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Home , Alessandra Marc, Barbara Frittoli, CSO Resound, Daniela Barcellona, Duain Wolfe, Franca Mattiucci

PROGRAM

ONE HUNDRED TWENTY-THIRD SEASON Chicago Music Director Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, October 10, 2013, at 7:30

Riccardo Muti Conductor Tatiana Serjan Daniela Barcellona Mezzo-soprano Mario Zeffiri Director Verdi Mass Requiem and Kyrie Dies irae Dies irae Tuba mirum Mors stupebit Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrimosa Offertory: Domine Jesu Christe Sanctus Agnus Dei Lux aeterna Libera me TATIANA SERJAN DANIELA BARCELLONA MARIO ZEFFIRI ILDAR ABDRAZAKOV CHICAGO SYMPHONY CHORUS

There will be no intermission. Thanks to the generous support of Matthew and Kay Bucksbaum, people around the world will watch and listen to this concert tonight through a free live video stream on the Internet. After tonight, you may watch, for no charge, a video recording of the entire concert at www.cso.org/verdi or www.riccardomutimusic.com.

This special performance of Verdi’s Requiem is sponsored by Sylvia Neil and Dan Fischel. Sponsorship of the music director and related programs is provided in part by a generous gift from the Zell Family Foundation.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. 33 Generous support for the Verdi Celebration provided by

MATTHEW AND KAY BUCKSBAUM

SYLVIA NEIL AND DAN FISCHEL

JIM AND KAY MABIE

GILCHRIST FOUNDATION

JULIE AND ROGER BASKES

WHITNEY AND ADA ADDINGTON

BRUCE AND MARTHA CLINTON, FOR THE CLINTON FAMILY FUND

NIB FOUNDATION

33A COMMENTS by Phillip Huscher

Giuseppe Verdi Born October 10, 1813, Le Roncole, near Busseto, . Died January 27, 1901, , Italy. Requiem Mass

erdi was a man of great spir- verdict. Wagner attended a performance ituality. But, after his in Vienna in 1875 without comment; childhood—when he “It would be best to say nothing,” Vwalked three miles to church his wife Cosima explained, with every Sunday morning, some- customary tact. The prevail- times barefoot, to his job as ing Viennese response was organist—he wasn’t a church- enthusiastic—“into the torrid goer. Later, when he was zone,” according to Verdi’s wife famous and wealthy, he would Giuseppina, but performances drive his wife Giuseppina had been sparsely attended to church, but wouldn’t go six months earlier in London, in with her. He was never an and Verdi skipped town in a foul atheist—simply, as Giuseppina put mood. The Italian public, who it, “a very doubtful believer.” Like revered Verdi as people today idolize Brahms’s A German Requiem completed movie stars and sports figures, couldn’t five years earlier, Verdi’s Requiem Mass is a get enough of his newest work; Verdi’s publisher deeply religious work written by a great skeptic. finally had to crack down on unauthorized When Hans von Bülow, whose acrid opinions arrangements. Early in the twentieth century, on music have outlived his importance as a con- Bernard Shaw, who had always admired Verdi’s ductor, stole a look at the requiem score just days music, suggested that none of Verdi’s before the Milan premiere, he offered his famous would prove as enduring as the requiem. snap judgment, “Verdi’s latest , though Before the requiem, Verdi was known exclu- in ecclesiastical robes,” and decided to skip the sively for his operas. The early success of concert. When he finally heard it, at a mediocre in 1842 made his name; the melody of its grand parish performance eighteen years later, he was “Va, pensiero” chorus swept the nation. In the moved to tears. Bülow wrote to Verdi to apolo- early 1850s, a great midcareer trio of operas— gize, and Verdi replied, with typical generosity, , , and —made that Bülow might have been right the first time. Verdi the most popular composer in all . By then, after a fifty-year career in the public After that, with a series of increasingly inventive eye, Verdi had grown accustomed to critical stage works—including , Un disdain, especially from the followers of Richard ballo in maschera, , the revised Wagner. And he knew that Bülow, who once , , and —Verdi continued switched his allegiance from Wagner to Brahms, to stretch his talents in new directions, testing wasn’t the last listener who would change his the expressive possibilities of Italian opera. After mind about this music as well. the great success of Aida in 1871, Verdi seemed Verdi’s Requiem Mass has often provoked dis- set on retirement; he spent his days growing sension. Brahms and Wagner, who shared little wheat and corn, raising chickens, and puttering aside from their dislike for each other’s music, in the garden at Sant’Agata, his farmhouse south took predictably opposing views. “Only a genius of Milan. could have written such a work,” Brahms wrote, By then, however, part of a requiem mass was angered already written. The story begins in 1868, with by Bülow’s the death of Rossini in . Verdi suggested Above: Verdi in 1870 original that the city of Bologna, where Rossini grew up

34 and first tasted success, honor him with a com- unification. Knowing that Manzoni treasured posite requiem, commissioning separate move- his privacy as much as he himself, Verdi never ments from Italy’s leading composers. The idea attempted a meeting. Even after his wife was was approved, the various movements assigned— introduced to Manzoni through a mutual friend, diplomatically, Verdi was given the final Libera Verdi was satisfied with the autographed photo- me—and the mass completed. But a performance graph she brought home, inscribed “to Giuseppe never took place. (There were disputes, as there Verdi, a glory of Italy, from a decrepit Lombard often are, over scheduling and money.) writer.” Verdi hung the picture in his bedroom At the time of Rossini’s death, Verdi called and sent Manzoni his photo, writing across the him “one of the glories of Italy,” asking, “When bottom, “I esteem and admire you as much as the other one who still lives is no more, what one can esteem and admire anyone on this earth, will we have left?” The other one was Alessandro both as man and a true honor of our country Manzoni, a celebrated poet and the author of the so continually troubled. You are a saint, Don landmark nineteenth-century novel, I promessi Alessandro!” The two men didn’t meet until the sposi (The betrothed); and when he died, on spring of 1868, when Verdi visited Milan for the May 22, 1873, Verdi returned to the idea of first time in twenty years. Verdi reported to the a requiem. Countess Maffei, who arranged the meeting, “I Verdi first read I promessi sposi at sixteen; it would have knelt before him if it were possible to remained his favorite novel throughout his life. adore mortal men.” Manzoni was a great national hero in Italy, a dis- Verdi didn’t attend Manzoni’s funeral, prefer- tinction poets in our time can scarcely imagine. ring instead to visit the grave “alone and unseen.” To Verdi, Manzoni was a personal hero; he was He proposed that “after further reflection and both a great artist and a great humanitarian—a after taking stock of my strength,” he might leader, like Verdi, in the Risorgimento, the “suggest a way of honoring his memory.” In fact, movement for Italian independence and the very night of his visit to Manzoni’s grave, he

