on her own, then rides into the flames of the funeral pyre, erected to cremate Siegfried’s body. The Rhine River overflows its banks. The Rhine Maidens swim toward Brünnhilde to reclaim the ring. After one final attempt by Hagen to snatch the ring, they pull him under, and he drowns. As the waters recede and clouds disperse, Valhalla is visible at the back of the stage. It catches fire and crumbles, bringing down the gods and the loveless world they have created. A new age is born, as proclaimed by Brünnhilde in her final moments: “Siegfried! Joyously your wife greets you!” It is the theme of Redemption through Love. - Christopher Wilkins Celebrate 15 years of great music with a gift to the Boston Landmarks Orchestra!

The Boston Landmarks Orchestra is a 501(c)(3) nonprofit organization funded through the generosity of foundations, corporations, and individuals. The Orchestra was founded in 2001 by conductor and community advocate Charles Ansbacher to bring free classical music to the people of Greater Boston. Since 2007, it has presented its main concert series at the DCR’s Hatch Shell every Wednesday from mid-July to late August, carrying on the tradition of free concerts on the Esplanade started by Arthur Fiedler in 1929. In addition, the Orchestra offers free family concerts and educational programs throughout Boston’s neighborhoods.

We believe that Boston−like every great city−deserves a summer series of free orchestral performances. Though the concerts are free to the public, they are not free to produce!

Please consider a suggested contribution of $15 to the Boston Landmarks Orchestra to help us march forward with confidence into the next 15 years of our history, adding immeasurably to the quality of life in Boston.

You may return the enclosed reply envelope and your contribution to one of our volunteers in blue t-shirts or drop it off at our Information Tent.

Visit www.landmarksorchestra.org/donate to donate securely online.

Contributions may also be mailed to: Boston Landmarks Orchestra 214 Lincoln Street, Suite 331 Boston, MA 02134

THANK YOU FOR YOUR SUPPORT! 2016 DONORS (11/1/15 – 7/22/16) CORPORATE, FOUNDATION, & GOVERNMENT SUPPORT Anonymous Free for All Concert Fund Bloomberg Philanthropies Highland Street Foundation Boston Cultural Council Hunt Alternatives The Boston Foundation John Hancock Financial Services Cabot Family Charitable Trust Massachusetts Cultural Council Edmund & Betsy Cabot Bessie Pappas Charitable Foundation Charitable Foundation Adelard A. Roy & Valeda Lea Roy Foundation Cogan Family Foundation Yawkey Foundation Fiduciary Trust Company MUSIC DIRECTOR’S SOCIETY MUSIC DIRECTOR PLATINUM MUSIC DIRECTOR SILVER Appy & Susan Chandler Cynthia & Oliver Curme/The Lost & Foundation Stephen & Alicia Symchych Laura Connors & Brian O’Connell MUSIC DIRECTOR GOLD Gene & Lloyd Dahmen Jack & Eileen Connors Peter & Dieuwke Fiedler Richard & Rebecca Hawkins Jeff D. Makholm & Roberta Parks Guy & Renée Pipitone Kitty & Tony Pell Michael & Karen Rotenberg Stephanie & Jonathan Warburg Allison Ryder & David Jones MUSIC DIRECTOR BRONZE Epp Sonin David Mugar Debra & Mark Stevens BENEFACTORS Anonymous David & Marie Louise Scudder Richard & Nonnie Burnes Eileen Shapiro & Reuben Eaves/ Kerry Murphy Healey Albert Shapiro Fund Barbara Lee John Shields & Christiane Delessert Anne Linn Joel & Elinor Siner Kyra & Coco Montagu/ Scott Squillace & Christopher Gayton Alchemy Foundation Deborah Thaxter & Bob Adkins Christopher Wilkins SUPPORTERS Ben & Caroline Ansbacher Bill Nigreen & Kathy McDermott Ted Ansbacher & Barbara Nash Jack & Michiko Plimpton Anne Colleton & Bill Davison Lia & William Poorvu Zoltan & Cristina Csimma Suzanne Priebatsch Michael & Kitty Dukakis Kathy Ripin & Leonard Sayles Patricia Freysinger Abby & Donald Rosenfeld Howard Gardner & Ellen Winner Maureen & Michael Ruettgers David & Anne Gergen Wendy Shattuck & Sam Plimpton Judith Goldberg Henry D. Tiffany III / Control Concepts, Inc. Jonathan Hecht & Lora Sabin David Szabo / MFS Investment Management Frederic Johnson Suzanne Tompkins Elizabeth & Paul Kastner Clara Wainwright Charles & Susan Longfield Herbert & Angela Wilkins Mark & Kimberly Luiggi CONTRIBUTORS Diane Austin & Aaron Nurick Stanley & Kathy Levinson Sally Withington Smoki Bacon & Dick Concannon Bruce Metzler & Carol Simpson Joyce Yaffee Edward & Elizabeth Brainard Pamela Pacelli & Robert Cooper Alvin & Victoria Davis Peter Rabinowitz & Judith Gelber Catharine-Mary Donovan Joan & Bernard Sudikoff Maurice & Muriel Finegold Craig & Catherine Weston

