BEETHOVEN’S MISSA SOLEMNIS

presents

2016/2017 BEETHOVEN’S MISSA SOLEMNIS SEASON Sunday, October 30, 2016 at 5:30 p.m. Concert preview with Robert Istad at 4:30 p.m.

Pacific Chorale Platinum Season Sponsor Phillip N. and Mary A. Lyons Pacific Symphony Silver Season Sponsor Carl St.Clair, Music Director The Shanbrom Family Foundation Tamara Mancini, soprano Concert Sponsors: Renée Tatum, mezzo-soprano William J. Gillespie Nicholas Preston, tenor Lenora Meister & Salt-Away Products, Inc. Nathan Stark, bass Vina Williams and Tom Slattery Haydee and Carlos Mollura John Alexander, conducting John and Lori Loftus

Additional Concert Support: Anne and Tom Henley Ludwig van Beethoven (1833–1897) Loraine Reed Missa Solemnis in D major, Op. 123 (1823) Martha and Peter Wetzel The Great 8: 1. Kyrie Anonymous 2. Gloria Peter Hahn Craig Kistler 3. Credo Young MacKeand 4. Sanctus and Benedictus Chikayo Rattee 5. Agnus Dei Robert Rife Meri Rogoff Janice Strength

Community Partners:

1 TEXTS & TRANSLATIONS

Kyrie Et homo factus est. and was made man. Kyrie eleison. Lord, have mercy. Crucifixus etiam pro nobis He was crucified also for us Christe eleison. Christ, have mercy. sub Pontio Pilato: under Pontius Pilate, Kyrie eleison. Lord, have mercy. passus, et sepultus est suffered, and was buried, et resurrexit tertia die, and on the third day he rose Gloria again, Gloria in excelsis Deo, Glory to God in the highest, secundum Scripturas according to the Scriptures, et in terra pax hominibus bonæ and on earth peace to men of et ascendit in coelum: and ascended into heaven voluntatis. good will. sedet ad dexteram Patris. and sits at the right hand of the Laudamus te. Benedicimus te. We praise you. We bless you. Father, Adoramus te. Glorificamus te. We adore you. We glorify you. et iterum venturus est cum and he shall come again with Gratias agimus tibi propter We give thanks to you for gloria, glory, magnam gloriam tuam. your great glory. judicare vivos et mortuos: to judge the living and the dead; Domine Deus, Rex cœlestis, Lord God, King of Heaven, cujus regni non erit finis. of his kingdom there will be no Deus Pater omnipotens. God, the Father Almighty. end. Domine Fili unigenite, Jesu The only-begotten Son, Lord Et in Spiritum Sanctum, And I believe in the Holy Spirit, Christe. Jesus Christ, Dominum et vivificantem: the Lord and Giver of life, Domine Deus, Agnus Dei, Lord God, Lamb of God, Son of qui ex Patre Filioque procedit. who proceeds from the Father Filius Patris. the Father. and the Son. Qui tollis peccata mundi, You who take away the sins of Qui cum Patre et Filio Who with the Father and the Son the world, simul adoratur et conglorificatur: together is adored and glorified, miserere nobis. have mercy on us. qui locutus est per Prophetas. who spoke through the Prophets. Qui tollis peccata mundi, You who take away the sins of Et unam sanctam catholicam And I believe in one holy, catholic the world, et apostolicam Ecclesiam. and apostolic Church. suscipe deprecationem nostram. receive our prayer. Confiteor unum baptisma I confess one baptism Qui sedes ad dexteram Patris, You who sit at the right hand of in remissionem peccatorum. for the remission of sins. the Father, Et expecto resurrectionem And I expect the resurrection of miserere nobis. have mercy on us. mortuorum, the dead, Quoniam tu solus sanctus. Tu For you alone are holy. You et vitam venturi saeculi. Amen. and the life of the world to come. solus Dominus. Tu solus alone are the Lord. You alone Amen. altissimus, Jesu Christe, are most high, Jesus Christ, cum Sancto Spiritu in gloria with the Holy Spirit in the glory of Sanctus Dei Patris. Amen. God the Father. Amen. Sanctus, Sanctus, Sanctus, Holy, Holy, Holy, Dominus Deus Sabaoth. Lord God of Hosts. Credo Pleni sunt cæli et terra glori tua. Heaven and earth are full of your Credo in unum Deum, I believe in one God, glory. Patrem omnipotentem, the Father Almighty, Osanna in excelsis. Hosanna in the highest. factorem coeli et terrae, maker of heaven and earth, visibilium omnium et and of all things visible and Agnus Dei invisibilium. invisible. Agnus Dei, Lamb of God, Et in unum Dominum Jesum And I believe in one Lord, Jesus qui tollis peccata mundi, who takes away the sins of the Christum, Christ, world, Filium Dei unigenitum, the only begotten Son of God, miserere nobis. have mercy upon us. et ex Patre natum ante omnia born of the Father before all saecula, ages, Agnus Dei, Lamb of God, Deum de Deo, lumen de God from God, light from light, qui tollis peccata mundi, who takes away the sins of the lumine, world, Deum verum de Deo vero; true God from true God; miserere nobis have mercy upon us. genitum, non factum, begotten, not made, consubstantialem Patri, of one substance with the Father, Agnus Dei, Lamb of God, per quem omnia facta sunt. by whom all things were made. qui tollis peccata mundi, who takes away the sins of the Qui propter nos homines Who for us men world, et propter nostram salutem and for our salvation dona nobis pacem. grant us peace. descendit de coelis, came down from heaven, et incarnatus est de Spiritu and was incarnate by the Holy Sancto Spirit ex Maria Virgine: of the Virgin Mary,

2 PROGRAM NOTES By Gordon Paine

he three-score years and ten between the composition Tof Bach’s B-minor Mass and Beethoven’s Missa solemnis (1819–1823) witnessed wrenching changes in European society. In 1776, England’s American colonies declared independence from their distant ruler, and just thirteen years later the French peasantry relieved Louis XVI of his head, axing with the same blow the divine right of kings. And as Enlightenment philosophy spread and political power seeped downward, the church, the oldest bastion of conservatism, struggled to maintain its influence. Europe became more secular, rational, and individualistic. The personal words the two composers inscribed on their Masses reflect this evolution. On the final page of the B-Minor Mass, a vast work that served as Bach’s final artistic testament, he wrote humbly and objectively, “To God alone be the glory.” Beethoven, however, superscribed his Missa solemnis with the intimately personal “From the heart—may it go to the heart.” The contrasting circumstances of the two composers’ employment are also illustrative. In Bach’s time a composer could make a living in his profession only if employed by a noble, city, or church. Beethoven, on the other hand, was among the first entrepreneur- composers to sell his works to the distinguished pupil, the Archduke never before and never since have I public. Granted, wealthy patrons and Rudolph, brother to the emperor, who experienced him in such sublime and friends frequently pulled him out of was to be made Cardinal of Olmütz, unearthly spheres.” Austria on March 9, 1820. Beethoven financial ditches, but he nonetheless Beethoven wanted to attempt this began composing eighteen months in blazed a trail for those who followed. work only when he possessed the advance, but due to a host of personal compositional tools that would connect The Missa solemnis (Solemn Mass) troubles and his compulsive and time- it to the centuries-old history of the is the second of his two Masses, the consuming revisions, he missed his Mass and ensure it an honored place first having been the comparatively deadline. It was not until three years in that continuum. So it was that the conservative and smaller-scale C-major later that the Cardinal finally received master composer of his day, nearing Mass of 1807. Both are written in his presentation copy of the score. the end of his life, undertook a study five movements corresponding to the Still, the compositional process seems of Gregorian chant and the church five sections of the Roman Catholic to have been marked by exaltation. Of music of his predecessors, including Mass Ordinary. Beethoven initially the year 1819, Beethoven’s secretary Palestrina (c. 1525–1594) and conceived his Missa solemnis as Anton Schindler wrote, “when I recall Bach. His work with both sharpened the installation music for his most his spiritual tension, I must admit that his contrapuntal skills, Palestrina