COMPOSED MOST RECENT INSTRUMENTATION 1874 CSO PERFORMANCES solo quartet, mixed chorus, and an January 15, 16 & 17, 2009, Orchestra orchestra consisting of three flutes and FIRST PERFORMANCE Hall. , , piccolo, two oboes, two clarinets, four May 22, 1874; Church of San Marco, Mario Zeffiri, and Ildar Abdrazakov bassoons, four horns, four trumpets Milan, Italy as soloists; the Chicago Symphony (with four additional trumpets Chorus (Duain Wolfe, director); offstage), three trombones and tuba FIRST CSO PERFORMANCES Riccardo Muti (replacing the obsolete ), June 4, 1910; Northwestern University timpani, bass drum, strings Gymnasium, Evanston, Illinois. Jane CSO RECORDINGS Osborn-Hannah, Rose Lutiger-Gannon, 1977. Leontyne Price, Dame Janet APPROXIMATE Evan Williams, and Allen Hinckley Baker, Veriano Luchetti, and José PERFORMANCE TIME as soloists; the North Shore Festival van Dam as soloists; the Chicago 88 minutes Chorus (Peter C. Lutkin, director); Symphony Chorus (Margaret At this performance, Maestro Muti uses Peter C. Lutkin conducting Hillis, director). Sir the new critical edition of the Requiem conducting. RCA February 14 & 15, 1952, Orchestra Hall. Mass from The Works of Zinka Milanov, Elena Nikolaidi, David 1993. Alessandra Marc, Waltraud edited by David Rosen and published Poleri, and Cesare Siepi as soloists; Meier, Plácido Domingo, and jointly by the University of Chicago the Combined Choral Organizations Ferruccio Furlanetto as soloists; the Press and (Philip Gossett, of Northwestern University Chicago Symphony Chorus (Margaret general editor). (George Howerton, director); Bruno Hillis, director). Walter conducting conducting. Erato 2009. Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov as soloists; the Chicago Symphony Chorus (Duain Wolfe, director). Riccardo Muti conducting. CSO Resound

35 Many words, but none of them deeply felt.” Verdi was a man of few words and genuine expression. The requiem he com- posed to honor two men for whom he had the greatest admiration is a work of the most highly concentrated emotion. Seldom had he traversed the range of human feeling in so few pages. Music so direct and powerful was unex- pected, and therefore disquieting, in a somber religious work; Bülow Manzoni and Verdi. Engraving. Raccolta Bertarelli, Milan was only the first to refer, patronizingly, to the theatricality of a work designed for the church. wrote to Giulio Ricordi, head of the publishing The very beginning of this requiem might be house, of his intention to compose a requiem mistaken for a moment from a Verdi opera—a mass to be performed on the first anniversary of dark cloister, a procession of mourners, a few Manzoni’s death. (He offered to conduct himself strands of melody to set the scene. But the and to assume the costs of copying the parts.) movement quickly grows and blossoms in ways Shortly before the premiere of Aida in Cairo unknown to the opera house; the chorus makes a in 1871, when the critic and composer Alberto of “Te decet hymnus,” and then the music Mazzucato reminded Verdi of the Libera me he opens heavenward as the soloists enter one by had written for the Rossini Requiem, he dis- one. It’s music of an almost unimaginable sweep missed the idea of setting the entire text: “There and grandeur and would be out of place even in are so many, many, many requiem masses; there’s opera, except in a grand finale. no point in adding one more.” But now, clearly, The Dies irae, the largest of the seven pieces in there was, and Verdi moved quickly. On June 25, this requiem, has ten small sections, each one a Verdi and Giuseppina left for Paris, where he vivid scene. In writing opera, Verdi had quickly began work on the requiem. He continued writ- learned to seek the parola scenica—the key word ing at Sant’Agata in the fall and in Genoa that in each passage that would unlock his imagi- winter. On February 28, he wrote to Camille du nation. The “Dies irae” explodes with its sheer Locle, his librettist for Don Carlos, “I feel as if force and rage—the ffff thunderbolts of the bass I’ve become a solid citizen and am no longer the drum are particularly alarming; Verdi increases public’s clown who, with a big bass drum, shouts the drama by adding offstage trumpets in the ‘Come, come, step right up.’ ” The deadline, “Tuba mirum.” May 22, the first anniversary of Manzoni’s We next hear from various individuals, each death, swiftly approached. Verdi handpicked his a commentator, an observer, or an eyewitness— four soloists, including Teresa Stolz and Maria what is known today as human interest. At the Waldmann, the original Aida and Amneris end of the bass’s “Mors stupebit,” sung quietly at in 1872. The work was finished on and full of terror, his voice catches repeatedly on April 10; rehearsals began early in May. the word “death.” “Liber scriptus,” a powerful Reading Manzoni’s obituary notices, Verdi aria for mezzo-soprano, was written for the noticed that “not one speaks the way it should. London premiere in 1875 to replace a choral

36 fugue that marred Verdi’s sense of pace and (for a moment, at the words “Righteous judge drama, particularly since a brief outburst of of vengeance,” their voices join as one). Two the “Dies irae” music directly follows. “Quid arias follow—the tenor’s “Ingemisco” and the sum miser” is a trio of lamentation. (A solo bass’s “Confutatis”—before the chorus again bassoon provides a haunting accompaniment.) interjects the refrain of “Dies irae.” The lament “Rex tremendae” is a dialogue between chorus “Lacrimosa” (based on a duet withdrawn from and the four soloists, reaching some common Don Carlos) brings together chorus and soloists in ground only in the final measures. The prayer a magnificent, sobering conclusion to a move- “Recordare” is the duet Verdi conceived with ment that began with fire and fury. The final the voices of his favorite Aida and Amneris in “Amen” momentarily lifts the music into full mind, though here they don’t sing as adversaries sunlight, but darkness quickly falls.

THE VERDI REQUIEM IN CHICAGO

In June of 1874, the Chicago Daily the Requiem again the following gave isolated performances of the Tribune ran news of the premiere of November, an orchestra consisting Requiem with the Apollo Chorus (and Giuseppe Verdi’s new Requiem Mass, of forty of the best musicians in the under the Chorus director’s baton), which had been given less than a city was employed, “the scores having beginning in 1918, including one in month before at the Church of San been procured from London at large April 1919 at the Auditorium Theatre Marco in Milan. “The clock struck 11. expense to the Society.” “in memory of the heroes of the U.S. Verdi took his place at the conductor’s The Beethoven Society presented and Allied nations,” and another the desk and the mass began,” the Tribune Verdi’s Requiem several times over next month at Bartlett Gymnasium at reported, giving Chicago music lovers the following years, the last time in the University of Chicago, dedicated the sense that they were there for 1883. Then, in May 1891, the Apollo to university members who died in one of the music world’s most eagerly Chorus presented the Requiem at the war. The Orchestra introduced awaited events. Louis Sullivan’s vast Auditorium the work to Ravinia audiences in July Chicago waited less than three Theatre. It was a milestone musical 1951 under William Steinberg (with years to hear Verdi’s Requiem. In and social event. “I do not believe the Northwestern University Summer March 1877, the Beethoven Society that we have ever handled a bigger Chorus). But the Orchestra’s first presented the local premiere at the crowd for a musical performance,” subscription concert performances Plymouth Congregational Church. “The the theater manager told a reporter. of Verdi’s Requiem came only in Society has now given the work three The packed hall (“more than 700 February 1952, under the legendary months’ study,” the Tribune reported carriage checks were given out,” the Austrian conductor Bruno Walter in advance of the concert, “and will Daily Tribune reported) was “a jumble (the cast included soprano Zinka undoubtedly be able to introduce it of flowers and jewels and shoulders Milanov and bass Cesare Siepi, with with a degree of success that will make and fluttering programs and serious the “combined choral organizations” of it exceedingly interesting.” The Society persons who studied musical scores of Northwestern University). boasted 145 singers (“almost as large the Requiem,” and there was a general Fritz Reiner was the first of the a chorus as that which first produced enthusiasm “that ricocheted from box Chicago Symphony’s music directors the work in Milan”), although women to gallery.” to program Verdi’s Requiem, during outnumbered men nearly two to one. the inaugural season of the Chicago Rehearsals apparently were often he Chicago Symphony, which gave Symphony Chorus, in April 1958. rough going (more than once the T its inaugural concert (also in the Since then, the Verdi Requiem has conductor said he wished he had Auditorium Theatre) that October, been led in Orchestra Hall under all never undertaken the work), and the was slow to program Verdi’s music. the Orchestra’s subsequent music performance itself was uneven (the The Orchestra’s first documented directors: Jean Martinon (in 1968), Sir sang flat, according to the performance of the Requiem Mass was Georg Solti (in 1975 and 1977), Daniel Tribune, and the soloists were “less given in the Northwestern University Barenboim (in 1993 and 2001), and effective” than the chorus), but the Gymnasium, on June 4, 1910, with the Riccardo Muti—it was the first work he event was a great public success, and North Shore Festival Chorus, Peter C. conducted as music director designate, the Sanctus was even “enthusiastically” Lutkin conducting. (Oddly, there in January 2009. A recording of those encored. Both the premiere and a are no known performances under performances, released the following second performance later in the week the Orchestra’s founder Theodore year, won two Grammy awards—for were sold out. At those performances, Thomas, even though he owned three Best Classical Album and Best the work was accompanied only by scores of the Requiem.) In downtown Choral Performance. organ, but when the Society presented Chicago, the Chicago Symphony —P. H.

