BOARD OF DIRECTORS & TRUSTEE COUNCIL

VSO BOARD OF DIRECTORS VSO TRUSTEE COUNCIL Michael R. McClellan, Chair Joan D. Aaron Dr. Robert Lovell and William Van Buren III, Vice Chair Carolyn Abbitt Dr. Elizabeth L. Becky Sawyer, Treasurer Warren L. Aleck Young Susan Goode, Secretary Charles Armfield Eleanor Marshall James F. Babcock Vincent J. Mastracco, Jr. Mari Ann Banks John B. Meek, Jr. Tanner Antonetti Mr. & Mrs. Bruce T. John & Pollie Morison Ray W. Breeden, Jr. Bishop Erwin Nachman Kate Broderick Patsy Carpenter James Newsom, III Minette Cooper Blackwell Dr. Ray C. Otte Nancy Creech R. Bruce Bradley Fran Pedersen Nathan H. Bundy, Jr. David L. Peebles Bill Downey William K. Butler II Mrs. Peggy Pezzella JoAnn Falletta Susan Colpitts G. Conoly Phillips Timothy Faulkner Susan Slayton Cowling Dr. Wendell J. Pile Barry Fletcher Page D. Cranford Jennifer S. Priest Leslie Friedman Bess Decker Louis F. Ryan Renée Howard Hon. Ray W. Dezern, Jr. Dr. & Mrs. Gary L. Ernestine Dole Schechter Howard Kern Allan & Susan Donn Katherine Schwartz Patrick D. McDermott* Betty Harmon Winthrop A. Short, Jr. Tom Meurer Edwards Cindy Smith Sarah Ortego Hon. E. John Field Edward B. Snyder Robert Petterson David R. Goode Helen Sonenshine Karen Philion Royden Goodson J. A. Stalnaker Carolyn Pittman Dr. Adolphus Chris Syllaba Hailstork Stephen G. Test Tom Reel Philip L. Hatchett Sen. Paul Trible Asa L. Shield, Jr. William Hearst Mark Warden Brenda Snow Doris Hunt Henry Watts Jim Spore Connie Jacobson Wayne F. Wilbanks Vanessa Allen Sutherland Terri & Marc Kirchner Blair Wimbush Rony Thomas Cynthia Lawson Lewis Witt Christos M. Xystros Donald Winchester

* Chair Emeritus VIRGINIA SYMPHONY FOUNDATION BOARD OF DIRECTORS Winthrop A. Short, Jr., Chair Robert Petterson, Treasurer Minette Cooper, Secretary Christina Goode Patrick D. McDermott Chris Johnson Jane Short Howard Kern Steven Winter A MESSAGE FROM THE BOARD CHAIR

Dear Friends and Patrons of the Virginia Symphony Orchestra,

elcome to the 99th season of the WVirginia Symphony Orchestra! I am honored to lead the Board of Directors that supports the artistry of our extraordinary group of resident musicians.

The Virginia Symphony is truly a regional asset of which we should all be tremendously proud. Your Symphony supports musical education, economic development, and community outreach throughout all of the cities of Hampton Roads. It is in many ways the core of Hampton Roads’ rich musical ecosystem: we are engaged and aligned with the Virginia Opera, the Virginia Arts Festival, the Bay Youth Orchestra, ODU, NSU, WHRO, the Neptune Festival and the Governor’s School for the Arts, just to name a few. These relationships not only leverage artistic capabilities and capacity, but are sound business as well.

Our footprint in Hampton Roads is already broad and deep, but the Virginia Symphony will continue to seek ways to reach more people throughout our diverse community. This year we will continue our partnership with Carnegie Hall’s LinkUp program which deepened the learning experience for more than 25,000 students in eleven different school districts who attend our Young People’s Concerts. New initiatives, like our “Generations in Unison,” in which VSO musicians work to improve the lives and cognition of Alzheimer’s and dementia patients, allow us to serve the community in new and meaningful ways. This season we’ll be expanding our work in health and wellness with sensory-friendly concerts, experiences specially designed to be inclusive of people on the autism spectrum.