3 PROGRAM NOTES

enriching his imitative writing, and becomes gentle and sustained, as the doubling of tempo). The aftermath, an Bach providing lessons in the all-but- tenor announces the great mystery: exquisite, lyric coda, is rivaled in effect obsolete art of the fugue. To the former “And became incarnate by the Holy only by the conclusion of the Agnus we owe many delicate passages such Spirit of the Virgin Mary: and was Dei at the end of the Mass. as the Christe eleison, and to the latter made man.” Beethoven “sanctifies” Like the Ninth Symphony, which the fugues of the Gloria, Credo, and the passage by writing in the medieval shared the program with the Missa Agnus Dei. Dorian mode rather than in a modern solemnis at its Vienna premiere key, and gives the flute a symphonic- The Missa solemnis is, nonetheless, (Beethoven routinely subjected his style solo in which its unusual anything but a traditional Mass. First, audiences to numbingly long concerts), fluttering in the stratosphere suggests it is too long and dramatic to be used the Missa solemnis has always the presence of the Holy Spirit—a in an actual church service, where had a well-deserved reputation for musical synonym for the radiant dove liturgy would require the movements the difficulty of its vocal parts. It is that crowns the altarpieces of old to be performed separately. Indeed, legendary, but true, that the choruses Bavarian and Austrian churches. (The it could not even be heard in the for early performances of the symphony Benedictus offers another remarkable Vienna concert halls of Beethoven’s rebelled at their unremittingly high symphonic interpretation of the Holy time, as Masses were banned from and loud parts. One can only imagine Spirit, this for solo violin.) those venues: The premiere of three how the chorus in 1824 reacted to of its movements in Vienna on May 7, The romantic in Beethoven is the accelerated portion of the Et vitam 1824 had to be advertised as “Three especially immediate after the first venturi fugue, a passage that even Great Hymns” to keep the censors at presentation by the choir of the words today is considered among of the most bay. Second, it defied earlier stylistic passus et sepultus est (suffered challenging in choral literature. conventions in favor of a structure and was buried), where the soloists Beethoven himself considered the more akin to the symphony than to continue on the same text, as if even Missa solemnis to be his finest previous Mass compositions. the grave fails to quell the Saviour’s composition, or so he said, perhaps suffering. A traditional Missa solemnis generally self-servingly, in an advertisement for had clear-cut sections for soloists The design of the entire movement the sale of manuscript copies. He had and chorus, respectively, and the aims toward a climactic, 167-measure reason to think so. Coming in his final words served as the source of both fugue on the words Et vitam venturi years, it summarizes his life’s work the musical structure and materials. saeculi, amen (and life everlasting, just as the B-minor Mass memorializes Specific words such as “glory,” amen), and Beethoven nearly casts Bach’s achievements. His eminence “peace,” “mercy,” or “arose” were aside swathes of text in his eagerness Rudolph Johann Joseph Rainier, usually depicted in sound. Though to get there. The words et resurrexit Archduke of Austria, Cardinal and Beethoven obviously delighted in (and arose) through non erit finis Archbishop of Olmütz, may be long such word painting, he was more (shall have no end)—to which Bach forgotten, but the Mass Beethoven concerned about larger-scale ideas assigned an entire movement in his wrote in his honor will endure. and events. In the Credo, for example, Mass—are gone in a couple of minutes. he chose not to divide the lengthy Then Beethoven dispenses with forty- text into several discrete movements four words in just forty-two measures. of contrasting characters as had (Bach devoted forty-five measures to Bach (nine movements) and others. just the words Credo in unum Deum.) Instead, the music is continuous, with The pervasive repetition here of the fiery and stately passages alternating four-note Credo motto (I believe) that with sections of chamber-music-like began the movement provides him with intimacy. musical means to move so rapidly: The chorus briskly chants whole passages The Credo exemplifies Beethoven’s while one part at a time pierces the treatment of his libretto. In introduction texture, declaring, “I believe, I believe!” to his interpretation of the incarnation (Et incarnatus est), the Holy Spirit The Et vitam venturi (And [I believe descends almost boisterously to in] life everlasting) begins as a relaxed earth, whereupon the world stills. The double fugue that slowly comes to a tempo slows, texture thins, the music boil and then explodes in diminution (a

4 ABOUT THE ARTISTIC DIRECTOR Phillip N. & Mary A. Lyons Artistic Director Chair

A proponent of contemporary American demand as a teacher, clinician, and music, Alexander is noted for the strong adjudicator in festivals, seminars and representation of American works and workshops across the United States. In composers in his programming. He has 2003, Chorus America honored him with conducted many premieres of works by the establishment of the “John Alexander composers such as Jake Heggie, Morten Conducting Faculty Chair” for their Lauridsen, Eric Whitacre, Frank Ticheli, national conducting workshops. and James Hopkins. Alexander is a composer of many works Alexander is nationally recognized and serves as the editor of the John for his leadership in the musical and Alexander Choral Series with Hinshaw organizational development of the Music, as well as the John Alexander performing arts. He is a board member Singers Choral Series with Pavane and former president of Chorus America, Publishing. His numerous tributes and the service organization for choruses awards include the “Michael Korn in North America. Alexander also Founders Award for Development of the has served on artistic review panels Professional Choral Art” from Chorus for national, statewide and local arts America (2008); The “Distinguished organizations, including the National Faculty Member” award from California rtistic Director of Pacific Chorale Endowment for the Arts, the California State University, Fullerton (2006); the Asince 1972, John Alexander is one Arts Council, and the Los Angeles Helena Modjeska Cultural Legacy Award of America’s most respected choral County Arts Commission. (2003), presented in honor of his lifetime conductors. His inspired leadership achievement as an artistic visionary in Alexander retired in spring 2006 from his both on the podium and as an advocate the development of the arts in Orange position as Director of Choral Studies for the advancement of the choral art County; the “Outstanding Individual at California State University, Fullerton, has garnered national and international Artist” Award (2000) from Arts Orange having been awarded the honor of admiration and acclaim. County; the “Gershwin Award” (1990), Professor Emeritus. From 1970 to 1996, presented by the county of Los Angeles Alexander’s long and distinguished he held the position of Director of Choral in recognition of his cultural leadership career has encompassed conducting Studies at California State University, in that city; and the “Outstanding hundreds of choral and orchestral Northridge. Alexander continues his Professor” Award (1976) from California performances nationally and in 27 involvement in the pre-professional State University, Northridge. countries around the globe. He has training of choral conductors. He is in conducted his singers with orchestras throughout Europe, Asia, the former Soviet Union and South America and, closer to home, with Pacific Symphony, Pasadena Symphony, Musica Angelica and the Los Angeles Chamber Orchestra. Equally versatile whether on the podium or behind the scenes, Alexander has prepared choruses for many of the world’s most outstanding orchestral conductors, including Zubin Mehta, Pierre Boulez, Seiji Ozawa, Michael Tilson Thomas, Leonard Slatkin, Esa-Pekka Salonen, Gustavo Dudamel, Lukas Foss, Max Rudolf, Carl St.Clair, Gerard Schwarz, Marin Alsop, John Mauceri, John Williams, and Keith Lockhart.