37 Abrahae” the music gathers force (maintaining tradition, it behaves like a fugue); the central “Hostias” is quiet and utterly still. Verdi’s Sanctus is a brilliant double fugue for split choirs, moving quickly and with great energy straight through the “Hosanna” and “Benedictus” texts that detain most composers. The Agnus Dei begins with thirteen measures for the soprano and mezzo-soprano soloists, unaccompanied, singing in octaves. The melody is a nineteenth-century version of plainchant— it’s diatonic, rather than modal—and it’s repeated, alternately by the two soloists and the chorus, to an increasingly rich accompaniment. The soprano solo withdraws, leaving the three lower solo voices to the Lux aeterna, a trio of urgent drama and death-scene tremolos. The soprano now reenters, unaccompanied, declaim- ing the text of the Libera me. This powerful final scene, for soprano and chorus, is based on the music Verdi wrote for the Rossini Requiem in 1869. It could only have been composed by someone steeped in opera, yet it’s unlike anything else in Verdi’s output. The music moves freely from dramatic recitative to soaring arioso, reprising both the “Dies irae,” in all its concentrated terror, and the opening Requiem Verdi (center) with the first performers of the Requiem. aeternam, here magically rescored for soprano Engraving by Ettore Ximenes. Raccolta Bertarelli, Milan and unaccompanied chorus. The last stretch, climaxed by the urgent pleas of the soprano, and finally dissolving into hushed and desperate Domine Jesu Christe is scored for solo quartet, prayer, is as compelling as anything Verdi ever though Verdi saves the soprano solo for a breath- put on the stage. taking moment well into the movement, when the entire fate of the music hangs, seemingly for- Phillip Huscher is the program annotator for the Chicago ever, on her one sustained note. At “quam olim Symphony Orchestra.

38 The CSO thanks

SYLVIA NEIL AND DAN FISCHEL

for their generous support of this performance.

The CSO thanks

MATTHEW AND KAY BUCKSBAUM

for their generous support of the video stream of tonight’s Requiem on the Internet at www.cso.org/verdi, at www.riccardomutimusic.com, and at many other sites around the world.

38A VERDI’S REQUIEM MASS

REQUIEM AND KYRIE Chorus and Solo Quartet

Requiem aeternam dona eis Domine: Eternal rest grant unto them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Te decet hymnus Deus in Sion, To you we owe our hymn of praise, O God, in Sion; et tibi reddetur votum in Jerusalem: to you must vows be fulfilled in Jerusalem. exaudi orationem meam, Hear my prayer; ad te omnis caro veniet. to you all flesh must come.

Requiem aeternam dona eis Domine: Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Kyrie eleison. Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Kyrie eleison. Lord, have mercy on us.

DIES IRAE

DIES IRAE Chorus

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

Quantus tremor est futurus, There will be great trembling Quando judex est venturus, when the judge descends from heaven Cuncta stricte discussurus! to scrutinize all things.

TUBA MIRUM Chorus

Tuba mirum spargens sonum The trumpet will send its wondrous sound Per sepulcra regionum, into the earth’s sepulchres Coget omnes ante thronum. and gather all before the throne.

MORS STUPEBIT Bass

Mors stupebit et natura, Death and nature will be astounded, Cum resurget creatura, when all creation rises again Judicanti responsura. to answer to judgment.

(Please turn the page quietly.) 38B LIBER SCRIPTUS Mezzo-soprano and Chorus

Liber scriptus proferetur, A book will be brought forth, In quo totum continetur, in which all is written, Unde mundus judicetur. by which the world will be judged.

Judex ergo cum sedebit, When the judge takes his place, Quidquid latet, apparebit: what is hidden will be revealed, Nil inultum remanebit. nothing will remain unavenged.

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

QUID SUM MISER Soprano, Mezzo-soprano, Tenor, and Chorus

Quid sum miser tunc dicturus? What shall a wretch like me say? Quem patronum rogaturus? Who shall intercede for me, Cum vix justus sit securus? when even the just ones need mercy?

REX TREMENDAE Chorus and Solo Quartet

Rex tremendae majestatis, King of tremendous majesty, Qui salvandos salvas gratis, who freely saves the worthy ones, Salva me, fons pietatis. save me, source of mercy.

RECORDARE Soprano and Mezzo-soprano

Recordare, Jesu pie, Remember, sweet Jesus, Quod sum causa tuae viae: that my salvation caused your suffering; Ne me perdas illa die. do not forsake me on that day.

Quarens me, sedisti lassus: Faint and weary you have sought me, Redemisti crucem passus: redeemed me, suffering on the cross; Tantus labor non sit cassus. may such great effort not be in vain.

Juste judex ultionis, Righteous judge of vengeance, Donum fac remissionis, grant me absolution Ante diem rationis. before the day of retribution.

38C INGEMISCO Tenor

Ingemisco, tamquam reus: I groan as one who is guilty: Culpa rubet vultus meus: owning my shame with a red face; Supplicanti parce Deus. suppliant before you, Lord.

Qui Mariam absolvisti, You, who absolved Mary, Et latronem exaudisti, and listened to the thief, Mihi quoque spem dedisti. give me hope, too.

Preces meae non sunt dignae: My prayers are unworthy, Sed tu bonus fac benigne, but, good Lord, have mercy, Ne perenni cremer igne. and rescue me from eternal fire.

Inter oves locum praesta, Give me a place with the sheep, Et ab haedis me sequestra, and separate me from the goats; Statuens in parte dextra. lead me to your right hand.

CONFUTATIS Bass and Chorus

Confutatis maledictis, When the accused are confounded, Flammis acribus addictis, and doomed to flames of woe, Voca me cum benedictis. call me among the blessed.