This is an exciting time for the VSO. As you know, the VSO is currently undertaking a search for a successor to Maestro Falletta who is finishing 29 years as our Music Director this season. My wife, The Honorable Andria McClellan and I are leading the search for a new artistic leader, along with a very talented and dedicated group A MESSAGE FROM THE BOARD CHAIR of musicians and community members. Our objective in this search is to maintain the high level of musical excellence that you have come to expect, preserve the best programming traditions of the Symphony, and at the same time, inject new and innovative elements into our performances to expand the Symphony’s audience.

We are just one year away from the 100th Anniversary of the Virginia Symphony, an achievement few organizations can boast. Your VSO Board is not only committed to celebrating this anniversary in style, but also ensuring that our Symphony hits this milestone in the best fiscal and artistic shape possible.

The selection of a new Music Director will be critical to achieving this goal, but just as important is our strategic business plan. Stay tuned this season for an announcement of a major fundraising initiative to secure the financial future of the VSO. Like other orchestras around the country, the Virginia Symphony relies on private donations for more than half of its $6 million operating budget. In addition to the hundreds of generous patrons listed in this book who make annual contributions, the Symphony needs additional reliable annual revenue from a larger permanent endowment fund. Currently the VSO endowment stands at $4.5 million. Thank you to all who have and will invest in the long-term future of our regions only full-time professional orchestra.

My personal thanks to each and every one of you for your patronage and support of the Virginia Symphony Orchestra. We have a great season in store and I hope you join us for and enjoy every performance.

Mike McClellan

Michael R. McClellan is Vice President of Strategic Planning at Norfolk Southern. McClellan joined NS in 1998, having begun his transportation career in 1985. McClellan holds a BA from the University of Virginia and an MBA from the University of Cincinnati. While at UVA, Mike played the trombone in the Charlottesville Symphony and was director of the UVA Pep Band.

McClellan has served on the Virginia Symphony Orchestra since 2007 and was named Chair of the VSO Board in 2019. Along with his wife, Norfolk City Councilwoman Andria McClellan, he currently chairs the VSO’s Music Director Search Committee. He and Andria have three sons: Aidan, Lachlan and Roark.

A WORD ABOUT OUR CLASSICS SEASON FROM JOANN FALLETTA

his is a very poignant year for me, and I Tam writing a special love letter to you, our wonderful audience of (in some cases) almost three decades for me! In my final year as music director, I have so much to be thankful for, and your presence, support and passion for music are at the very top of that list. The 2019-20 season will help define the future of our extraordinary Virginia Symphony, as the decision is made as to who will lead the orchestra into the beginning of its “second century.” A hundred years of music in our region is a reason for tremendous pride, and I am so glad that I have had the chance to play a part in that legacy of music, and to bring the orchestra to the point of a new chapter.

This season holds new faces and new discoveries, and four special concerts for me, which will forever be added to my precious memories of our incredible musicians. Each holds something very meaningful to me— from the opportunity to present our symphony and chorus in Ravel’s spectacular Daphnis and Chloe, Strauss’ bittersweet Der Rosenkavalier Suite, and finally to perhaps the greatest masterpiece in our orchestral literature, Beethoven’s Ninth Symphony, his Ode to Joy. As Beethoven celebrated our brotherhood and our shared humanity, I know that on that weekend I will be thinking of my cherished VSO family, and the memories I will always treasure.

There are great concerts ahead, and extraordinary soloists from legendary pianist Alexander Gavrylyuk to our superb principal horn Jacob Wilder. We are preparing to celebrate our 100th birthday next season, and to continue the growth and success of our orchestra. Please care for these amazing musicians with love and support as they enter a new era.

I am deeply honored to be named Music Director Laureate of the Virginia Symphony and want to express my personal heartfelt thanks and love to all of you, our VSO family. I have spent the happiest years of my life with you.

To the next 100 years!