5 ABOUT THE ARTISTS

orn in Pennsylvania, oted for her Armiliato. Additional performances at BTamara Mancini N“commanding and the prestigious house include Second completed her musical dramatic presence” Lady in Die Zauberflöte conducted by studies at the Mannes (Opera News), mezzo- Jane Glover, Second Woodsprite in School of Music in New soprano Renée Tatum Rusalka led by Yannick Nézet-Séguin, York. After winning several is rapidly gaining critical Unborn in Die Frau ohne Schatten with vocal competitions, acclaim on the most Vladimir Jurowski, Emilia in Otello under including the Giulio prestigious opera stages the baton of Semyon Bychkov, Adonella Gari Competition, Licia Albanese in the United States. in Zandonai’s seldom-heard Francesca Puccini Competition and Opera Index da Rimini conducted by Marco Armiliato, Competition, Mancini joined the San This season, engagements include Fenena in Nabucco with Paolo Carignani, Francisco Opera Adler Fellowship and Flosshilde in Das Rheingold at the National and Flosshilde in Robert Lepage’s Merola Opera Center. Taichung Theatre and in Götterdammerung landmark production of Der Ring des in a return to Houston Grand Opera, Olga Nibelungen conducted by Fabio Luisi. Engagements in recent seasons include in Eugene Onegin with Boston Youth the title role in Tosca for her debut Symphony, and solos in Beethoven’s Earlier in her young career, Tatum was at the Vancouver Opera, the title role Missa Solemnis with Pacific Chorale, also featured as Háta in Smetana’s The in Turandot at the Royal Opera in Mozart’s Requiem with Omaha Symphony, Bartered Bride in a new production Stockholm, Palacio de Bellas Artes in and Beethoven’s Symphony No. 9 with by Stephen Wadsworth, led by James Valencia and with Pacific Symphony, San Diego Symphony. Levine, in a collaboration between The and her role debut as Chimène in Le Metropolitan Opera and The Juilliard Cid with the Odyssey Opera in Boston. Recent seasons’ engagements School, and in the roles of Flosshilde In the 2012/13 season, Mancini joined include Suzuki in Madama Butterfly and Grimgerde in San Francisco Opera’s the roster of the Seattle Opera in Das with Toledo Opera, Flosshilde and Der Ring des Nibelungen conducted by Rheingold and Götterdämmerung and Waltraute in Der Ring des Nibelungen Donald Runnicles. Other performances was heard in the role of Ortlinde in Die with Washington National Opera, include La Haine in Gluck’s Armide in a Walküre. In January of 2012, Mancini Flosshilde in Götterdämmerung with co-production between the Metropolitan appeared at the Teatro Comunale Teatro Massimo di Palermo, a return to Opera and The Juilliard School and in Bologna as the title role in a new the Metropolitan Opera as the Second the role of Medea in Händel’s Teseo production of Turandot, opposite Lady in Julie Taymor’s production of with Chicago Opera Theater. As Yonghoon Lee. Die Zauberflöte led by Ádám Fischer, an Adler Fellow, her San Francisco a return to Houston Grand Opera both Opera performances included Inez in A San Francisco Opera Adler Fellow, as Third Lady in Die Zauberflöte under Il trovatore, Annina in La traviata, and Mancini made her debut with the the baton of Robert Spano, and as Emilia in Otello. company as Freia in Das Rheingold Grimgerde in a new production of Die during the 2008/09 season. In 2010 Walküre conducted by artistic and music She performed Third Lady in Die and 2011, she sang Helmwige in Die director Patrick Summers. Ms. Tatum also Zauberflöte with the Santa Fe Opera Walküre, later appearing with the San joined an international cast in Japan as conducted by Lawrence Renes and in a Francisco Opera Orchestra at the Stern Flora in Verdi’s La traviata, sang as the new production at San Francisco Opera Grove Music Festival in excerpts from mezzo soloist in Mahler’s Resurrection led by Rory Macdonald, Amando in Tosca and La Wally, opposite Marco Symphony and Mozart’s Requiem with Ligeti’s Le Grand Macabre with the New Berti. Mancini has also prepared and The Eastern Music Festival, and as mezzo York Philharmonic conducted by Alan covered such roles for the San Francisco soloist in Beethoven’s Symphony No. 9 Gilbert, and The Secretary in Menotti’s Opera as Marietta in Die Tote Stadt, with The Boston Symphony Orchestra at The Consul with Chautauqua Opera. Elettra in Idomeneo, Giorgetta in Il the Tanglewood Music Festival. Tabarro, Desdemona in Otello and the Ms. Tatum is a winner of the 2011 title role in Suor Angelica. Additional concert appearances include Gerda Lissner Foundation Competition, Salome with Andris Nelsons and the a finalist of the 2011 George London Ms. Mancini has sung under such Boston Symphony Orchestra, Mozart’s Foundation Competition, 2010 Grand eminent conductors as Donald Requiem with music director Daniel Prize Winner of The Licia Albanese Runnicles, Patrick Summers, Giuseppe Stewart and the Santa Cruz Symphony, Puccini Foundation Competition, The Finzi, Nicola Luisotti, Michael Tilson and Beethoven’s Symphony No. 9 with Opera Index Competition, The Jensen Thomas and John DeMain. Other roles in conductor Daniel Wachs and the Orange Foundation Award from Chautauqua her developing repertoire include Amelia County Philharmonic Society. Opera, and two-time recipient of the in Un ballo in Maschera, Leonora in La Richard F. Gold Career Grant. A regional forza del destino, Maddalena di Coigny A recent alumna of the Lindemann Young finalist in the Metropolitan Opera in Andrea Chenier, and Santuzza in Artist Development Program, Miss Tatum National Council Auditions, Ms. Tatum Cavalleria Rusticana. made her Metropolitan Opera début as holds degrees from The Juilliard School Inez in Il trovatore conducted by Marco and The Manhattan School of Music.