Oro supplex et acclinis, I kneel with submissive heart, Cor contritum quasi cinis: my contrition is like ashes, Gere curam mei finis. help me in my final state.

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

LACRIMOSA Solo Quartet and Chorus

Lacrimosa dies illa, That day of tears and mourning, Qua resurget ex favilla when from ashes shall arise Judicandus homo reus: all humanity to be judged. Huic ergo parce Deus. Spare us by your mercy, God. Pie Jesu Domine Gentle Lord Jesus, Dona eis requiem. grant them eternal rest. Amen. Amen.

(Please turn the page quietly.) 38D DOMINE JESU CHRISTE Solo Quartet

Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium defunctorum de deliver the souls of all the faithful departed from poenis inferni, the pains of hell et de profundo lacu; and from the bottomless pit; libera eas de ore leonis, deliver them from the lion’s mouth, ne absorbeat eas tartarus, that hell swallow them not up, ne cadant in obscurum: that they fall not into darkness, sed signifer sanctus Michael repraesentet eas in but let the holy standard-bearer Michael lucem sanctam: bring them into that holy light which you Quam olim Abrahae promisisti, promised of old to Abraham and to his seed. et semini ejus.

Hostias et precis tibi Domine We offer you, O Lord, sacrifices and prayers laudis offerimus: of praise; tu suscipe pro animabus illis, receive them in behalf of those souls we quarum hodie memoriam facimus: commemorate this day. fac eas, Domine, de morte transire ad vitam. Grant them, O Lord, to pass from death to that life Quam olim Abrahae promisisti, which you promised of old to Abraham and to et semini ejus. his seed.

Libera animas omnium fidelium defunctorum de Deliver the souls of all the faithful departed from poenis inferni. the pains of hell. Fac eas de morte transire ad vitam. Grant them to pass from death to life.

SANCTUS Double Chorus

Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

AGNUS DEI Soprano, Mezzo-soprano, and Chorus

Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem sempiternam. grant them eternal rest.

38E LUX AETERNA Mezzo-soprano, Tenor, and Bass

Lux aeterna luceat eis, Domine: May eternal light shine upon them, O Lord, Cum sanctis tuis in aeternum, quia pius es. with your saints forever, for you are gracious. Requiem aeternam dona eis, Domine, Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them: Cum sanctis tuis in aeternum, quia pius es. with your saints forever, for you are gracious.

LIBERA ME Soprano and Chorus

Libera me Domine de morte aeterna, Deliver me, O Lord, from everlasting death on in die illa tremenda: that day of terror: Quando coeli movendi sunt et terra: When the heavens and the earth will be shaken. Dum veneris judicare saeculum per ignem. As you come to judge the world by fire.

Tremens factus sum ego, et timeo, I am in fear and trembling at the judgment and dum discussio vererit, atque ventura ira. the wrath that is to come. Quando coeli movendi sunt et terra. When the heavens and the earth will be shaken.

Dies irae, dies illa, That day will be a day of wrath, of misery, and calamitatis et miseriae, of ruin: dies magna et amara valde. a day of grandeur and great horror. Dum veneris judicare saeculum per ignem. As you come to judge the world by fire.

Requiem aeternam dona eis Domine: Eternal rest grant unto them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Libera me Domine de morte aeterna, Deliver me, O Lord, from everlasting death on in die illa tremenda: that day of terror: Quando coeli movendi sunt et terra: When the heavens and the earth will be shaken. dum veneris judicare saeculum per ignem. As you come to judge the world by fire. Libera me. Deliver me.

38F PROFILES

Riccardo Muti Conductor

Riccardo Muti, born in Gesellschaft der Musikfreunde (Society of the Naples, Italy, is one of the Friends of Music), the Vienna Hofmusikkapelle, preeminent conductors of the , and the Vienna our day. In 2010, when he State Opera. became the tenth music Muti succeeded Otto Klemperer as chief director of the world- conductor and music director of London’s renowned Chicago in 1973, holding that Symphony Orchestra position until 1982. From 1980 to 1992, he was (CSO), he had more than music director of the Philadelphia Orchestra, forty years of experience and in 1986, he became music director of Milan’s at the helm of the Maggio Musicale Fiorentino Teatro alla Scala. During his nineteen-year in Florence, the Philharmonia Orchestra in tenure, in addition to directing major projects London, the Philadelphia Orchestra, and the such as the Mozart–Da Ponte trilogy and Teatro alla Scala in Milan. He continues to be in Wagner Ring cycle, Muti conducted operatic and demand as a guest conductor for other great symphonic repertoire ranging from the baroque and opera houses: the to the contemporary, also leading hundreds of Philharmonic, the Vienna Philharmonic, the concerts with the Filarmonica della Scala and Bavarian Radio Symphony Orchestra in , touring the world with both the opera company the , House and the orchestra. His tenure as music director, in London, the in New York the longest of any in La Scala’s history, culmi- City, and many others. He also is honorary nated in the triumphant reopening of the restored director for life of the Rome Opera. opera house with Antonio Salieri’s Europa rico- Muti studied piano under Vincenzo Vitale at nosciuta, originally commissioned for La Scala’s the Conservatory of San Pietro a Majella in his inaugural performance in 1778. hometown of Naples, graduating with distinc- Throughout his career, Muti has dedicated tion. He subsequently received a diploma in much time and effort to young musicians. In composition and conducting from the Giuseppe 2004, he founded the Orchestra Giovanile Luigi Verdi Conservatory in Milan, where his principal Cherubini ( Youth Orchestra), teachers were Bruno Bettinelli and Antonino and he completed a five-year project with this Votto. After winning the Guido Cantelli group to present works of the eighteenth-century Conducting Competition—by unanimous vote of Neapolitan School at the Salzburg Whitsun the jury—in Milan in 1967, his career developed Festival in 2011. quickly. In 1968, he became principal conductor Muti has demonstrated his concern for social of Florence’s Maggio Musicale, a position that he and civic issues by bringing music as a gesture held until 1980. of unity and hope to such places as hospitals, Herbert von Karajan invited him to conduct prisons, and war-torn and poverty-stricken at the in Austria in 1971, and areas around the world. As part of Le vie Muti has maintained a close relationship with dell’Amicizia (The paths of friendship), a project the summer festival and with its great orchestra, of the Ravenna Festival in Italy, he has con- the Vienna Philharmonic, for more than forty ducted friendship concerts in Sarajevo, Beirut, years. When he conducted the philharmonic’s Jerusalem, Moscow, Yerevan, Istanbul, New 150th anniversary concert in 1992, he was York, Cairo, Damascus, El Djem, Meknès, presented with the Golden Ring, a special sign of Mazara del Vallo, L’Aquila, , and Nairobi. esteem and affection, and in 2001, his outstand- He has served as a Goodwill Ambassador for ing artistic contributions to the orchestra were UNHCR, the United Nations Refugee Agency. further recognized with the Otto Nicolai Gold Muti has received innumerable international Medal. He is an honorary member of Vienna’s honors. He is a Cavaliere di Gran Croce of

