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Home , A Flowering Tree, Kenneth Schermerhorn, Lacrimosa (Requiem), Leopold Hager, Requiem (Berlioz), Requiem (Duruflé)

Verdi’s WITH THE & CHORUS FEATURING THE OF HOPE

CLASSICAL SERIES

THURSDAY, MAY 31, AT 7 PM | FRIDAY & SATURDAY, JUNE 1 & 2, AT 8 PM

NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CLASSICAL SERIES TUCKER BIDDLECOMBE, chorus director PRESENTING PARTNER ERIKA SUNNEGÅRDH, MICHELLE DEYOUNG, mezzo-soprano ALEXEY DOLGOV, ERIC OWENS,

GIUSEPPE VERDI Requiem Requiem and MEDIA PARTNER ()

– INTERMISSION –

Offertorio (Domine Jesu) Agnus Dei The performances of Verdi's Lux aeterna Requim are made possible through the generosity of Steve and Judy Turner.

This concert will run approximately one hour and 45 minutes, including a 20-minute intermission. to conduct a partnership with the Nashville Symphony to make our community a better place to live and work.

INCONCERT 17 GIUSEPPE , who had died in November. Verdi lined up a dozen other Italian composers, each of VERDI whom was to contribute a separate movement for a TONIGHT’S CONCERT Requiem that would be performed on the anniversary of Rossini’s death. Even though the miscellaneous Born on October 9 or 10, parts were collected, financial squabbling and 1813, Le Roncole, ; died other unpleasantness scuttled performance plans.

AT A GLANCE CLASSICAL on January 27, 1901, in Milan The memorial Requiem was dropped, to Verdi’s disgust, but he later returned to the movement he had completed in 1869 — the concluding “Libera me” — Requiem and incorporated it into his Requiem for Manzoni. Perhaps the most striking of the several paradoxes Composed: 1873-74; the “Libera Me” was associated with the Requiem (known in Italian as composed in 1869 Messa da Requiem) is that the stark reality of death First performance: May 22, 1874, at San Marco inspired a rejuvenating revival of creative energy. in Milan, with the composer Verdi, an avowed freethinker who flouted convention First Nashville Symphony performance: and had little faith in the institutional Catholicism March 10, 1953 at Ryman Auditorium with in which he had been raised, was driven to write music director Guy Taylor GIUSSEPE VERDI music of soul-stirring profundity in response to the Requiem Estimated length: 90 minutes ecclesiastical ritual. The Requiem stands apart not just within the composer’s career, but also within the • Verdi composed his Requiem as a tribute to , the leading figure of 19th- iuseppe Verdi’s passionate love of literature era. Few other works from the 19th century’s second century Italy, following the novelist’s death in 1873. He rushed to complete the score in time half rival Verdi’s in successfully breathing a fresh for the first anniversary of Manzoni’s passing and conducted the premiere in Milan’s San Gis reflected in the sources he chose to adapt Marco church, where the funeral had been held. throughout his operatic career. They range from spirit of individuality into the enervated tradition of Shakespeare and Schiller to contemporaries like Hugo sacred music. One parallel that does come to mind • Though largely composed in 1873-74, the Requiem had its beginnings in 1868, when Verdi had is Brahms, another artist whose religious skepticism attempted to organize a collaborative tribute to Gioachino Rossini, who’d died in November and Dumas. Yet it was an actual person — the man of that year. Verdi lined up a dozen other composers, each of whom was to contribute a revered as the leading literary figure of 19th-century did not restrict his capacity to explore deeply spiritual movement for a Requiem in honor of Rossini. The project fell apart, but Verdi held on to his Italy — whose death prompted Verdi to complete intuitions in A German Requiem (1868). own contribution — the Libera me — and used it for his own Requiem several years later. one of his most striking masterpieces. With ’s triumphant premiere in 1871, Verdi • The Requiem is epic in scale, calling for a full orchestra including eight , four vocal Novelist, poet and patriot Alessandro Manzoni was eager to draw the curtain on his composing soloists and double chorus. The wide emotional range and musical breadth of the work (1785-1873) had been an icon ever since Verdi was career and spend his remaining years in comfortably contributed to its success during Verdi’s day and its sustained popularity in the years since. a teenager, when he devoured I promessi sposi (The secluded retirement. But the Manzoni project revived • One paradox of this work is that Verdi himself was not religious and had little faith in the Betrothed), Manzoni’s groundbreaking historical his need for musical expression, which gives the score Catholicism in which he’d been raised. Yet he was able to write music of soul-stirring profundity novel. Published in the mid-1820s, the book is both its remarkable scope and its urgency. Verdi working within the conventions of the Requiem text. treasured as the foundational epic of modern Italian tapped once more into the well, foreshadowing the • Verdi’s experience as an composer influenced the music he composed for the Requiem. literature, but the author himself became a cultural miraculous reemergence of creative powers in his In addition to bringing his considerable musical knowledge to bear on this work, he recycled hero and exemplar during Italy’s struggle for national final years, when he composed and a tune from a duet he wrote (but did not use) for his opera Don Carlo. unification. (In this respect, Manzoni’s life suggests following yet another period of silence. • Even taking into account these musical influences, the Requiem is something far greater than uncanny parallels with Verdi’s.) As far as Verdi was The conductor Hans von Bülow, a champion of “an opera in churchly robes,” as the conductor Hans von Bülow once put it. The composer concerned, Manzoni was a secular saint, one he both Wagner and Brahms, notoriously dismissed himself noted that “one must not sing the Mass as one sings an opera,” and the resulting preferred to the official ones. Manzoni’s death in the Requiem — without even bothering to attend work transcends both opera and liturgical music to become something unprecedented and cosmic in scope. 1873 moved the composer to undertake a setting of the premiere — as “an opera in churchly robes.” the Requiem Mass, which he rushed to complete in Later recanting this flippant verdict, he came to • Rather than voicing individual characters in this work, the four vocal soloists emerge as time for the first anniversary of Manzoni’s passing, share the opinion of his friend Brahms, who found archetypes for the human condition, while the chorus represents the larger community that shapes our collective experience. conducting the premiere in May 1874 in the writer’s it the product of true genius. Still, both admirers native Milan (in the very same church, San Marco, and detractors of Verdi have often resorted to where the funeral had been held). Bülow’s image of the Requiem as a disguised opera Only once did Verdi meet Manzoni in person, in to explain its peculiar emotional character. This 1868. That year, the idea of a Requiem first took hold in assessment is ultimately a distraction and doesn’t Verdi’s mind — but in honor of another cultural hero, bring us any closer to understanding what is so