6 Ms. Tatum’s discography includes the of Carl St.Clair in 2006. He is also in The Gravedigger in Buried Alive DVD releases of The Metropolitan Opera featured on the commercial release of and Montressor in Embedded. He’ll be LIVE: in HD broadcasts of Otello and The Passion of Ramakrishna, under the making company returns to Cincinnati Rusalka, as well as a recording of Le Orange Mountain label. He sings with Opera as Rocco in Fidelio, the Atlanta Grand Macabre with The New York Los Angeles Opera Chorus and was a Symphony Orchestra as the bass soloist Philharmonic. principal artist in Los Angeles Opera’s in Verdi’s Requiem, with Maestro Robert education and community program. Spano conducting, OperaArts as a Nicholas received his B.A. in music at featured soloist in the 2016 Festival of icholas Preston, Loyola Marymount University, where Opera & Art, Cathedral Productions as a Ntenor, is a native of he studied voice with Dr. Karl Snider. featured soloist in A Night of Elegance, Kailua, Hawaii, and is Nicholas currently resides in Brea with and The BARD Music Festival as in demand as a soloist his wife, Dr. Kathleen Preston, and their Emperor Altoum in Busoni’s Turandot. daughter, Zelda. in Southern California Mr. Stark has given recitals throughout and beyond, having the United States and Germany, performed throughout concerts at the Great Wall of China, the California, and touring as raised by the U.S. Colombian Embassy, U.S. French a soloist in France, Italy, and Spain. He PWashington Post Embassy, the U.S. Austrian Embassy and has been a member of Pacific Chorale as having a voice of the Washington National Cathedral. In and The John Alexander Singers since “unearthly power,” The 2005 he was chosen to be the featured 2002, and has frequently appeared as Houston Press as being soloist for the nationally televised a soloist with both ensembles. Nicholas a “blow away singer,” and opening ceremonies of the Air Force has also performed as a soloist with the San Jose Mercury One exhibit at the Ronald Reagan Library the Hollywood Bowl Orchestra, Pacific News as a “natural comic for former First Ladies, Laura Bush and Symphony, Claremont Chorale, Santa actor,” American bass Nathan Stark Nancy Reagan, members of the United Maria Philharmonic Society, Cypress has performed on operatic, concert and States Senate and Congress, and for, Masterworks Chorale, and The Boston recital stages throughout the United then President of the United States, Pops Esplanade Orchestra. He has States, Europe and China. George W. Bush. worked under the batons of John Alexander, Carl St.Clair, Keith Lockhart, Hailing from Hughson, California, Mr. Mr. Stark has been a recipient of several John Williams, Nicholas McGegan, Stark has performed with opera houses vocal awards including the 2010 Fort Kent Nagano, John Mauceri, Esa- throughout the United States, including Worth Opera Marguerite McCammon Pekka Salonen, Grant Gershon and the Metropolitan Opera, Cincinnati Opera, Competition, the Opera Columbus Gustavo Dudamel. Nicholas’ recent solo Atlanta Opera, Virginia Opera and Arizona Vocal Competition, the Brentwood appearances include Mendelssohn’s Opera, to name a few. Some of his noted Artist of Tomorrow Competition, the Elijah, Horatio Parker’s Hora Novissima, operatic roles have included Mustafà in Sun Valley Opera Competition, the Beethoven’s Choral Fantasy and L’Italiana in Algeri, both Don Basilio and Westwood Vocal Competition, the Symphony No. 9, Bach’s B Minor Mass Don Bartolo in il Barbiere di Siviglia, both Burbank Aria Competition, first place and St. Matthew Passion, Mozart’s Leporello and il Commendatore in Don winner of Cincinnati Conservatory of Coronation Mass and Requiem, Handel’s Giovanni, both Monterone and Sparafucile Music Corbett Scholarship Opera Messiah and Judas Maccabeus, and in Rigoletto, Colline in La Bohème, Competition, the Palm Springs Opera Benjamin Britten’s War Requiem. Zuniga in Carmen, and Cardinal Barberini Guild Vocal Competition, the Pasadena In December 2014 he appeared as in Galileo Galilei. Equally comfortable Opera Guild Competition, the Opera a soloist with Pacific Symphony in on concert stage, he has given solo Buffs Competition, first place winner of Handel’s Messiah, and in May 2015, performances with the Boston Symphony the Classical Singers Association Vocal he was the soloist in Herbert Howells’ Orchestra, the Atlanta Symphony Competition in Los Angeles, and was the Hymnus Paradisi with Pacific Chorale. Orchestra, Cincinnati Symphony 2006 district winner of the Metropolitan Upcoming solo performances include Orchestra, Cincinnati Chamber Orchestra, Opera Vocal Competition, San Diego Vespers of 1610 by Claudio Monteverdi Long Beach Symphony, Pasadena Pops District. with Long Beach Camerata Singers, Orchestra, Canton Symphony Orchestra, and Mozart’s Requiem with Long San Diego Symphony Orchestra, Holland He holds degrees in vocal and opera Beach Symphony, both in April 2017. Symphony Orchestra and the Modesto performance from California State Nicholas was featured in the world Symphony Orchestra. University, Long Beach (B.M. and M.M.) and the University of Cincinnati premiere of Philip Glass’ The Passion of In the 2015-16 season, Mr. Stark makes Ramakrishna, which was commissioned College-Conservatory of Music (A.D.) His company debuts with Tulsa Opera as voice teachers have included Dr. Lewis for the grand opening of the Renée and Colline in La bohème, Hawaii Opera Henry Segerstrom Concert Hall and Woodward, Dr. Cherrie Llewellyn, Ms. Theatre as Bottom in A Midsummer Shigemi Matsumoto, Ms. Marilyn Horne premiered by the Pacific Chorale and Night’s Dream, and Fort Worth Opera Pacific Symphony under the direction and Mr. Kenneth Shaw.