39 the Italian Republic, Officer of the French Considered the greatest interpreter of Verdi Legion of Honor, and a recipient of the German in our time, Muti wrote a book on the com- Verdienstkreuz. Queen Elizabeth II bestowed on poser, Verdi, l’italiano, published in German him the title of honorary Knight Commander of and Italian. His first book, Riccardo Muti: An the British Empire, Russian President Vladimir Autobiography: First the Music, Then the Words, has Putin awarded him the Order of Friendship, and been published in several languages. Pope Benedict XVI made him a Knight of the During his time with the CSO, Muti has won Grand Cross, First Class of the Order of Saint over audiences in greater Chicago and across the Gregory the Great—the highest papal honor. globe through his extraordinary music making as Muti also has received Israel’s Wolf Prize for the well as his demonstrated commitment to sharing arts, Sweden’s prestigious Birgit Nilsson Prize, classical music. His first annual free concert Spain’s Prince of Asturias Award for the Arts, and as CSO music director attracted more than the gold medal from Italy’s Ministry of Foreign 25,000 people to Millennium Park. He regularly Affairs for his promotion of Italian culture abroad. invites subscribers, students, seniors, and people He has received more than twenty honorary of low incomes to attend, at no charge, his CSO degrees from universities around the world. rehearsals. Maestro Muti’s commitment to Riccardo Muti’s vast catalog of recordings, artistic excellence and to creating a strong bond numbering in the hundreds, ranges from the between an orchestra and its communities con- traditional symphonic and operatic repertoires to tinues to bring the Chicago Symphony Orchestra contemporary works. His debut recording with to ever higher levels of achievement and renown. the Chicago Symphony Orchestra and Chorus of Verdi’s Messa da Requiem, released in 2010 by www.riccardomuti.com CSO Resound, won two Grammy awards. www.riccardomutimusic.com

RICCARDO MUTI’S ® AWARD WINNING! GRAMMY FIRST CSO Winner of Best Classical Album RECORDING! and Best Choral Performance Available at Symphony Center, in retail stores, at VERDI cso.org/resound, and on iTunes: MESSA DA REQUIEM https://bit.ly/itunesReqCSO. CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI BARBARA FRITTOLI/OLGA BORODINA See page 20 for information on MARIO ZEFFIRI/ILDAR ABDRAZAKOV the CSO & Riccardo Muti’s newest CHICAGO SYMPHONY CHORUS recording, Verdi’s .

CSO Resound is underwritten by a generous gift from Mr. & Mrs. Ralph Smykal.

Global Sponsor of the CSO

39A Tatiana Serjan Soprano

Dramatic coloratura Nello Santi, Donato Renzetti, Alain Altinoglu, soprano Tatiana Serjan is Carlo Rizzi, and Nicola Luisotti, among others. considered one of today’s In concert, Serjan has sung Shostakovich’s leading prima donnas, Fourteenth Symphony at the Teatro São Carlos especially for her por- in Lisbon; Verdi’s Requiem in London with the trayal of Lady Macbeth. Philharmonia Orchestra conducted by Muti; in Serjan made her Toulouse, Moscow, Bologna, and Tenerife; and international debut at the Sancta Susanna at New York’s . in Turin Her upcoming engagements include at in Macbeth, an opera she the Teatro dell’Opera in Rome with Muti, has performed in some of the most important at the Deutsche Oper Berlin, and Nabucco with theaters around the world where she regularly the Rome Opera in Japan. appears, including the Teatro alla Scala in Milan, A native of Saint Petersburg, Tatiana Serjan Teatro dell’Opera in Rome, the Teatro Comunale initially studied the piano. She continued her in Bologna, Maggio Musicale Fiorentino, Teatro education at the Saint Petersburg Conservatory, Regio in Parma, in Palermo, graduating with distinction, and went on to study in Munich, Deutsche Oper voice with Franca Mattiucci at the Accademia Berlin, in , Teatro São Carlos delle Voci in Turin. She made her debut at the in Lisbon, Opernhaus Zürich, and the Dallas Opera Studio in Saint Petersburg in La traviata Opera, as well as at the Ravenna Opera Festival, in 1994, and in 1996, she made her stage debut in the Bregenz Festival, and the Salzburg Festival. La bohème. In 1997, she toured Germany singing Her repertoire ranges from Un ballo in Fiordiligi in Mozart’s Così fan tutte. maschera, Il trovatore, Aida, , , and to , Tosca, Andrea Chénier, Sancta Susanna, and Nabucco, CSO DEBUT which she has performed with such conductors as September 28, October 1, 4 & 6, 2013, Orchestra Hall. Verdi’s Riccardo Muti, Bruno Bartoletti, James Conlon, Macbeth. Riccardo Muti conducting

Daniela Barcellona Mezzo-soprano

Daniela Barcellona came has appeared at the Festival dei Due Mondi in to international attention Spoleto and the Sferisterio Festival in Macerata. in 1999, when she made Internationally, Barcellona has performed with her debut in the role of the , the Bavarian Radio at the Rossini Symphony Orchestra, the London Symphony Opera Festival in . Orchestra, the Deutsche Oper Berlin, the Since then, she has Metropolitan Opera in New York, and the performed throughout in London. She also has Italy at the Teatro alla appeared at the Opera House and the Théâtre Scala in Milan, Teatro des Champs-Élysées in Paris, the Bavarian Regio in Turin, Teatro dell’Opera in Rome, at the State Opera in Munich, Teatro Real in Madrid, Arena and the Teatro Filarmonico in Verona, the Gran Teatre del in , Palau de les in Naples, the Arts in Valencia, at the Vienna State Opera, the in Trieste, Teatro Carlo Felice in Genoa, and at Semperoper Dresden, the Israeli Opera in Tel the Teatro Massimo in Palermo, as well as in Aviv, and the Sydney Opera House, as well as at Bologna, Parma, and Florence. In addition, she the Festival Radio et Montpellier in Las

40 Palmas, the Opéra Royal de Wallonie in Liège, , , and Il viaggio a and at the Salzburg Festival. Reims; Bellini’s Norma; Mayr’s Ginevra di Scozia; Barcellona’s repertoire includes I Capuleti Meyerbeer’s Margherita d’Anjou; Verdi’s Requiem ed i Montecchi, , Don Carlos, and Giovanna d’Arco; and Berlioz’s . L’italiana in Algeri, , The Rake’s Following her recent successes at the Teatro Progress, Berlioz’s Les Troyens, Aida, Il barbiere alla Scala in Milan, Covent Garden in London, di Seviglia, Norma, La favorite, Romeo and Juliet, the Teatro Regio in Turin, and in Paris and in Lucrezia Borgia, Iphigénie en Aulide, Il viaggio a Verona, where she made her debuts in the major Reims, , , , Verdi roles, Barcellona’s upcoming engagements Adelaide di Borgogna, Maometto II, Sigismondo, include appearances in New York, Milan, , La fiamma, , Giulio Tokyo, London, Munich, Beijing, Berlin, Turin, Cesare, Orfeo ed Euridice, and Ginevra di Scozia. Amsterdam, and Verona, in a range of new opera Her concert repertoire ranges from Rossini’s productions, symphony concerts, and recitals. Petite messe solennelle to Verdi’s Requiem. Daniela Barcellona was born in Trieste, Among her major awards are the Italian where she studied with Alessandro Vitiello. Premio Abbiati, the Lucia Valentini Terrani She won numerous international competitions, Award, the Aureliano Pertilea Award, the CD including the Aldo Belli in Spoleto, the Iris Classica prize, the Rossini gold, and the San Adami Corradetti in Padua, and the Pavarotti Giusto d’Oro. International in Philadelphia. Her discography includes recordings of opera arias by Scarlatti and by Pergolesi, Rossini’s This concert marks Daniela Barcellona’s debut with the and Petite messe solennelle, Tancredi, Chicago Symphony Orchestra.