18 JUNE 2018 INCONCERT 19 special about Verdi’s Requiem. After all, we can easily ideas, Verdi will generate much of the Requiem’s later also alludes to actual “churchly” traditions through As this sinks into the lower depths, the opening find moments in the sacred music of Handel or material. In the Kyrie, the soloists emerge for the his use of counterpoint and chant-like elements. Requiem sequence returns, beautifully reconfigured CLASSICAL Mozart that would be perfectly well-suited to the first time with all their individuality, as the musical The Sanctus divides the chorus into two bodies, yet for soprano and a cappella chorus. With moving opera house, and Beethoven’s Missa Solemnis may character warms up and gains a new richness from there is nothing ponderous about the music, which symmetry, Verdi has taken us back to where we be his most successful opera. Conversely, several of the addition of woodwinds. whizzes by in a frothy, joy-filled fugue. In contrast, started. As a capstone for the work, he introduces Verdi’s include scenes that hauntingly evoke When setting the traditional Requiem, some the haunting but simple Agnus Dei is Verdi’s modern- another extraordinary fugue. Its intensity at last (and sometimes parody) a “religious” atmosphere. composers emphasize the need for consoling day gloss on chant. The movement proceeds as a wanes, the complex profusion of lines coming to

Certainly, Verdi did avail himself of the rich the survivors, while others focus on the act of series of textural variations on a repeated melody: rest on a repeated monotone of C. Instead of certain CLASSICAL experience he had accrued in manipulating the pleading for the deceased. Verdi’s treatment is far the soprano and mezzo, who sing an octave apart, triumph, Verdi ends with a prolonged chord that rhetoric of opera throughout his career. Echoes of more encompassing, fueled by a cosmic quest for alternate with the chorus. sounds at once final and unresolved. Aida or Don Carlo are readily apparent — Verdi redemption. The immense space allotted to the 10- The “Lux aeterna” contains hints of a death march even recycled the tune from an unused duet he had part “Dies irae” (also known as the Sequentia), lasting but moves toward transcendent hope. As the “Libera The Requiem is scored for 3 (3rd doubling written for the latter in the “” — while the nearly 40 minutes, cues us in to the epic scale of the me” begins, we realize that the soprano was absent piccolo), 2 , 2 , 4 , 4 horns, raging currents of the “Dies irae” prefigure Otello’s canvas on which Verdi is painting. Complete with from the preceding “Lux aeterna” in order to make 8 trumpets, 3 , , , storm music. The Requiem is a kind of testament hammer strokes from the bass drum, the tempest and a most dramatic entry in this concluding movement. and strings, as well as soprano, mezzo, tenor and in which Verdi gathers all his musical knowledge, terror of the “Day of Judgment” thrill us with music Verdi divides this movement into several sections bass soloists and double chorus. but he also intensifies this into something new and that has become the sonic signature of the Requiem, to powerful effect. At first, the soprano is dazed, unprecedented. The very fact of writing a Requiem yet this is but one part of a tremendous emotional stammering with anxiety — as if about to embark on — Thomas May, the Nashville Symphony’s program annotator, is a writer and translator who covers classical and contemporary seemed to liberate Verdi from the constraints of spectrum. The entire movement can be heard as a a mad scene. Verdi then briefly recapitulates the “Dies music. He blogs at memeteria.com. psychological realism and the limiting conventions microcosm of the Requiem as a whole, reenacting irae,” which had crept in as a barely subdued threat. of the opera stage alike. The composer himself the work’s shifting poses of fear, anxiety, hope, distinguished this score from his usual operatic style, remembered faith. So, too, the singers’ perspectives cautioning that “one must not sing the Mass as one are never constant, continually alternating between ABOUT THE SOLOISTS sings an opera.” observers and participants, commentators and agents, at Teater Hedeland and Norma at the Hessisches In other words, the Requiem allowed Verdi to as they express a range of conditions, from shell- ERIKA SUNNEGÅRDH Staatstheater . enliven the cosmic drama that he found in these shocked despair to childlike faith. soprano In concert, Sunnegårdh has performed with the liturgical texts with an undiluted and sustained This is why the principle of contrast — in mood, Philharmonic, Gewandhaus Orchestra Leipzig, musical expressiveness. The four soloists emerge texture, vocal setting, instrumentation and dynamics ince her critically acclaimed the RAI Orchestra, Auckland Philharmonic, Danish as archetypes for the individual human condition, — is so essential to Verdi’s musical strategy. After Soperatic debut in 2004 in Philharmonic, Gothenburg Symphony, Malmö with the chorus representing the larger community the onslaught of the “Dies irae,” the call of the last the role of Turandot at the Symphony, The Orchestra among whom our lives unfold. The orchestra, too, trumpets — performed by eight players, in one of Malmö Opera and her much- at Carnegie Hall, Milwaukee Symphony, Royal is given a crucial role as Verdi uses its intricate Verdi’s experiments with spatial acoustics — builds a publicized MET debut as Fidelio/Leonore in 2006, Stockholm Philharmonic, Swedish Radio Symphony textures to weave a sense of symphonic cohesion. sense of inexorable tension as a prelude to the “Tuba Swedish-American soprano Erika Sunnegårdh and others. Alongside these unifying impulses, he endows each mirum.” Nerve-shattering pauses draw us closer in, has established herself as a unique and touching Highlights of Sunnegårdh’s 2017/18 season have of the Requiem’s seven movements with brilliantly while the solo bass stops short at the black reality of artist, praised for her ability to integrate intelligent included the world premiere of Sebastian Fagerlund’s distinctive colors — not unlike the tinta, or individual death, tripping on the word mors. An extraordinary musicianship with uncompromisingly fearless and adaptation of Ingmar Bergman’s filmHöstsonaten , color, he famously ascribed to each of his operas. diversity of vocal combinations follows (several solo emotionally nuanced characterizations. in which she portrays the devoted yet neglected Although the premiere took place in the context of arias, a duet, a trio and two ), with beautiful Particularly at home with the music of Strauss, daughter of concert pianist Charlotte Andergast; church liturgy, Verdi clearly seems to have intended a cappella writing reserved for the “.” Verdi Beethoven, Puccini and Wagner, Sunnegårdh has Janáček’s Glacolitic Mass with the Monte Carlo the Requiem for secular performance, where the chooses selectively from his orchestral palette to performed the roles of Kaiserin in Die Frau ohne Philharmonic and Juraj Valcuha; and a reunion with focus could be on the music itself. find just the right tint: eloquently mournful Schatten; Chrysotemis in Elektra; the title role of conductor Gianandrea Noseda for Salome in Torino. in “Quid sum miser” and for the lullaby-like Salome; Tosca at the Oper Frankfurt, Deutsche Sunnegårdh studied at the Vocal Arts sweetness of the “Recordare.” The storm that opened Oper Berlin, Royal Stockholm Opera, Oper Köln WHAT TO LISTEN FOR Institute, Tanglewood Music Center, the Britten- the “Dies irae” returns several times, like a fate motif, and Nashville Opera; Turandot with the Deutsche Oper Berlin, The Metropolitan Opera, the Bregenzer Pears School for Advanced Musical Studies, the he mysterious, nearly inaudible beginning of the while the movement’s close anticipates the ambiguity Festspiele and the Royal Stockholm Opera; and International Institute of Vocal Arts in Italy and the sets the work in motion with a deeply we will hear at the end of the work. T Senta in Der Fliegende Holländer at the Oslo Opera, undergraduate program at the Manhattan School of touching eloquence. Slowly, several thematic and In the Offertorio, “Domine Jesu Christe” unfurls Oper Köln and Atlanta Opera. She has also given Music. In 1999, she completed her Master of Arts harmonic motifs coalesce from the darkness and in a rainbow of melody, while the splendid acclaimed dramatic portrayals of Verdi’s Lady degree at the Aaron Copland School of Music at take shape, including a conspicuously descending writing takes an ecstatic turn in the “Hostias.” Not at the Glyndebourne Festival, Abigaille Queens College. figure and a close-knit chromatic one. From these only does Verdi draw on his operatic experience, he