USEFUL VIRGINIA SYMPHONY CONCERT INFORMATION

CONCERT HALL PARKING $10 Student rush tickets with a valid student Chrysler Hall, Norfolk: Paid parking in ID one hour and a half before show time, Wells Fargo Center Garage; Chrysler Hall/ based on availability. Scope Garage; Brambleton Lot (across St. Paul’s Blvd.); Lot behind Fire Station; Bank Street lot; Group Sales (10 +) For Special Discount Charlotte Street lot. Call Patron Services, 757-892-6366

Chrysler Hall Reserved Parking for Once an order is placed, tickets are Subscribers: Parking available from City of not refundable. Norfolk. Contact City of Norfolk Parking Division, 757-664-6222, for information. SUBSCRIBER BENEFITS Ticket Exchanges CrossWalk Church, Williamsburg: Our Subscribers enjoy the ability to make Free parking onsite. free exchanges into other 2018-2019 season VSO concerts.* Ferguson Center, Newport News: Free parking on site with shuttle service from the parking Simply call our Patron Services team 48 hours garage located behind the theatre. Valet parking in advance of the performance at: is also available. (757) 892-6366 (During Business Hours, M-F, 9-4:30pm) First Baptist Church, Warwick Blvd, Newport News: Free parking onsite. Exchanges for Sunday concerts must be made before close of business Friday. Harrison Opera House: Paid parking onsite, available from the City of Norfolk on evening Ticket exchanges may now be made online! of the concert. Please visit http://www.virginiasymphony.org/ subscriptions for details. Regent University, Virginia Beach: Free parking on site. *Some exceptions may apply. Based upon availability. Some exchanges may require Sandler Center, Virginia Beach: Free Parking an upgrade. at Hotel Westin Garage; Armada Hoffler Garage; Dick’s Sporting Goods Garage. Advanced Single Ticket Discount 10 percent discount on concert tickets. ACCESSIBILITY AT ALL HALLS Be sure to tell VSO Patron Services if you TREBLE SOCIETY MEMBER VIP CONCIERGE SERVICES need accessibility seating, 757-892-6366. (Donors of $3,000 and above) Members of the Treble Society are entitled to individualized TICKET PURCHASE OPTIONS VIP concierge services including ticket and Phone VSO Patron Services, 757.892.6366. subscription purchases and exchanges, questions, Visit Patron Services at VSO office, and donations. For more information regarding Mon-Fri 9am-4:30pm, this service, please call 757-213-1417. 150 Boush Street Suite 201, Norfolk, 23510. Online: tickets.virginiasymphony.org LOST TICKET REPLACEMENT Pay by Visa, MasterCard, American Express Contact VSO Patron Services by noon on the or Discover. Friday prior to concert for duplicates. In person: cash, check, or credit card.

PRESIDENT & CEO KAREN M. PHILION PRESIDENT & CEO

s the President & CEO of the Virginia Symphony AOrchestra, Karen Philion brings a wealth of experience across a broad spectrum of arts and cultural assignments to her position. Karen has significant experience in strategic planning, fundraising and marketing, believes passionately in the ability of the arts to connect people, and credits her management success to a radically open and highly collaborative leadership style.

While earning her graduate degree at the University of Mississippi, Karen joined the editing team of the Encyclopedia of Southern Culture, hailed by the Washington Post as an invaluable guide to southern life, culture & history. Contributing more than twenty entries, her work includes articles on subjects as diverse as the Tidewater coastal region, to musical legends Patsy Cline and Dizzy Gillespie. From Mississippi, Karen headed north where she managed the day-to-day operations of a 28-member station statewide public radio network—the Alaska Public Radio Network. Major highlights there included successful initiatives with the Robert Wood Johnson Foundation, and the U.S. Department of Education.