Mario Zeffiri Tenor

A highly regarded der Stadt Köln, Deutsche Oper am Rhein, Oper exponent of the bel canto Leipzig, Hamburgische Staatsoper, and the repertoire, Mario Zeffiri Semperoper Dresden in Germany. In France, he enjoys a flourishing has sung at the Opéra national de Paris–Palais international career, Garnier, Opéra Comique, Opéra national de appearing in important Bordeaux, Opéra de Nice, Opéra national de theaters alongside some of Montpellier, Opéra de Toulon, and the Opéra- the most illustrious artists Théâtre d’Avignon; in Belgium, he has appeared of his generation. He also at the Théâtre Royal de La Monnaie and the performs with celebrated Opéra Royal de Wallonie. He also has performed conductors, especially with Riccardo Muti, with in Helsinki, Moscow, Saint Petersburg, Tallinn, whom he has collaborated for some time and has Barcelona, Santiago, Glasgow, Stockholm, made many recordings for both DVD and CD. Malta, and Athens. His roles include Tito, Zeffiri has been a guest performer at principal Tamino, Ferrando, Don Ottavio, Belmonte, opera houses throughout Europe, including Comte Ory, Amenophis, Idreno, Argirio, the Teatro alla Scala, Teatro dell’Opera in Arnold, Fernando, Edgardo, Leicester, Tonio, Rome, Teatro Regio in Turin, Teatro Comunale Norfolk, Arturo, and Elvino. di Bologna, Teatro del Maggio Musicale Major highlight of his career were the con- Fiorentino, Teatro Verdi in Trieste, Teatro certs and recording of Verdi’s Requiem with the Massimo in Palermo, Teatro La Fenice in Chicago Symphony Orchestra under Riccardo Venice, and the Teatro di San Carlo in Naples, Muti, the recording of which won two Grammy all in Italy, and at the Deutsche Oper and awards for Best Classical Album and Best Choral Komische Oper Berlin, Oper Frankfurt, Oper Performance 2010.

41 A celebrated exponent of lieder, Zeffiri also study at the Accademia Teatro alla Scala and in appears regularly in concert with principal Spain with Juan Oncina. orchestras at international venues, including the Festival de Radio France, Salzburg Festival, Vienna Musikverein, Berlin Philharmonie, CSO DEBUT Essen Philharmonie, Carnegie Hall, Maggio January 15, 16 & 17, 2009, Orchestra Hall. Verdi’s Requiem. Riccardo Muti conducting Musicale Fiorentino, Odeon of Herodes Atticus, Ravenna Opera Festival, and the Alfredo Kraus MOST RECENT CSO PERFORMANCES Auditorium in Las Palmas. September 23, 24, 25 & 28, 2010, Orchestra Hall. April 16, A native of Athens, Mario Zeffiri received a 2011; Carnegie Hall, New York, New York. Berlioz’s Lélio. scholarship from the Maria Callas Foundation to Riccardo Muti conducting

Ildar Abdrazakov Bass

Ildar Abdrazakov has Shostakovich’s Suite on Verses of Michelangelo, quickly established Rachmaninov’s , and unpub- himself as one of opera’s lished arias by Rossini with . most sought-after basses. He also is featured on video recordings of , Since making his debut at Norma, , and Attila. His first the Teatro alla Scala in solo recording, an album of Russian opera arias, 2001 at the age of will be released by Delos in early 2014. twenty-five, the Russian Born in 1976 in the city of , then the singer has become a capital of the Soviet republic of Bashkiria, mainstay at leading Ildar Abdrazakov traces his lineage back to houses worldwide, including New York’s Genghis Khan. In 2000, he won the Maria Metropolitan Opera, the Vienna State Opera, Callas International Television Competition and the Bavarian State Opera in Munich. Also in Parma, which put him in the international an active concert artist, he has performed at spotlight and led to his debut at La Scala the London’s BBC Proms and at Carnegie Hall, as following year. Since 2007, Abdrazakov has been well as with leading international orchestras, an ambassador for the Zegna & Music project, including the Chicago Symphony and the a philanthropic initiative founded in 1997 by Vienna Philharmonic. Ermenegildo Zegna, to promote music and its Among Abdrazakov’s signature characters are values. Abdrazakov’s concert attire is generously the title role in ; both the provided by the designer. title character and Leporello in Mozart’s ; Mephistopheles in Gounod’s www.ildarabdrazakov.com and Berlioz’s ; and Oroveso www.facebook.com/abdrazakov in Bellini’s Norma; as well as Selim in Rossini’s twitter.com/ildarabdrazakov and Assur in the same composer’s Semiramide. The Russian bass is noted for Verdi roles including Walter in Luisa Miller and the CSO DEBUT title character in Oberto, in addition to Attila January 15, 16 & 17, 2009, Orchestra Hall. Verdi’s Requiem. Riccardo Muti conducting and Banquo. Abdrazakov’s discography includes the Grammy MOST RECENT CSO PERFORMANCES Award–winning recording of Verdi’s Requiem June 14, 16 & 19, 2012, Orchestra Hall. Shostakovich’s with Riccardo Muti and the Chicago Symphony Suite on Verses of Michelangelo Buonarroti. Riccardo Orchestra, as well as discs of Cherubini’s Mass, Muti conducting

42 Chicago Symphony Chorus

CSO Resound label, including Mahler’s Second and Third , Poulenc’s Gloria, Ravel’s Daphnis and Chloe, and the recent release of Verdi’s Otello conducted by Riccardo Muti. Its recording of Verdi’s Requiem with the Chicago Symphony Orchestra under the direction of Riccardo Muti received the Grammy Award for Best Choral Performance, the Chorus’s tenth win in that category. The history of the Chicago Symphony Now in its fifty-sixth season, the critically Chorus goes back to 1957, when music direc- acclaimed Chicago Symphony Chorus has been tor Fritz Reiner invited to led by chorus director and conductor Duain establish a chorus on a par with the quality of Wolfe since 1994. the Orchestra. The new ensemble soon achieved Following successful collaborations with an international reputation, with concerts Riccardo Muti in his inaugural season as music in Chicago, tours in the and director, the Chorus sang Carmina Burana with abroad, and many award-winning recordings. Muti at both Millennium Park and to open the Memorable achievements include critically 2012–13 season at New York’s Carnegie Hall. acclaimed performances of Schoenberg’s Moses In 2007–2008, the Chorus celebrated its and Aron and Brahms’s A German Requiem fiftieth-anniversary season with a special concert with the Orchestra at the Berlin Festtage in showcasing the extraordinary talent and musical March and April 1999. breadth of the ensemble. Locally, Chicago Symphony Chorus members The Chorus’s discography includes many have performed at numerous events around the hallmarks of the choral repertoire, including city, including the Tree Lighting Ceremony Beethoven’s Missa solemnis and Ninth Symphony, at Macy’s; the National Anthem at Chicago Bach’s B minor mass, Brahms’s A German Bulls basketball games; and appearances on Requiem, and Orff’s Carmina Burana. The local news features for ABC 7, NBC 5, and Chorus is featured on several recordings on the WTTW 11.