20 JUNE 2018 INCONCERT 21 Orchestra, both under the baton of Esa-Pekka MICHELLE DEYOUNG ALEXEY DOLGOV ERIC OWENS Salonen; and Beethoven’s Symphony No. 9 with the

CLASSICAL mezzo-soprano tenor bass Chicago Symphony Orchestra. Owens is featured on two Telarc recordings with ichelle DeYoung has iberian tenor Alexey ass- Eric the Atlanta Symphony: Mozart’s Requiem and scenes established herself Dolgov’s performances Owens has a unique M S B from Strauss’ Elektra and Die Frau ohne Schatten. He as one of the most exciting have gained him critical reputation as an esteemed is also featured on the Nonesuch Records release of artists of her generation. She acclaim for his “clarion interpreter of classic works ’ A Flowering Tree. appears frequently with many of the world’s leading tenor” (Montreal Gazette) and “naturalness and and a champion of new music. Equally at home in CLASSICAL In the 2017/18 season, Owens returns to the , including the , superb timing” (Metro Weekly, Washington D.C). orchestral, recital and operatic repertoire, he brings Lyric Opera of Chicago to make his debut as Wotan Boston Symphony Orchestra, Chicago Symphony He “shines as an actor,” says the Washington Post. his powerful poise, expansive voice and instinctive in David Pountney’s new production of Wagner’s Orchestra, The Orchestra, San Francisco Dolgov has sung leading roles on the stages of acting faculties to stages around the world. Die Walküre, and he sings in Janáček’s The Cunning Symphony, Los Angeles Philharmonic and The Met Metropolitan Opera (in New York and on tour), Owens’ career operatic highlights include Alberich Little Vixen at the Glimmerglass Festival, where he Orchestra (in Carnegie Hall), and she has performed Bayerische Staatsoper (in and on tour), in the Metropolitan Opera’s Ring cycle; his San will serve as artist in residence and artistic advisor. in some of the world’s finest opera houses. The 2015 Washington National Opera, Deutsche Oper Berlin, Francisco Opera debut in Otello; his Royal Opera, Owens has been recognized with multiple artist in residence at Wolf Trap Opera, DeYoung Opera dell’Opera di Roma, Teatro Real , Covent Garden, debut in Norma; Vodnik in honors, including Musical America’s 2017 Vocalist has also appeared in the prestigious festivals of Liceu Barcelona, Opéra de Nice, , at Lyric Opera of Chicago; the title role in Handel’s of the Year award, the 2003 Marian Anderson Award, Ravinia, Tanglewood, Aspen, , Saito Kinen, New Israeli Opera, Saito Kinen Festival, Baden- Hercules with the Canadian Opera Company; Aida a 1999 ARIA award, second prize in the Plácido Edinburgh, , Saint-Denis and Lucerne. Baden Festival, Théâtre des Champs-Elysées Paris, at Houston Grand Opera; , and Domingo Operalia Competition, the Metropolitan Her numerous appearances include the title roles Royal Opera House Covent Garden, Opera Lucerne, La bohème at Los Angeles Opera; Die Zauberflöte Opera National Council Auditions and the Luciano in Samson et Dalila and The Rape of Lucretia; Fricka, Athens Megaron, Bolshoi Theatre , Opéra de for his Paris Opera (Bastille) debut; and Ariodante Pavarotti International Voice Competition. Sieglinde and Waltraute in The Ring Cycle; Kundry in Montréal, The Dallas Opera, La Monnaie, Deutsche and L’Incoronazione di Poppea at the English A native of Philadelphia, Owens began his Parsifal; Venus in Tannhäuser; Brangäne in Tristan Staatsoper Berlin, Orchestre Philharmonique du National Opera. musical training as a pianist at age 6, followed by und Isolde; Herodias in Salome; Eboli in ; Luxembourg, Houston Grand Opera, Los Angeles Symphonic highlights of Owens’ recent seasons formal study at 