7 ABOUT PACIFIC CHORALE

ounded in 1968, Pacific Chorale to extensive collaborations with Musica service organization for North American Fis internationally recognized for Angelica, Southern California’s premier choral groups, including the prestigious exceptional artistic expression, stimulating period instrument orchestra, the John “Margaret Hillis Achievement Award American-focused programming, Alexander Singers have performed with for Choral Excellence,” the first national and influential education programs. the Kronos Quartet, Mark Morris Dance “Educational Outreach Award,” the 2005 Pacific Chorale presents a substantial Company, The Royal Ballet of London, ASCAP Chorus America Alice Parker performance season of its own at the Los Angeles Chamber Orchestra, Award for adventurous programming, and Segerstrom Center for the Arts in Orange Philharmonia Baroque Orchestra, and the 2015 “Education and Community County, California, and is sought regularly Pacific Symphony, and on the Los Engagement Award.” to perform with the nation’s leading Angeles Philharmonic’s “Green Umbrella” symphonies. Under the inspired guidance new music series. In 2012, the John The Chorale’s outstanding performances of Artistic Director John Alexander, Pacific Alexander Singers presented the Paris can be heard on nine CDs, including Chorale has infused an Old World art premiere of David Lang’s Pulitzer Prize- Nocturne, a collection of American a form with California’s hallmark innovation winning The Little Match Girl Passion. cappella works conducted by John and cultural independence, developing In 2014, the group presented the world Alexander; Songs of Eternity by James innovative new concepts in programming, premiere of Jake Heggie’s choral opera F. Hopkins and Voices by Stephen and expanding the traditional concepts of The Radio Hour, which was recorded and Paulus, conducted by John Alexander choral repertoire and performance. recently released on the Delos label. and featuring Pacific Symphony; a holiday recording, Christmas Time Is Pacific Chorale is comprised of 140 Education programs are central to Here, released on the Gothic Records professional and volunteer singers. In Pacific Chorale’s vision of enriching label; a live concert recording of Sergei addition to its long-standing partnership and educating the community. Toward Rachmaninov’s Vespers; and the world with Pacific Symphony, the Chorale this aim, Pacific Chorale has produced premiere recording of Frank Ticheli’s has performed with such renowned innovative educational initiatives that have The Shore for chorus and orchestra. American ensembles as the Los Angeles opened the door to the art of choral music Pacific Chorale has also performed Philharmonic, the Boston Symphony, and the magic of the creative process on six recordings released by Pacific the National Symphony, San Diego for thousands of students and adults Symphony, including Elliot Goldenthal’s Symphony, Los Angeles Chamber annually, including: a Choral Academy for Fire, Water, Paper: A Vietnam Oratorio, Orchestra, Philharmonia Baroque elementary school students modeled on Richard Danielpour’s An American Orchestra, and Musica Angelica. Other the El Sistema movement; a Choral Camp Requiem, Philip Glass’ The Passion of noted collaborations within the Southern presented in association with California Ramakrishna, Michael Daugherty’s Mount California community include the State University, Fullerton providing high Rushmore, Richard Danielpour’s Toward Hollywood Bowl Orchestra, Long Beach school students with training in music a Season of Peace, and William Bolcom’s Symphony, Pasadena Symphony, and theory and vocal production; a Choral Prometheus with pianist Jeffrey Biegel, all Riverside Symphony. John Alexander Festival uniting 400 community members conducted by Carl St.Clair. and the Chorale have toured extensively each summer in a free community in Europe, South America and Asia, performance; a Youth Honor Choir which performing in London, Paris, Vienna, performs in collaboration with the Pacific Budapest, Italy, Belgium, Germany, Symphony Youth Orchestra; affordable, Estonia, Russia, Spain, Brazil, Argentina, accessible Musicianship Classes for Shanghai, Guangzhou, Beijing and Hong community singers; Intro to the Arts Kong, and collaborating with the London and Passage to the Arts, partnerships Symphony, the Munich Symphony, with local social service organizations L’Orchestre Lamoureux and L’Orchestre and high school choral directors that de St-Louis-en-l’Île of Paris, the National allow students, at-risk youth, and low- Orchestra of Belgium, the China National income families to attend Pacific Chorale Symphony, the Hong Kong Sinfonietta, performances free of charge; a Young the Estonian National Symphony, and the Composers Competition; Concert Orquesta Sinfonica Nacional of Argentina. Previews that provide deeper insight into the repertoire that Pacific Chorale Pacific Chorale’s chamber choir, the John performs; and the Elliot and Kathleen Alexander Singers, is a fully professional Alexander Memorial Scholarship, awarded vocal ensemble of 24 singers recognized annually to an outstanding choral for their musical excellence across a conducting student at California State broad range of musical periods and University, Fullerton. styles. The John Alexander Singers perform regularly in concert venues Pacific Chorale has received numerous throughout Southern California. In addition awards from Chorus America, the

8 PACIFIC CHORALE John Alexander, Artistic Director • Robert Istad, Associate Conductor • David Clemensen, Accompanist

SOPRANO ALTO TENOR BASS Kelly Benjamson Shinaie Ahn Jason Francisco, Roger W. Karl Forsstrom, Singers Chelsea Chaves Nancy Beach-Stankey Johnson Memorial Chair Memorial Chair Kathleen Clark Sarah Beaty Carl W. Porter, Singers Jim Anderson Valerie Estle Judith Bertolino Memorial Chair Ryan Antal Paulina Francisco Mary Breuer Brenton Ranney Almond Mac Bright Karen F. Henderson Janelle Burris Michael Andrews James Brown Susan Jacobs Tina Chen Sean Baba Louis Ferland Kathy Kerstein Mary Clark Sheridan J. Ball Guillermo Garcia Jr. Kellee King Kathryn Cobb-Woll* Michael Ben-Yehuda Larry Gates Barbara Kingsbury Sister Paulette Deters Nate Brown Randall Gremillion Susan Lew Denean R. Dyson David Bunker Peter Hahn Susan Lindley Harriet Edwards* Joseph Cruz Tom Henley Corinne Linza Tiffany Fernandez Craig Davis Ki Hong Park Mary Lyons Marilyn Forsstrom James C. Edwards Yasumichi Ichikawa Young MacKeand Mary Galloway Phil Enns Michael Jacobs Rita Major Kathryn Gibson Marius Evangelista Matthew Kellaway Jenny Mancini Kathleen Gremillion Vincent Hans Jonathan Krauss Kala Maxym Sandy Grim Steven M. Hoffman Craig Landon Tami McTaggart Laura Harrison Craig S. Kistler* Martin Minnich Lenora Meister Anne Henley Christopher Lindley Emmanuel Miranda Shannon Miller Nancy Lanpher Gerald McMillan Seth Peelle Kate Mullaney Shirley Kaii Lee Jin Ming Liao Carl Pike Kimberly Nason Emily McNulty Michael Morales John Prothero Maria Cristina Navarro Jeanette Moon Jeff Morris Ryan Ratcliff* Hien Nguyen Michele M. Mulidor* Aaron Mosley George Reiss Kris Oca* Pat Newton Aaron Palmer Robert F. Rife Chikayo Rattee* Marijke van Niekerk Andres Ramirez Thomas Ringland Erin Riesebieter Lindsay Patterson Gabriel Ratinoff Jeong Sang Lyu Meri Rogoff Kathleen Preston David J. Rigsby Matthew Seider Renee Rulon Cortez Bonnie Pridonoff Oscar D. Sebastian William Shelly Sarah Schaffner Suzanne Rahn John St. Marie Eric R. Soholt Janice Strength Loraine Reed* W. Faulkner White Jim Spivey Sarah Thompson Kelly Self David Stankey Rebecca Tomasko Joan Severa Josh Stansfield Ruthanne Walker Caitlin Shaw Joshua Stevens Kristen Walton Jane Hyunjung Shim Anne Webster Martha Wetzel Linda Wells Sholik Angel Yu McKay Anne Williams Victoria Wu