43 Chicago Symphony Chorus Duain Wolfe Chorus Director and Conductor Cheryl Frazes Hill Associate Director Don H. Horisberger Associate Director William Chin Assistant Director

Paul Aanonsen Stephen C. Edwards Lee Lichamer Meaghan Stainback Gretchen Adams Daniel Eifert Allan K. Lindsay Corrie Stallings Geoffrey Agpalo Mark Eldred Sara Litchfield Susan Palmatier Steele Michele Braché Agpalo Jared Velasco Esguerra Kathleen Madden Margaret Stoltz Alicia Monastero Akers Nicholas Falco Kevin McKelvie Josefien Stoppelenburg Melissa Arning Carelle Flores Bill McMurray Alan Taylor Rebekah Kirsten Askeland Henriët Fourie Mark James Meier Andrea Amdahl Taylor Lauren Auge Kirsten Fyr Kaileen Erin Miller Dane Thomas Deborah B. Bard Ace T. Gangoso Zachary Miller Paul W. Thompson* Michael Barrette Klaus Georg Eric Miranda Matthew Thurman Mary Ann Beatty Dimitri German Rebecca S. Moan Scott Uddenberg Rebecca Berger Jennifer Gingrich* Randall E. Moore Sarah van der Ploeg Sammi Block Carl Glick Keith A. Murphy Patrick Volker Laura Boguslavsky Rachel A. Goldstein Lillian Murphy Alison Wahl Madison Bolt David Govertsen Nathan S. Oakes Elizabeth Walker Michael Boschert Mary Lutz Govertsen Máire O’Brien Vince Wallace Carolyn Boudreau Nida Grigalaviciute Rachel Olson Aaron Wardell Heather Braoudakis Elizabeth A. Grizzell Sheri Owens Clarice Warrick Michael Brauer Kimberly Gunderson Wha Shin Park Nikolas Wenzel Evan Bravos Deborah Guscott Wilbur Pauley Eric West Michael Brown Amy Gwinn-Becker Elda Peralta Debra Wilder Terry L. Bucher Elizabeth Haley Douglas Peters Charles L. Wolter Erich Buchholz Kevin Michael Hall Amy Pickering Lucas Wood Jennifer Kerr Budziak* Michael Randall Hawes Nancy Pifer Angela Young Smucker Diane Busko Bryks DaRell Haynes Cari Plachy Anastasia Cameron Black Nina Heebink Sarah Ponder* MANAGER Alaina Carlson Mary Catherine Helgren Elvira Ponticelli Carolyn D. Stoner Michael Cavalieri Adam Lance Hendrickson Robert J. Potsic ASSOCIATE MANAGER William Chin Daniel Julius Henry, Jr. Angela Presutti AND LIBRARIAN Joan Cinquegrani Betsy Hoats Margaret Quinnette Marjorie Johnston Joseph Cloonan Don H. Horisberger Timothy J. Quistorff Amanda Lauren Compton Taylor Jacobson Katherine Reardon LANGUAGE COACH Katy Compton Carla Janzen Patrick Reardon Alessandra Visconti Natalie Conseur Garrett Johannsen Peder Reiff Tamaron Conseur Marjorie Johnston Stephen Richardson REHEARSAL PIANISTS Ryan J. Cox* Kathryn Kamp Alexia Rivera* John Goodwin Sandra Cross Alison Kelly Benjamin D. Rivera* Sharon Peterson Robert Cunningham Robin A. Kessler Nicoleta Roman Terree Shofner Emrich Beena David Tasha Koontz Matthew W. Schlesinger* Patrick Sinozich Jenna Dickey Lisa Kotara Cole Seaton Micah A. Dingler Susan Krout Cindy Senneke Hannah Dixon McConnell Mathew Lake Caitlin Shirley Katarzyna Dorula Nancy A. Lass Kristy Sims The chorus was prepared for these Jeffrey Duke Rosalind Lee Anne Slovin performances by Duain Wolfe. Thomas E. Dymit Kristin Lelm Joseph Smith Stacy Eckert Kirsten Therese Leslie Elena Snow *Indicates section leader

43A Duain Wolfe Chorus Director

Now in his twentieth founded and conducted for twenty-five years. season as director of the Also active as an opera conductor, he served as Chicago Symphony conductor of the Central City Opera Festival for Chorus, Duain Wolfe has twenty years. prepared over a hundred Among the many performances for which programs in Orchestra Wolfe has prepared the Chorus are Cherubini’s Hall and at the Ravinia Requiem, Brahms’s A German Requiem, Orff ’s Festival, as well as a Carmina Burana, and Verdi’s Requiem and dozen works for commer- Otello—all of which were conducted by CSO cial recordings. Wolfe music director Riccardo Muti. World premieres also directs choral works at the Aspen Music include John Harbison’s Four Psalms and Festival and the National Arts Centre in Ottawa, Bernard Rands’s apókryphos, both commissioned and he is founder-director of the Colorado by the CSO. Symphony Chorus, a position he maintains along Wolfe also prepared the Chicago Symphony with his Chicago Symphony Chorus post. Chorus for its Carnegie Hall performances of Winner of two 2010 Grammy awards (Best Orff ’s Carmina Burana under the direction of Choral Performance, Best Classical Album) for Riccardo Muti in October 2012; Verdi’s Otello the Chicago Symphony Orchestra’s recording of and Berlioz’s Lélio in 2011 under the direction Verdi’s Requiem with Riccardo Muti, in 2012, of Riccardo Muti; Beethoven’s Ninth Symphony Wolfe received the Michael Korn Founders with the Staatskapelle Berlin in 2000, with Award from Chorus America in recognition of Daniel Barenboim; and for performances of his contributions to the professional choral arts. Schoenberg’s Moses und Aron (led by Pierre He also prepared the Chicago Symphony Chorus Boulez) and Brahms’s A German Requiem (led for the Grammy Award–winning recording of by Daniel Barenboim) at the Berlin Festtage Wagner’s Die Meistersinger von Nürnberg with Sir in 1999. Georg Solti, and for the CSO’s newest release— Wolfe’s activities have earned him an honor- Verdi’s Otello conducted by Riccardo Muti. ary doctorate and numerous awards, including Well known for his work with children, in the Bonfils Stanton Award in the Arts and 1999, Duain Wolfe retired from the Colorado Humanities, and the Colorado Governor’s Award Children’s Chorale, an organization that he for Excellence in the Arts.