11. He studied voice while an Amneris in Aida; Santuzza in Cavelleria Rusticana; Opera, Teatro Municipale (Salerno) include performances of Verdi’s Requiem with the undergraduate at Temple University and as a graduate Marguerite in Le Damnation de Faust; Judith in and Teatro Comunale Trieste. New York Philharmonic and the Toronto Symphony student at the Curtis Institute of Music. Bluebeard's Castle; Didon in Les Troyens; Gertrude In concert, Dolgov has performed with Swedish Orchestra; Ravel’s L’enfant et les sortilèges with the in Hamlet; and Jocaste in Oedipus Rex. DeYoung also Radio Symphony Orchestra, the Olso Philharmonic Swedish Radio Symphony and Chicago Symphony created the role of the Shaman in Tan Dun’s The First (with whom he recently recorded Scriabin’s Emperor at the Metropolitan Opera. Symphony No. 1), Rotterdam Philharmonic Orchestra DeYoung’s recording of Kindertotenlieder and Mahler’s and Luxembourg Philharmonic Orchestra. He has Symphony No. 3 with Michael Tilson Thomas and worked with conductors including Placido Domingo, the San Francisco Symphony was awarded the 2003 Vasily Petrenko, Daniel Harding, Semyon Bychkov, DO YOU LIKE GRAMMY® Award for Best Classical Album. She also , Kirill Karabits, Gianandrea Noseda, won the 2001 GRAMMY® for Best Classical Album Alexander Shelley, Philippe Auguin, Patrick Summers, TO SING? and Best Opera Recording for Les Troyens with Sir Alain Altinoglu, Dan Ettinger, Leo Hussain, Robin and the London Symphony Orchestra. Ticciati, Renato Palumbo, Omer Meir Wellber, Her growing discography includes recordings Leopold Hager and Dmitri Jurowski. of Mahler’s Symphony No. 3 with the Chicago This season includes his debut at Scottish Opera NASHVILLE SYMPHONY CHORUS Symphony Orchestra and Pittsburgh Symphony, as Vaudémont in , his debut at Seattle Opera Bernstein’s Symphony No. 1 “Jeremiah” with the as Pinkerton in Madama Butterfly, and returns to IS SEEKING NEW SINGERS BBC Symphony Orchestra and Leonard Slatkin, Das the Bayerische Staatsoper as Pinkerton in Madama Klagende Lied with the San Francisco Symphony and Butterfly and to New Israeli Opera as Rodolfo in La If you love to sing, then consider joining the Nashville Symphony Chorus! Michael Tilson Thomas, and Das Lied von der Erde bohème. with the Minnesota Orchestra. Dolgov continues to work as a principal soloist Auditions for new chorus members will be held on July 22 and August 29 In the 2017/18 season, DeYoung makes her debut at the Bolshoi Theatre in Moscow. On the concert at Schermerhorn Symphony Center. at the as Amneris in a new platform, he appears this season with the Orquesta Auditions will be five minutes in length and will consist of: production of Aida. She also appears in concert with y Coro Nacionales de España, while future seasons • A brief musicianship quiz the Sydney Symphony, , will see him make returns to The Metropolitan Opera • An excerpt of your choosing London Philharmonic, Hong Kong Philharmonic and Washington National Opera. • Sight-reading and the Dallas Symphony Orchestra. Dolgov began his singing studies at the Novosibirsk State Conservatoire in 2001 under Singers will be graded on pitch, accuracy and intonation; rhythmic accuracy; dynamic control, Rimma Zhukova. The following year, he moved to phrasing, expressiveness, and style; diction and vowel production; and tone quality, resonance, the Moscow Tchaikovsky State Conservatoire, where freedom, and control. he studied with Zurab Sotkilava. For more information and complete audition requirements, visit NashvilleSymphony.org/chorusauditions or email [email protected]. 22 JUNE 2018 INCONCERT 23 CELEBRATING 25 YEARS OF SERVICE