Karen joined the orchestra industry at the Vermont income. In 2011 Karen was recruited to the Virginia Symphony Orchestra, where she planned and implemented Symphony as VP of Development, during which time all marketing and fundraising activities for this statewide contributed income increased over three years by touring orchestra in 26 communities. She also helped twenty percent. create a statewide network of regional boards, an important mechanism that supported and positioned that VSO as Since being named CEO in 2015, Karen has led the VSO a popular and successful attraction for residents and in a comprehensive long-range planning process which is thousands of tourists throughout the state. transforming the organization and expanding the idea of what a 21st century orchestra can mean to our community. As Director of Development for the Buffalo Philharmonic, She has assembled a dynamic team, created innovative Karen was recruited as part of a new senior management community partnerships, and launched new strategic team to secure and rebuild the Orchestra’s fundraising initiatives to provide support and opportunity to the VSO’s efforts by growing support for expanded programming, musicians as they engage and enhance our community world-class artists, and critical stabilization initiatives— through the performance of live symphonic music. including the appointment of the orchestra’s then new music director—JoAnn Falletta. During her tenure, the A member of the 2017 CIVIC Leadership Class, Karen BPO enjoyed three consecutive years of record-breaking enjoys spending her spare time with her family—her two fundraising, which represented more than 60% of all daughters, Laura and Libby, and her husband, Tom Philion, another arts management veteran. ADMINISTRATIVE STAFF

EXECUTIVE OFFICE PATRON SERVICES Karen Philion, President & CEO Robert Belford, Manager of Patron Services and Sales Lofton Riser Barnes, Executive Assistant Brooke Bates, Call Room Manager Averi Kasecamp, Patron Services Associate DEVELOPMENT Elizabeth Baroody, Vice President of Development ORCHESTRA ACTIVITIES Linda Dyer, Director of Development Christy Havens, Vice President of Orchestra Activities James Swindell, Development Operations Coordinator Salvatore Parillo, Operations Manager Rachel Keene, Development Communications Associate Rebekah Geiselman, Education and Community Engagement Manager FINANCE Rodney Martell, Artistic Administrator Teresa Kraus, Chief Financial Officer Jim Nesbit, Orchestra Personnel Manager Alex Partow, Production/Stage Manager MARKETING Carl Wilder, Principal Librarian Monica Meyer, Vice President of Marketing, Sales and Paula Bonds, Assistant Librarian Public Relations Peyton Carter, Manager of Digital Marketing and VIRGINIA SYMPHONY CHORUS Patron Loyalty Robert Shoup, Chorus Master Kristen Kiekel, Manager of Volunteers and Ray Landon, Chorus Manager Patron Engagement Joe Bernard, House Manager VIRGINIA SYMPHONY ORCHESTRA 1 2019-20 Season Friday, December 13, 2019 | Ferguson Center for the Arts, Newport News | 8PM Saturday, December 14, 2019 | Harrison Opera House, Norfolk | 8PM Sunday, December 15, 2019 | Sandler Center for the Performing Arts, Virginia Beach | 7PM

HOLIDAY POPS

ROBERT SHOUP, conductor AUNDI MARIE MOORE, vocalist NICK ZIOBRO, vocalist ALICE PAGE SHOUP, vocalist VIRGINIA SYMPHONY ORCHESTRA CHORUS

See Insert for Program and Lyrics

HOLIDAY POPS SERIES SPONSOR: FERGUSON CENTER CONCERT SPONSOR:

NORFOLK POPS SERIES SPONSOR: SANDLER CENTER CONCERT SPONSORS:

The Virginia Symphony Orchestra Holiday Pops concerts are graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, the City of Norfolk, the Newport News Arts Commission, and the Virginia Beach Arts and Humanities Commission.