43B CHICAGO SYMPHONY ORCHESTRA ASSOCIATION

Now in its 123rd season, the Chicago Symphony following. The label’s release of Verdi’s Requiem Orchestra (CSO) is consistently hailed as one by the Orchestra and Chorus—Muti’s first with of the greatest orchestras in the world. Its music the CSO—won two 2010 Grammy awards. In director since 2010 is Riccardo Muti, one of the total, CSO recordings have earned sixty-two preeminent conductors of our day. Grammys. International audiences also enjoy Since its founding by Theodore Thomas in the CSO and Chorus through the CSO Radio 1891, the CSO has been led by illustrious music Broadcast Series, a weekly broadcast to more directors. Thomas was followed by Frederick than three hundred markets nationwide on the Stock, Désiré Defauw, Artur Rodzinski, Rafael WFMT Radio Network and on cso.org. Kubelík, Fritz Reiner, Jean Martinon, Sir Georg In addition to presenting the Orchestra and Solti, and Daniel Barenboim. From 2006 to Chorus, the CSOA—under the banner of a 2010, was principal conductor, series called Symphony Center Presents—offers the first in CSO history. The venerable Pierre dozens of concerts each year featuring prestigious Boulez was appointed principal guest conduc- guest artists of classical, jazz, pop, world, and tor in 1995 and was named Helen Regenstein contemporary music Conductor Emeritus in 2006. Annually, the CSOA engages more than The musicians of the CSO annually perform 200,000 children, teens, and adults of diverse more than 150 concerts, most at Symphony incomes and backgrounds in the programs of Center in Chicago and, since 1936, at the its Institute for Learning, Access and Training. suburban each summer. Many These include concerts for children, programs for performances include the Chicago Symphony teachers and community groups, and low-cost Chorus, led by chorus director and conductor and free rehearsals and performances, including Duain Wolfe. a free annual community concert by the CSO led The CSO also performs in other U.S. cities by Maestro Muti. The Institute also includes the and frequently tours internationally. Beginning Civic Orchestra of Chicago, the only training in 1892 with a tour to Canada, the Orchestra ensemble for young adult preprofessionals affili- has performed in twenty-eight countries on five ated with American orchestra. continents. Since 1971, the CSO has toured All Institute programs are based on the Europe thirty times, most recently visiting Italy concept of Citizen Musicianship, using and and Russia in 2012. The Orchestra has traveled promoting the power of music to contribute to to Asia seven times—most recently in 2013— our culture, our communities, and the lives of and once each to Australia and South America. others. Celebrated cellist Yo-Yo Ma has been In 2012, the CSO toured in Mexico for the first the CSOA’s Judson and Joyce Green Creative time. Whether at home or on tour, tickets are Consultant since 2010. He provides vision and always in high demand and frequently sold out. leadership to the Citizen Musician Initiative The CSO’s Mead Composers-in-Residence and serves as a partner to Maestro Muti and currently are and Anna Clyne. They Deborah F. Rutter, president of the CSOA curate the CSO’s contemporary music series, since 2003. MusicNOW, whose principal conductor is Cliff A nonprofit charitable organization, the Colnot. Another innovative series, Beyond the CSOA is governed by a board of trustees, now Score, weaves together theater, imagery, and music chaired by Jay L. Henderson. Tens of thou- to draw new audiences into the live concert hall. sands of subscribers and donors support the The Orchestra and Chorus are part of the CSOA, along with thousands of volunteers Chicago Symphony Orchestra Association through the CSOA’s Auxiliary Volunteers (CSOA). In 2007, the CSOA founded a record program, Governing Members Association, label, CSO Resound. The label builds on the Latino Orchestra Alliance, League of the CSO, CSO’s long history of commercial recording, Overture Council, and Women’s Board. which began in 1916, and which has been instru- mental in creating the Orchestra’s worldwide www.cso.org

44 CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI Music Director

Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Duain Wolfe Chorus Director and Conductor Mason Bates, Anna Clyne Mead Composers-in-Residence

VIOLINS CELLOS CLARINETS TIMPANI Robert Chen John Sharp Stephen Williamson§ David Herbert Concertmaster Principal Principal Principal The Louis C. Sudler The Eloise W. Martin Chair John Bruce Yeh Vadim Karpinos Chair, endowed by an Kenneth Olsen Assistant Principal Assistant Principal anonymous benefactor Assistant Principal Gregory Smith Stephanie Jeong The Adele Gidwitz Chair J. Lawrie Bloom PERCUSSION Associate Concertmaster Karen Basrak Cynthia Yeh Cathy and Bill Osborn Chair Loren Brown E-FLAT CLARINET Principal David Taylor Richard Hirschl John Bruce Yeh Patricia Dash Yuan-Qing Yu Daniel Katz Vadim Karpinos BASS CLARINET Assistant Concertmasters* Katinka Kleijn James Ross J. Lawrie Bloom So Young Bae Jonathan Pegis PIANO Cornelius Chiu David Sanders BASSOONS Mary Sauer Alison Dalton Gary Stucka David McGill Principal Gina DiBello Brant Taylor Principal Kozue Funakoshi William Buchman LIBRARIANS BASSES Russell Hershow Assistant Principal Peter Conover Alexander Hanna Qing Hou Dennis Michel Principal Principal Nisanne Howell Miles Maner Carole Keller The David and Mary Winton Blair Milton Mark Swanson Paul Phillips, Jr. Green Principal Bass Chair CONTRABASSOON Sando Shia Daniel Armstrong Miles Maner ORCHESTRA PERSONNEL Susan Synnestvedt Roger Cline John Deverman Rong-Yan Tang Joseph DiBello HORNS Director Michael Hovnanian† Daniel Gingrich Baird Dodge Anne MacQuarrie Robert Kassinger Acting Principal Principal Manager, CSO Auditions and Mark Kraemer James Smelser Sylvia Kim Kilcullen Orchestra Personnel Stephen Lester David Griffin Assistant Principal Bradley Opland Oto Carrillo STAGE TECHNICIANS Lei Hou Susanna Gaunt Kelly Kerins Ni Mei HARPS Stage Manager Fox Fehling Sarah Bullen TRUMPETS Dave Hartge Hermine Gagné Principal Christopher Martin James Hogan Rachel Goldstein Lynne Turner Principal Christopher Lewis Mihaela Ionescu The Adolph Herseth Principal Patrick Reynolds Melanie Kupchynsky FLUTES Trumpet Chair, endowed by Todd Snick Wendy Koons Meir Mathieu Dufour an anonymous benefactor Joe Tucker Aiko Noda Principal Mark Ridenour Joyce Noh The Erika and Dietrich M. Assistant Principal Nancy Park Gross Chair John Hagstrom Ronald Satkiewicz Richard Graef Tage Larsen Florence Schwartz-Lee Assistant Principal Jennie Wagner Louise Dixon TROMBONES Jennifer Gunn Jay Friedman VIOLAS Principal Charles Pikler PICCOLO Michael Mulcahy Principal Jennifer Gunn Charles Vernon Li-Kuo Chang Assistant Principal OBOES BASS TROMBONE *Assistant concertmasters are The Louise H. Benton Eugene Izotov Charles Vernon listed by seniority. Wagner Chair Principal †On sabbatical John Bartholomew The Nancy and Larry TUBA Catherine Brubaker Fuller Chair Gene Pokorny §On leave Diane Mues Michael Henoch Principal Assistant Principal The Arnold Jacobs Principal The Chicago Symphony Orchestra Lawrence Neuman string sections utilize revolving Yukiko Ogura Gilchrist Foundation Chair Tuba Chair, endowed by Lora Schaefer Christine Querfeld seating. Players behind the first Daniel Orbach desk (first two desks in the violins) Scott Hostetler Max Raimi change seats systematically every Weijing Wang ENGLISH HORN two weeks and are listed alphabet- Thomas Wright† Scott Hostetler ically. Section percussionists also are listed alphabetically.

45 The Chicago Symphony Orchestra is grateful to

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for its generous support as the Global Sponsor of the CSO.

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45A