CLASSICAL Congratulations to the following Nashville Symphony Chorus members on their milestone season

LISA COOPER GRACE GUILL

isa Cooper’s love of music race Guill’s early musical began at an early age. She training began in church L G CLASSICAL NASHVILLE SYMPHONY CHORUS took lessons and sang and through piano lessons. TUCKER BIDDLECOMBE, director in a trio with two of her sisters She was very fortunate in throughout adolescence and her tiny community in South SOPRANO TENOR BASS early adulthood. Her choral experiences began in Georgia to have talented, trained musicians to Beverly Anderson† Carol E. Armes Eric Boehme Gilbert Aldridge college, when she sang with the Middle encourage and nurture her. Her first opportunity Esther Bae Kathy Bearden Calvin Bottoms Anthony R. Barta State University concert and chamber chorus. to participate in a chorus, other than church choir, Amie Bates Mary Callahan* Brett Cartwright Kevin Brenner After receiving her Bachelor of Music degree, she was in the Georgia Junior High All-State Chorus. Elizabeth Belden Cathi Carmack† David DuBose Matthew Clark Jill Boehme Kelsey Christian Joe A. Fitzpatrick James Cortner taught private piano and elementary school music, She continued to pursue similar choral opportunities Stephanie Breiwa Lisa Cooper Fred Garcia Nick Davidson conducting her school’s elementary chorus. throughout high school and college as a member of Christine Brosend Helen Cornell Danny Gordon* Kenton Dickerson Cooper began singing with the Nashville several more all-state choruses, the Andrew College Sara Jean Curtiss Janet Keese Davies Kory Henkel Daniel Elder* Symphony Chorus during Kenneth Schermerhorn’s Chorus and Choraliers, the Huntingdon College Claire Delcourt Carla M. Davis† William F. Hodge† Mark Filosa first year as conductor of the Nashville Symphony. Chorus and Singers, the Indiana University Opera Amanda Leigh Dier Marian Dorst Scott M. Karan Stuart Garber Katie Doyle Mary Hewlett Elder* John R. Manson George Goetschel She was thrilled to sing Beethoven’s Ninth Symphony Chorus and the Nashville Opera Chorus. Kat Drinkwater Cara Frank Lynn McGill Tim Goodenough with the maestro conducting, and it has been one of Guill began singing with the Nashville Symphony Becky Evans-Young Elizabeth Gilliam Andrew McKnight Duane Hamilton her favorite works since that time. Chorus and Chamber Chorus in the late 1970s Kelli Gauthier Debra L. Greenspan Alex Moore Richard Hatfield† Cooper took a few years off from the chorus under the direction of Scott Withrow. She had Rebecca Greer Judith Griffin Mark Naumann Jamie Hawkins while her daughters were young but returned to the the opportunity to perform under subsequent Grace J. Guill Leah Handelsman Ryan Norris Carl Johnson pastime she loves so much. In 1997, she traveled directors Sandra Willetts, Raphael Bundage, George Ally Hard Kathleen Hiltz Nathan Z. O'Connell Kenneth Keel Stacey Haslam Sidney Hyde Bill Paul Justin Kirby with the chorus to and , where the Mabry, Kelly Corcoran and current director Tucker Vanessa Jackson* Caroline Talbert John Perry Matthew Landers ensemble performed at the Moscow Conservatory, Biddlecombe. She has been privileged