2 VIRGINIA SYMPHONY ORCHESTRA GUEST ARTISTS

AUNDI MARIE MOORE NICK ZIOBRO VOCALIST VOCALIST

undi Marie Moore is a proud native of dynamic voice in the world of classic American AChesapeake, Virginia and quickly establishing Astandards, Nick Ziobro was named the herself as one of America’s leading young sopranos, national winner of the 2012 Michael Feinstein receiving accolades from audience and critics Great American Songbook Vocal Competition, alike. She is a former member of the Domingo- and spent a year serving as the Great American Cafritz Washington National Opera Young Artist Songbook Youth Ambassador and touring Program. Ms. Moore is celebrated for being the with his mentor, world-renowned performer, 2015 winner of The American Prize in Voice Michael Feinstein. and the 2016 Bronze Medalist at the American Traditions Competition. She will be making her Nick performed at the induction galas for the Metropolitan Opera debut this season as the Great American Songbook Hall of Fame in 2012 Strawberry Woman in Porgy and Bess. and 2013 alongside Liza Minnelli, Barry Manilow, Rita Moreno, Andrea McArdle, Clay Aiken, Career highlights on the opera stage include Lari White, and Jose Feliciano. Donna Elvira in Don Giovanni with L’Opéra de Monte Carlo for her international operatic debut, Nick has shared the stage with cabaret stars like Serena in Porgy and Bess with Atlanta Opera Marilyn Maye, Ann Hampton Calloway, and and Virginia Opera, Young African American Liz Calloway, and has opened for Barbara Cook Soprano in the world premiere of Rappahannock and B.B. King. He has performed with prestigious County with Virginia Opera, and Odessa Clay symphonies, and at venues all over the United in the World Premier of Approaching Ali with States. In 2016, he took his duo show with Washington National Opera. Julia Goodwin to Tuscany, Italy, to continue to spread the music of the Great American Ms. Moore is such a versatile singer that she is Songbook throughout the world. Nick holds a just as comfortable on the opera stages as well BFA in Musical Theatre from Rider University. as in musical theater. Additional engagements He made his professional acting debut as the include Lady Thiang in The King And I with lead in the short film, The Last Pick Up. He Lyric Opera of Virginia, and Nettie Fowler in was a featured act in Season 10 of America’s Got Carousel with Ashlawn Music Festival. Concert Talent, and a featured act on the television special engagements are highlighted by her performance broadcast Extraordinary. with the New World Symphony for Samuel Barber’s Knoxville: Summer of 1915 as well as the His voice can be heard singing in national running National Symphony Orchestra as their featured commercial advertisements on TV and radio. guest soloist for their Christmas Pops concert. Ziobro’s debut album—A LOT OF LIVIN’ TO DO—was released in May 2014.

VIRGINIA SYMPHONY ORCHESTRA 3 2019-20 Season Thursday, December 19, 2019 | Regent University, Virginia Beach | 7:30PM Friday, December 20, 2019 | First Baptist Church, Newport News | 8PM Saturday, December 21, 2019 | Harrison Opera House, Norfolk | 8PM

MESSIAH

STEPHEN MULLIGAN, conductor MARIA VALDES, soprano ALLEGRA DE VITA, mezzo-soprano CARLOS ENRIQUE SANTELLI, tenor CALVIN GRIFFIN, bass-baritone VIRGINIA SYMPHONY ORCHESTRA CHORUS ROBERT SHOUP, chorusmaster HANDEL Messiah, HWV 56 Part I 60”

— INTERMISSION —

Part II 43” Part III 24”

REGENT UNIVERSITY CLASSICS SERIES SPONSOR: NORFOLK CLASSICS SERIES SPONSOR:

HARRISON MESSIAH CONCERT SPONSOR: MESSIAH SERIES CONCERT SPONSOR:

The Virginia Symphony Orchestra Classics series is graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, the City of Norfolk, the Newport News Arts Commission, and the Virginia Beach Arts and Humanities Commission.