* Pacific Chorale Artists’ Council

9 ABOUT PACIFIC SYMPHONY

acific Symphony, currently in its six acclaimed recordings. In September the orchestra and its music into the P38th season, celebrates a decade 1986, the Symphony moved to the new community in ways that stimulate all ages. of creative music-making as the resident Orange County Performing Arts Center, The Symphony’s Class Act program has orchestra of the Renée and Henry where Clark served as music director until been honored as one of nine exemplary Segerstrom Concert Hall. Led by Music 1990, and from 1987-2016, the orchestra orchestra education programs by the Director Carl St.Clair for the past 27 has additionally presented a Summer National Endowment for the Arts and the years, the Symphony is the largest Festival at Irvine Meadows Amphitheatre. League of American Orchestras. orchestra formed in the U.S. in the Ten years ago, the Symphony moved last 50 years and is recognized as an into the Renée and Henry Segerstrom The Symphony’s award-winning education outstanding ensemble making strides Concert Hall, with striking architecture and community engagement programs on both the national and international by Cesar Pelli and acoustics by Russell benefit from the vision of St.Clair and are scene, as well as in its own community Johnson—and in 2008, inaugurated the designed to integrate the orchestra and of Orange County. Presenting more than hall’s critically acclaimed 4,322-pipe its music into the community in ways that 100 concerts and events a year and a William J. Gillespie Concert Organ. The stimulate all ages. The list of instrumental rich array of education and community orchestra embarked on its first European training initiatives includes Pacific engagement programs, the Symphony tour in 2006, performing in nine cities in Symphony Youth Orchestra, Pacific reaches more than 300,000 residents— three countries. Symphony Youth Wind Ensemble and from school children to senior citizens. Pacific Symphony Santiago Strings. The The 2016-17 season continues Symphony also spreads the joy of music The Symphony offers repertoire ranging St.Clair’s commitment to new music with through its many programs including arts- from the great orchestral masterworks commissions by pianist/composer Conrad X-press, Class Act, Heartstrings, OC Can to music from today’s most prominent Tao and composer-in-residence Narong You Play With Us?, Santa Ana Strings, composers, highlighted by the annual Prangcharoen. Recordings commissioned Strings for Generations and Symphony in American Composers Festival. Five and performed by the Symphony include the Cities. seasons ago, the Symphony launched the release of William Bolcom’s Songs the highly successful opera initiative, of Lorca and Prometheus in 2015-16, “Symphonic Voices,” which continues Richard Danielpour’s Toward a Season in February 2017 with Verdi’s Aida. of Peace and Philip Glass’ The Passion It also offers a popular Pops season, of Ramakrishna in 2013-14; and Michael enhanced by state-of-the-art video and Daugherty’s Mount Rushmore and The sound, led by Principal Pops Conductor Gospel According to Sister Aimee in Richard Kaufman, who celebrated 25 2012-13. In 2014-15, Elliot Goldenthal years with the orchestra in 2015-16. released a recording of his Symphony in Each Symphony season also includes G-sharp Minor, written for and performed Café Ludwig, a chamber music series; by the Symphony. The Symphony has an educational Family Musical Mornings also commissioned and recorded An series; and Sunday Casual Connections, American Requiem by Danielpour and an orchestral matinee series offering rich Fire Water Paper: A Vietnam Oratorio explorations of selected works led by by Goldenthal featuring Yo-Yo Ma. Other St.Clair. recordings have included collaborations with such composers as Lukas Foss and Founded in 1978 as a collaboration Toru Takemitsu. Other leading composers between California State University, commissioned by the Symphony include Fullerton (CSUF), and North Orange Paul Chihara, Daniel Catán, James County community leaders led by Marcy Newton Howard, William Kraft, Ana Lara, Mulville, the Symphony performed its Tobias Picker, Christopher Theofanidis, first concerts at Fullerton’s Plummer Frank Ticheli and Chen Yi. Auditorium as the Pacific Chamber Orchestra, under the baton of then-CSUF In both 2005 and 2010, the Symphony orchestra conductor Keith Clark. Two received the prestigious ASCAP Award seasons later, the Symphony expanded for Adventurous Programming. Also in its size and changed its name to Pacific 2010, a study by the League of American Symphony Orchestra. Then in 1981-82, Orchestras, “Fearless Journeys,” included the orchestra moved to Knott’s Berry the Symphony as one of the country’s Farm for one year. The subsequent five most innovative orchestras. The four seasons, led by Clark, took place Symphony’s award-winning education at Santa Ana High School auditorium programs benefit from the vision of where the Symphony also made its first St.Clair and are designed to integrate

10 PACIFIC SYMPHONY Carl St.Clair, Music Director • Richard Kaufman, Principal Pops Conductor Roger Kallia, Assistant Conductor • Narong Prangcharoen, Composer-in-Residence

FIRST VIOLIN VIOLA FLUTE TRUMPET Vacant Vacant Benjamin Smolen* Barry Perkins* Concertmaster, Catherine and James Valerie and Hans Imhof Susie and Steve Perry Eleanor and Michael Emmi Chair Chair Chair Gordon Chair Meredith Crawford** Sharon O’Connor Tony Ellis Paul Manaster Carolyn Riley Cynthia Ellis David Wailes Associate Concertmaster John Acevedo Jeanne Skrocki Erik Rynearson PICCOLO TROMBONE Assistant Concertmaster Victor de Almeida Cynthia Ellis Michael Hoffman* Nancy Coade Eldridge Julia Staudhammer David Stetson Christine Frank Joseph Wen-Xiang Zhang OBOE Kimiyo Takeya Pamela Jacobson Jessica Pearlman Fields* BASS TROMBONE Ayako Sugaya Adam Neeley Suzanne R. Chonette Kyle Mendiguchia Ann Shiau Tenney Cheryl Gates Chair Maia Jasper† Margaret Henken Ted Sugata TUBA Robert Schumitzky James Self* Agnes Gottschewski CELLO ENGLISH HORN Dana Freeman Timothy Landauer* Lelie Resnick† TIMPANI Grace Oh Catherine and James Todd Miller* Angel Liu Emmi Chair CLARINET Marisa Sorajja Kevin Plunkett** Joseph Morris* PERCUSSION John Acosta The Hanson Family Robert A. Slack* SECOND VIOLIN Robert Vos Foundation Chair Cliff Hulling† Bridget Dolkas* László Mezö David Chang Elizabeth and John Stahr Ian McKinnell HARP Chair M. Andrew Honea BASS CLARINET Mindy Ball* Yen-Ping Lai Waldemar de Almeida Joshua Ranz Michelle Temple Yu-Tong Sharp Jennifer Goss Ako Kojian Rudolph Stein BASSOON PIANO•CELESTE Ovsep Ketendjian Rose Corrigan* Sandra Matthews* Linda Owen BASS Elliott Moreau Phil Luna Steven Edelman* Andrew Klein PERSONNEL MANAGER MarlaJoy Weisshaar Douglas Basye** Allen Savedoff Paul Zibits Alice Miller-Wrate Christian Kollgaard Shelly Shi David Parmeter CONTRABASSOON LIBRARIANS Chloe Chiu Paul Zibits Allen Savedoff Russell Dicey David Black Brent Anderson Andrew Bumatay FRENCH HORN Constance Deeter Keith Popejoy* Mark Adams * Principal ** Assistant Principal † On Leave

The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7.

11 PROGRAM NOTES By Name Name PERFORMANCES AT SEGERSTROM CENTER FOR THE ARTS DURING OUR 2016-2017 SEASON

TIS THE SEASON! December 18, 2016 • 5:30 p.m. December 19, 2016 • 7 p.m. GUEST APPEARANCES A SEA SYMPHONY WITH PACIFIC May 13, 2017 • 7:30 p.m. SYMPHONY all concerts conducted by artistic director john alexander in HANDEL’S MESSIAH renée and henry segerstrom December 4, 2016 • 3 p.m. concert hall george hanson, conducting VERDI’S AIDA February 23, 2017 • 8 p.m. February 25, 2017 • 8 p.m. February 28, 2017 • 8 p.m. carl st.clair, conducting

SEASON TICKETS MAHLER’S ON SALE NOW! SYMPHONY NO. 2, FOR PRICING OR MORE “RESURRECTION” INFORMATION ABOUT THE June 8–10, 2017 • 8 p.m. June 11, 2017 • 3 p.m. FULL SEASON, VISIT carl st.clair, conducting WWW.PACIFICCHORALE.ORG OR CALL (714) 662-2345. For concert details or tickets, visit www.pacificsymphony. org or call (714) 755-5799.

12 PACIFIC CHORALEPROGRAM DONORS NOTES

Your contributions are appreciated! Ticket sales account for only 1/4 of our annual revenue. We rely on our generous donors to help us bring outstanding artistic presentations and educational programs to our community.