to perform Jené Jacobson Leah Koesten Keith E. Ramsey Bill Loyd Peterhoff Palace in St. Petersburg and at St. Ludwig’s under the batons of Michael Charry, Kenneth Carla Jones Stephanie Kraft John Mark Redding Rob Mahurin* Cathedral in Berlin. Schermerhorn, Leonard Slatkin, Giancarlo Guerrero Katie Lawrence Sarah Miller David M. Satterfield†* Bruce Meriwether Cooper has served as alto section leader, chorus and many wonderful guest conductors. Penny Lueckenhoff Barbara Miller Zach Shrout Andrew Miller Jennifer Lynn Asha Moody Daniel Sissom Christopher Mixon librarian and chorus president during her tenure. After a break from the Nashville Symphony Marcy McWilliams Stephanie Moritz Eddie Smith Steve Myers Some of her greatest memories include the opening Chorus to raise children and balance her career, Guill Alisha Menard Shelia Mullican Stephen Franklin Sparks† Jason Peterson of Schermerhorn Symphony Center, performances rejoined the group in 2002. Shortly after that, she Jean Miller Alexandra Niederle Joel Tellinghuisen Steve Prichard of Mahler’s Second and Eighth symphonies, Duruflé’s decided to make a career change and follow her dream Jessica Moore Lisa Pellegrin Christopher Thompson J Paul Roark† Requiem, Carmina Burana, Fauré’s Requiem and of being a choral conductor. She successfully applied Carolyn J. Naumann Annette Phillips Brett Trent Scott Sanders Handel’s Messiah. She has been honored to sing under the skills and techniques practiced in Symphony Jessie Neilson Ella Radcliffe Jordan Williams Jesse Sarlo Angela Pasquini Clifford Lauren Ramey Scott Wolfe Dan Silva the direction of Leonard Slatkin, Sir Neville Marriner, Chorus rehearsals to her school choruses at White Beth Pirtle Ring Stacy L. Reed John Logan Wood Merv Snider Nicholas McGegan and Giancarlo Guerrero. House Heritage High School until her retirement Deborah S. Schrauger Debbie Reyland Jonathan Yeaworth Larry Strachan Cooper looks forward to singing many more in 2017. Renita J. Smith- Jacqueline Scott David Thomas years with the Nashville Symphony Chorus and Highlights of Guill’s Symphony Chorus Crittendon Laura Sikes Alex Tinianow performing with the group when they tour the Czech experiences include the Nashville Symphony’s Ashlinn Snyder Madalynne Skelton Samuel Trump Anna Spence Sarah Stallings Brian Warford Republic in 2019. 2006 performance of Mahler’s Symphony No. 2 Jennifer Goode Stevens Allison Stokes Eric Wiuff with Michael Christie at TPAC and the opening of Clair Susong Melissa Swingle Schermerhorn Symphony Center with excerpts of Marva A. Swann Priscilla Wortman Debra Greenspan, the same work under the baton of Leonard Slatkin Marjorie Taggart President that same year. She has also enjoyed the opportunity Angela Thomas* Sarah Crigger, to sing under the direction of Giancarlo Guerrero. Jennice Threlkeld Librarian Additional highlights include Mendelssohn’s Elijah Jan Staats Volk† Jeff Burnham, Janelle Waggener Accompanist and Handel’s Messiah directed by Nicholas McGegan, Kathryn Whitaker Carmina Burana with the Nashville Ballet, and recent Sylvia R. Wynn * Section Leader Voices of Spring concerts. Callie Zindel † 25+ year members

24 JUNE 2018 INCONCERT 25