4 VIRGINIA SYMPHONY ORCHESTRA GUEST ARTISTS HANDEL Messiah, HWV 56

Part I: 1. Sinfony 2. Recit – Comfort ye my people 3. Aria – Every valley shall be exalted 4. Chorus – And the glory of the Lord 5. Recit – Thus saith the Lord of Hosts 6. Aria – But who may abide the day of His coming 7. Chorus – And He shall purify the sons of Levi 8. Recit – Behold a virgin shall conceive 9. Aria & Chorus – O Thou that tellest 10. Recit – For behold 11. Aria – The people that walked in darkness 12. Chorus – For unto us a Child is born 13. Pifa (Sinphonia pastorale) 14. Recit – There were shepherds abiding in the fields 15. Recit – And the angel STEPHEN MULLIGAN 16. Recit – And suddenly CONDUCTOR 17. Chorus – Glory to God in the highest 18. Aria – Rejoice greatly, O daughter of Zion merican conductor Stephen Mulligan is 19. Recit – Then shall the eyes of the blind Acurrently in his second season as Assistant 20. Aria – He shall feed His flock Conductor of the Atlanta Symphony Orchestra 21. Chorus – His yoke is easy, His burden is light and Music Director of the Atlanta Symphony Youth Orchestra. This season, Mulligan also Part II: serves as a Dudamel Conducting Fellow with the 22. Chorus – Behold the Lamb of God Los Angeles Philharmonic, leading the orchestra 23. Aria – He was despised and rejected on the Toyota Symphonies for Youth series and 24. Chorus – Surely, He hath borne our griefs assisting Music Director Gustavo Dudamel and 25. Chorus – And with His stripes we are healed Conductor Laureate Esa-Pekka Salonen. 26. Chorus – All we like sheep have gone astray 27. Recit – All they that see Him, laugh Him to scorn During the 2017-18 season, his first with the 28. Chorus – He trusted in God that He would Atlanta Symphony Orchestra, Mulligan stepped deliver Him in on short notice for three classical subscription 29. Recit – Thy rebuke programs over the course of six weeks, working 30. Aria – Behold and see if there be any sorrow with mezzo-soprano Jennifer Johnson Cano and 31. Recit – He was cut off 32. Aria – But Thou didst not leave His soul pianists Jorge Osorio and Behzod Abduraimov to 33. Chorus – Lift up your heads, O ye gates critical acclaim. 34. Recit – Unto which of the angels 35. Chorus – Let all the angels of God From 2014-16, Stephen Mulligan served as 44. Chorus – Hallelujah Assistant Conductor of the Winston-Salem Symphony and Music Director of the Winston- Part III: Salem Symphony Youth Orchestras Program. In 45. Aria – I know that my Redeemer liveth the summer of 2015, after winning the Aspen 47. Recit – Behold I tell you a mystery Conducting Prize, he served as the Assistant 48. Aria – The trumpet shall sound Conductor of the Aspen Music Festival. 53. Chorus – Worthy is the Lamb that was slain — Amen A native of Baltimore, Maryland, Stephen Mulligan began his music studies with his father Gregory, former concertmaster of the San Antonio Symphony and current violinist with the Baltimore Symphony Orchestra. He studied conducting at Yale University with Toshiyuki Shimada, at the Peabody Institute with Gustav Meier, Markand Thakar, and Marin Alsop, and at the Aspen Music Festival and School with Robert Spano.

VIRGINIA SYMPHONY ORCHESTRA 5 PROGRAM NOTES

Messiah than Catholicism to Old Testament scripture, giving Handel and his librettists the freedom to tell G.F HANDEL dramatic histories of Hebrew origin.