Pacific Chorale gratefully acknowledges the following donors for their generous contributions during the past twelve months. These contributions enable Pacific Chorale to continue serving the community with performances of the highest artistic quality, and providing exceptional educational programs designed to continue the tradition of choral artistry in Orange County.

Gifts of Distinction We gratefully acknowledge the following donors, whose total gifts are in excess of $1 million, for their exceptional generosity and commitment to the success of the nationally recognized Pacific Chorale. William J. Gillespie Phillip N. and Mary A. Lyons

Maestro Society Donors Pacific Chorale is pleased to honor the following individuals who have given or pledged $100,000 or more in the last ten years. We are truly humbled by their generous, ongoing commitment to and belief in Pacific Chorale’s mission.

Audrey Steele Burnand Janice Johnson Tom and Patty Moore Warren Coy Donald and Dorothy Kennedy Ron Rudderow William J. Gillespie John and Lori Loftus Sally Segerstrom Ron Gray Marcus Lussier The Segerstrom Foundation Jerry and Maralou Harrington Phillip N. and Mary A. Lyons The Shanbrom Family Foundation Martin and Margie Hubbard Doreen Marshall Vina Williams and Tom Slattery Hans and Valerie Imhof Lenora Meister John and Elizabeth Stahr David and Darrellyn Melilli

Conductor’s Society

The Conductor’s Society recognizes the following donors who, through gifts of $10,000 or more over the last year, enable Pacific Chorale to continue creating artistic excellence, thereby enriching the quality of life of our community.

GOLD ($50,000+) SILVER ($25,000–$49,999) Roger Gibb William J. Gillespie Lynda Bentall Joan Halvajian John and Lori Loftus The Capital Group Companies, Inc. Martin and Margie Hubbard Phillip N. and Mary A. Lyons Margaret Gates Hans and Valerie Imhof Lenora Meister and Janice M. Johnson Jan Landstrom Salt-Away Products, Inc. The Segerstrom Foundation Craig and Gigi Lyons Thomas C. Moore The Shanbrom Family Foundation Sharon McNalley William Shanbrom National Endowment for the Arts Pacific Life Foundation BRONZE ($10,000–$24,999) Loraine Reed Ann and Gordon Getty Foundation Daniel and Francine Scinto Colburn Foundation John and Elizabeth Stahr Chris and Sheri Dialynas The Ueberroth Family Foundation Robert and Christine Emmons Michael Vantrease Karl and Marilyn Forsstrom Vina Williams and Tom Slattery

13 PROGRAMDONORS NOTES A Cappella Society

Pacific Chorale applauds the following donors who have made generous contributions of $1,000 to $9,999.

ALLEGRO ($5,000–$9,999) Thomas and Bonnie Pridonoff George H. I. Reiss Peter and Bonnie Kremer Marian Bergeson Mel Rogers Thomas Ringland Matt and Mary Lawson Plaza Bank Albert Roberts and Ken Jillson Nancy Lyons Benton and Wanlyn Bejach LAUREATE ($2,500–$4,999) James and Lahoma Schulze David and Darrellyn Mellilli John and Marcia Cashion John Alexander Timothy and Susan Strader Richard Messenger Warren G. Coy California Arts Council Tom Unvert Jeanette M. Moon James and Yuko Dunning Chorus America Association Peter and Martha Wetzel Sharon Morrison Howard and Janet Emery GE Foundation Robert and Christie Narver Rob Harryman Kremer Foundation PATRON ($1,000–$2,499) Steven Nottingham David and Michelle Horowitz Kathryn Gibson Francisco and Hana Ayala Orange County Community David and Diana Janes Ron Gray Paul and Rosalind Britton Foundation Kenneth and Christine Lester Jerry and Maralou Harrington Henrietta McKee Carter Elizabeth Pearson James and Karen McBride Anne and Tom Henley Phyllis and Terry Clark Christopher Quilter Richard J. McNeil Diana Dessery Hensley Lucetta Dunn Sally Rans Carlos and Haydee Mollura Mark and Donna Hoover Judi Elterman Meri and David Rogoff Patricia Nichols Gary and Elizabeth Jenkins Janet Eversmeyer John and Jeanne Sawyer Thomas Nielsen Norman and Sandra Johnson R. Harvey and Sharon Fair Janet L. Smith Mrs. Patricia O’Donnell Christopher and Susan Lindley Philip and Katie Friedel Faulkner White and Sandy Grim Marcia O’Hern Lon V. Smith Foundation Scott Ghormley Ryan Owens Norman and Rita Major Michael and Ellie Gordon Karen Perrone Betsy and Jerry Moulton Barbara Kingsbury Friends of Pacific Chorale Pacific Chorale gratefully recognizes the following donors who have made significant contributions with gifts of $100 to $999.

Mark Aldrich David Exline Dan Lyons Jim and Alicia Riding Brien Amspoker and Ellen Breitman Judy Feutz Russell and Young MacKeand Cheryl and Robert Rife Robert and Patty Anderson Evelyn Fletcher Anthony and Georgiann Mastrangelo Michael Hiscock and Carol Roberts Susan Anderson Pilan Foo Mary Aileen Matheis Cami Rogers Janet Anwyl John and Michele Foryste Ann McDonald Mel and Marcia Rogers Deborah Babcock Gregory Franklin Marilyn McIntyre John Schoonover Nancy Beach Christopher and Mary Galloway Mike McKay Terry Schroeder Bradford and Mary Anne Blaine Carol Gentry William and Lynn McMaster Linda Scotton Judith Bohlen Nancy Gerhard Jerry McMillan Ronald and Joan Severa Guinevare Breeding Rhona Gewelber Marty Minnich Jane Shepherd Jerry and Mary Breuer James and Sharon Givens Walton Montegut David Singelyn Paula Bush James and Grace Gray James P. Moore James Spivey Dr. Thomas C. Campbell Joe Hanauer Chet Needelman Thomas Stachelek Stephen Canfield Michael Richard Hards Mary Nimocks Janice Strength Carol Cavalier Carolyn Hardy, M.D. Katherine Nolan Brian Sullivan Joseph and Julie Chien Randy Harmat Anne B. Nutt Roger Swibold Denise B. Chilcote Catherine Henley-Erikson Melanie O’Regan Susan Stalzer and Bruce Tagle David and Suzanne Chonette IBM Matching Gift Program Carol Pangburn Kathy Tichenor Kathryn Cobb-Woll Wendy Isbell Walter Parsadayan and Lana Tom Tino Irene Cohn Robert Istad Novikova Ruthanne M. Walker William and Laila Conlin Jack Jackabowski Deborah and Bruce Pasarow C. Arthur Wardner Robert and Susan Crowson Mike and Susan Jacobs David Peters Ann E. Wareham Rod and Nancy Daley Barbara and Robert Johnson Phillip and Joan Petty Steven Webb Carol Dalton Kenneth and Emily Keller Molly Pontin Homer Weeks Emily DeCinces Kathy Kerstein Carl Porter Linda Wells-Sholik Richard and Megan Derisio Nancy Kidder Nick and Kathleen Preston Susan White Charles Dexter Craig Kistler Miguel and Susan Prietto Ann L. Williams Terry Dwyer Andrea and Nels Klyver Valerie Rafferty Richard Zevnik Denean Dyson Stephen LaCount Karyn Rashoff Harriet Edwards Randi Larsen Ryan A. Ratcliff Cody and Deborah Engle Kaii Lee Chikayo Rattee Phil and Jan Enns Marilyn Lugaro Rick Reiff and Mary Ann Brown Pacific Chorale Special Projects Fund Contributions to Pacific Chorale’s Special Projects Fund are given to sponsor unique enterprises and presentations.