Boston Landmarks Orchestra

TRUSTEES Charles Ansbacher, Founder Jeff D. Makholm, Chair Laura Connors STAFF Peter Fiedler Jo Frances Meyer, Executive Director Arthur Rishi, Artistic Administrator Richard Hawkins Michelle Major, Chief Financial Officer B. J. Krintzman Jim Murray, Manager of Development & Communications Katharine M. Pell Joanne Barrett/JBPR, Public Relations J. Brian Potts William Higgins, Nicholas Quigley, Freddy Reish, Interns Michael Rotenberg PRODUCTION Stephen Spinetto Emerson Kington, Technical Director Stephen Symchych Audrey Dunne, Production Manager & Librarian David Szabo Steve Colby, Sound Design & Audio Mix Edwin Tiffany MJ Audio, Audio Production Milton L. Wright Jr. Mackenzie Skeens, Nassim Zamor, Stage Crew Brian Gomez, Francisco Perdomo, Alfred D. Chandler III, Zakai Taylor-Kelley, Amari Vickers, Trustee Emeritus MLK Summer Scholars OVERSEERS Michael Dwyer, Photography Stephen Spinetto, Chair Jesse Ciarmataro, Graphic Design Smoki Bacon VERY SPECIAL THANKS Kathryn Beaumont Boston Cares Richard M. Burnes Boston Globe Marian “Hannah” Carlson Boston University Office of Disability Services Richard Concannon JCDecaux Conrad Crawford One Brick Boston Julie Crockford Gene D. Dahmen Katherine DeMarco Priscilla H. Douglas Newell Flather Howard Gardner Program notes will David Gergen be tweeted live Sean Hennessey Mary J. Kakas during portions of Paul Kowal tonight's concert! Robert M. Krim Instructions are Fernando Leon Steven Levitsky available at the Anne Linn Information Tent. Bill Nigreen Jeryl Oristaglio Susan Putnam Diana Rowan Rockefeller Anthony Rudel Maureen Ruettgers Allison Ryder Penelope McGee Savitz Andrea Schein Eileen Shapiro John Shields Epp Sonin Donna Storer Suzanne Tompkins William Walczak Arthur Winn WEDNESDAYS AT 7PM GREAT MUSIC FOR FREE AT THE DCR’s HATCH SHELL

August 3 - Film Screening: ON THE TOWN If it is raining the film screening will be cancelled. August 10 - LANDMARKS LOLLAPALOOZA If it is raining on the 10th, the concert will be postponed to the 11th at the Hatch Shell. If it is also raining on the 11th, the concert will be moved to Emmanuel Church (15 Newbury Street, Boston 02116) on the 11th. August 17 - FOOTLOOSE AND FANCY FREE If it is raining on the 17th, the concert will be moved to a location TBA on the 17th. Please note that this performance will NOT be postponed to Thursday. August 24 - LONGWOOD SYMPHONY ORCHESTRA If it is raining on the 24th, the concert will be cancelled. August 31 - Rodgers and Hart’s THE BOYS FROM SYRACUSE with Commonwealth Shakespeare Company If it is raining on the 31st, the concert will be postponed to September 1st at the Hatch Shell. If it is also raining September 1st, the concert will be moved to a location TBA on the 1st.

If inclement weather is in the forecast on the day of a concert, please check www.landmarksorchestra.org or call 617-987-2000 after 4 PM for any changes to the concert’s date or venue. Download our updated mobile app to receive weather alerts, notifications, and special offers.

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214 Lincoln Street, Suite 331 Boston, MA 02134 617-987-2000 www.landmarksorchestra.org

These programs are supported in part by grants from the Massachusetts Cultural Council and the Boston Cultural Council, a local agency which is funded by the Massachusetts Cultural Council and administered by the Mayor’s Office of Arts + Culture for the City of Boston.