nternationalism in opera was already accepted The ancient Greek and Roman stories popularly Iin Germany when George Frideric Handel took used for European opera carried the implication of his first job in Hamburg in 1703. Arias were sung the artistic and intellectual superiority of French in Italian, but the recitatives were in the local and Italian courts, so it is not surprising that, in a German, while overtures were written in a French time when Great Britain was competing to assert style. Handel soon left for Italy where he immersed economic and military dominance in the Western himself in opera, developing his international world, English audiences rejected European style and perfecting his vocal writing. In 1711, he pretension while identifying with dramatic themes composed Rinaldo for London audiences, and opera sourced from the “Chosen People.” The public was was just emerging in the British Isles when Handel smitten with works like Esther, Saul, and Israel in took permanent residence there in 1712. Drawing Egypt, which could be heard in theaters and concert sizable stipends from royal patrons, he would spend halls during the Lenten season. the rest of his life in London composing works of great popularity and lasting renown. Charles Jennens was lucky to have an inheritance large enough to allow him to contribute to the In 1719, Handel was employed as the music performing arts and pursue literary ventures of his director of the Royal Academy of Music, a new own. He helped finance Handel’s work for more company funded by the king and wealthy donors than a decade and eventually collaborated with for the purpose of attracting international singers, the composer in creating the libretto for his 1738 commissioning new operas, and supplying operatic oratorio Saul. In 1741, the devout and intellectual entertainment to the London elite. Many English Anglican crafted a libretto for a new work, compiling patrons were enthralled by the overpaid continental extracts from the King James Bible, largely from the divas and the storylines of antiquity in works Old Testament prophecy of Isaiah, and from psalms such as the popular Giulio Cesare. However, opera found in the 1662 Book of Common Prayer. Without essentially served the foreign-born royalty and the many direct quotations, characters, or narration, escapist bourgeoisie, and it was unable to supplant Messiah lacks many elements of explicit dramatic the entrenched English tradition of stage theater. narrative, and instead relies on descriptive and The popularity of works like John Gay’s The Beggar’s reflective texts to create a contemplative meditation Opera, which harshly satirized the elitist obsession on the prophesy, birth, passion, resurrection, and with Italian opera, combined with the unsustainable glorification in heaven of Jesus Christ. salaries of opera stars, forced the academy to close its doors. Handel wasn’t finished with opera, but The first performances of Handel’sMessiah took the entrepreneurial composer sought a new path place in the Great Music Hall of Dublin and forward with his English oratorio. sought to raise money to alleviate those languishing in debtor’s prison. His soloists were opera singers An oratorio is a religious work with every musical and his choir consisted of sixteen men and sixteen element of opera—arias, choruses, recitatives— boys, accompanied by a modest orchestra. Such but devoid of any staging conventions such as trim forces were typical of the time; even with a costumes or sets which were considered taboo space-saving ban on swords and fashionable hoop for the performance of sacred texts. This unique skirts, only seven hundred Dubliners could cram genre was created to fulfill the needs of the church into the Great Music Hall. The piece premiered to while supplying savvy audiences with musical great acclaim in Dublin, and, despite a lukewarm entertainment during the Lenten season. Having reception in London the following year, Messiah written La resurrezione in 1708 while in Rome, eventually became Handel’s landmark work, Handel was familiar with the form, but English gaining popularity through the end of his life. audiences of later decades had different tastes and For the next two centuries, it would undergo expectations. The English oratorio of Handel’s dramatic reorchestrations, numerous translations, genius differs from its Italian counterpart in more and audacious augmentations, each with lingering ways than just language: Britain’s strong choral controversy, but the twentieth century brought tradition allowed Handel to incorporate long research into historical performance practice and stretches of dramatic counterpoint and powerful renewed interest in replicating Handel’s original anthems throughout a work, reducing the role intentions. The composer’s vast experience with the of the soloists while elevating that of the chorus. drama of opera allowed him to tap into the choral Furthermore, Protestantism was more sympathetic resources of Britain, creating a beloved work of intense piety and sacred entertainment.

Chaz Stuart, 2016 6 VIRGINIA SYMPHONY ORCHESTRA GUEST ARTISTS

MARIA VALDES ALLEGRA DE VITA SOPRANO MEZZO-SOPRANO

merican soprano Maria Valdes was recently llegra De Vita, a 2015 Metropolitan Opera Adescribed as a “first-rate singing actress and ANational Council Auditions Grand Finalist, a perfectly charming Gilda” (New York Times). recently returned from The Spoleto Festival Highlights of the 2018-2019 season include where she was seen as The Page inSalome . Other a debut with Atlanta Opera as Doris Parker in recent engagements include her debuting as Charlie Parker’s Yardbird, a company debut Carmen with the Fort Wayne Philharmonic, with Washington Concert Opera for their Siebel in Faust with Washington National Opera Outside series and a return to Phoenix Opera, and the alto soloist for Beethoven 9th with Symphony for performances of Handel’s Messiah. The Phoenix Symphony. Future engagements Ms. Valdes will also make her role debut as include Angelina in La Cenerentola with Boston Violetta in La traviata at Gulfshore Opera, her Midsummer Opera, La Frugola in Il Tabarro with Rochester Philharmonic debut, reprising the role Maryland Lyric Opera, Maddalena in Rigoletto of Despina in Così fan tutte and will debut with with Austin Opera and The Messiah with UMS. West Edge Opera as Euridice in Orfeo ed Euridice. In the fall of 2019, Ms. Valdes will perform As a Washington National Opera’s Domingo- Chants d’Auvergine by Joseph Canteloube with Cafritz Young Artist she performed the roles the Brooklyn Art Song Society. of Rosina in The Barber of Seville, Ruggiero in Alcina, The Fox in The Little Prince, Tebaldo Also an accomplished recitalist, Ms. Valdes has in Don Carlo, Kate Pinkerton in Madame Butterfly, appeared in concert with Martin Katz, and made the title role in The Dictator’s Wife and Cherubino her New York recital debut with NYFOS in in the Le Nozze di Figaro. She was seen as Compositora, a recital of female Latin American Arsemenes in Xerxes, Pippo in La Gazza Ladra composers. She also attended the Steans Institute and Fulvio in the American premier of Vivaldi’s at the Ravinia Festival which included several Cato in Utica with the Glimmerglass Festival, concert appearances. Ms. Valdes can be heard the title cover in Elizabeth Cree with Opera singing Mendelssohn’s “Hear my prayer” on Philadelphia, and Olga in Eugene Onegin with the album Evening Hymn, acclaimed in the Syracuse Opera. While a resident artist at the American Record Guide. Academy of Vocal Arts, she performed the roles of Zerlina in Don Giovanni, Charlotte in Werther An award-winner in the regional Metropolitan and Zita in Gianni Schicchi. At the Glimmerglass Opera National Council auditions, Ms. Valdes is Festival she performed Pippo in La Gazza Ladra. also the winner of the top prize at the Corbett Opera Scholarship Competition at Cincinnati College-Conservatory of Music and is the recipient of a Shoshana Foundation Grant.