William J. Gillespie • Marcus Lussier • Phillip N. and Mary A. Lyons

14 PROGRAM NOTES In–Kind Gifts

Pacific Chorale wishes to thank the following businesses and individuals for their generous in–kind donations of goods and services over the last year. We thank these individuals and also encourage Pacific Chorale supporters to patronize the businesses listed below. Avenue of the Arts Hotel & Silver Trumpet Mr. and Mrs. Martin G. Hubbard Carl Porter Baccarat Hans and Valerie Imhof Sanderson J Ray Corp. Aram Barsamian Barbara Kingsbury Daniel and Francine Scinto Magic Castle & Marijke Van Niekerk Zack Krone, California Coast Auctions Segerstrom Center for the Arts Big Canyon Country Club Jan Landstrom South Coast Repertory The Buddy Group John and Lori Loftus Stan Sholik Photography Phyllis Clark Rita Major Stor-It Self Storage Coyote Hills Golf Course Sharon McNalley Sarah Thompson Lou Delmonico David and Darrellyn Mellilli The Westin South Coast Plaza James E. Dunning Montage Laguna Beach Vina Williams Jason Francisco Elizabeth Pearson Wine Country Long Beach Scott Ghormley Philharmonic Society of Orange County Steve Wozencraft Pacific Chorale Endowment Fund Contributions to Pacific Chorale’s Endowment Fund are invested in perpetuity. The interest generated from the Endowment helps to provide the Chorale with long-term financial stability. The Chorale is delighted to acknowledge its generous Endowment Fund donors. We are deeply grateful to them for their belief and investment in the organization’s future. Commitments of $1,000,000 and above Commitments of $10,000 and above Commitments of $1,000 and above William J. Gillespie Wells Fargo Bank Michael and Karen Carroll Phillip N. and Mary A. Lyons Greg and MarJane Christofferson Dr. James and Yuko Kawai Dunning Dr. Edward and Mrs. Helen Shanbrom Michael and Eleanor Gordon Commitments of $50,000 and above in memory of David Lee Shanbrom Dennis V. Menke Janice Johnson Vina and Barry Williams Richard Messenger in memory of Roger W. Johnson Richard and Michele McNeil John and Elizabeth Stahr Commitments of $5,000 and above Jeanette Moon Ron Gray Donna Morse Commitments of $25,000 and above Anne B. Nutt Carl and Susan St.Clair Marilyn and Tom Nielsen in memory of Cole Carsan St.Clair George H. I. Reiss Pacific Chorale Encore Society

We all share the desire to leave a mark on our society, our community and our culture. Creating such a legacy is exactly what these special friends of Pacific Chorale have done in becoming members of the Encore Society. The Encore Society recognizes and honors those who have included Pacific Chorale as part of their estate planning. By remembering Pacific Chorale in a will, an insurance policy or retirement plan, by establishing a charitable remainder trust, or through any other planned-giving vehicle, you have the opportunity to leave a definite legacy. Please consider extending your generosity beyond your lifetime and joining with those listed below who wish to ensure the preservation of quality choral music and education.

Pacific Chorale gratefully acknowledges the following benefactors for their visionary support: Anonymous George Hatchard* Ann and Steve Morris Mark E. Aldrich Tom and Anne Henley Patricia Newton John Alexander Dennis L. Houser Sandy and Val Policky Percy Brotherton* Barbara Kingsbury Thomas A. and Bonnie J. Pridonoff Dr. and Mrs. Thomas C. Campbell John and Jan Landstrom Loraine Reed Phyllis and Terry Clark Phillip N. and Mary A. Lyons Ron Rudderow Warren Coy Karen M. and James S. McBride Jane Shepherd Jacline R. Evered Endowment Fund Susan Van Wig Roger and Geri Gibb Richard Messenger Martha and Peter Wetzel Ron Gray Jeanette Moon Vina Williams George W. Haas* Thomas C. Moore Trust* * Deceased

If you have already remembered Pacific Chorale in your estate plan, or are interested in doing so, please contact us at 714-662-2345. All inquiries will be strictly confidential.

Very special care has been given to the preparation of donor listings. We deeply regret any errors and omissions, and appreciate your phone call to Pacific Chorale at (714) 662-2345 or email to [email protected] with needed corrections. Thank you for your support of Pacific Chorale. 15 PROGRAMBOARD/PERSONNEL NOTES Pacific Chorale Board of Directors and Personnel

Mary A. Lyons, Chair

Executive Committee Valerie Imhof, Chair, Education Elizabeth Pearson, President & CEO Christopher Lindley, Chair, Marketing Tom Pridonoff, Chair, Innovations Janice M. Johnson, Secretary Michael Vantrease, Chair, Finance Rick McNeil, Co-Chair, Development Vina Williams, Co-Chair, Development—Planned Giving

Directors Robert Harryman Sara McFerrin Ryan Ratcliff, Artists’ Council Mark Hoover Sharon McNalley President Jan Landstrom Marcia O’Hern Mel Rogers Susan Lindley Karen Perrone Francine Scinto

Distinguished Emeritus Board Mary A. Lyons, Chairman Emeritus Michael J. Carroll Jan Landstrom Anne B. Nutt Stanley Cochran Marcus Lussier George Reiss Dr. James Dunning* Thomas C. Moore* Helen Shanbrom Bonnie Brittain Hall Marilyn Nielsen* Elizabeth D. Stahr Karen Johnson Thomas H. Nielsen *deceased

Personnel

John Alexander, Artistic Director & Conductor • Robert Istad, Associate Conductor & Artistic Director Designate Elizabeth Pearson, President & CEO

Administration Artistic Staff Volunteer Administration Brian Sullivan, Director of Artistic Operations Dr. David Clemensen, Accompanist Tom Henley, Volunteer Librarian Dr. Molly Buzick Pontin, Vice President, Aram Barsamian, Personnel Manager, Assistant Barbara Kingsbury, Historian Education & Community Programs to the Artistic Director, and Ryan Ratcliff, Artists’ Council President Cristy Seyler, Director of Finance & Bass Section Leader Bonnie Pridonoff, Grant Research Volunteer Administration Kellee King, Soprano Section Leader Lorie Reed, Library Assistant Ryan McSweeney, Director of Marketing & Jane Shim, Alto Section Leader Box Office Jason Francisco, Tenor Section Leader Liana Schwind, Marketing & Development Assistant, Concierge Alfredo Munoz, Operations & Library Assistant Saunder Choi, Teaching Artist

Mission Statement Pacific Chorale enriches and educates the community by demonstrating outstanding leadership in the performance, creation and preservation of choral music.

Pacific Chorale is a member of Arts Orange County and Chorus America. Pacific Chorale • 3303 Harbor Blvd., Suite E5, Costa Mesa, CA 92626 714-662-2345 • (FAX) 714-662-2395 • (Email) [email protected] • www.PacificChorale.org 16