VIRGINIA SYMPHONY ORCHESTRA 7 GUEST ARTISTS

CARLOS ENRIQUE SANTELLI CALVIN GRIFFIN TENOR BASS-BARITONE

inner of the 2018 Metropolitan Opera National cclaimed for his “voluminous” and “darkly WCouncil Auditions, tenor Carlos Enrique A lustrous” voice (South Florida Classical Santelli is a recent graduate of Los Angeles Opera’s Review), Calvin Griffin, of Columbus, Ohio, Domingo-Colburn-Stein Young Artist Program, just finished an exciting 2018-2019 season. where he covered Nadir in The Pearl Fishers. Last Mr. Griffin returned to Florida Grand Opera season, Mr. Santelli made his Dayton Opera to sing the title role in Le nozze di Figaro, sang debut as Count Almaviva in The Barber of Seville, Eddie in Minnesota Opera’s production of and performed the role of Nemorino in L’elisir The Fix, debuted as a Filene Artist with Wolf Trap d’amore with Virginia Opera. On the concert Opera, where he sang both Bartolo in Il barbiere stage, he sang the tenor solo in Mendelssohn’s Die di Siviglia and Gomez in L’heure espagnole. This Erste Walpurgisnacht with the Sacramento Choral Society and will sing Handel’s Messiah with the season, Mr. Griffin will make his Metropolitan Boise Philharmonic. Opera debut singing Brühlmann in Werther.

Recent projects with LA Opera include In concert, Mr. Griffin has sung with the performances in Salome, conducted by James Richmond Symphony as the bass soloist in Conlon, and Wonderful Town, conducted by Grant Handel’s Messiah, and as soloist in Opera Gershon. Additionally, Mr. Santelli appeared as a Columbus’ Opera Swings Jazz concert. He made guest soloist in a special gala celebrating the 10-year his Houston Symphony debut as First Apprentice anniversary of LA Opera’s Domingo-Colburn-Stein in the Grammy Award winning production Young Artist Program. Further collaborations on of Wozzeck. the West Coast include numerous projects with LA Opera’s Artist-in-Residence Matthew Aucoin. In competition, Mr. Griffin wonst 1 Place in the 2017 Dorothy Lincoln Smith Voice Competition. Carlos Enrique Santelli’s concert engagements have He was the 2015 winner of the Igor Gorin included appearances as the tenor soloist in Mozart’s Memorial Award and the 1st Place winner in the Coronation Mass (with the Rochester Symphony 2012 Tuesday Musical Club Competition in San Orchestra) and Mozart’s Requiem (with the Antonio. He was also a winner in the Cincinnati University of Michigan/Yale Alumni Glee Club). College-Conservatory’s Corbett Competition and received the Linda Candler Award at the ​Mr. Santelli received his Bachelor of Music degree Brevard Music Center. from the Oberlin Conservatory of Music and his Master of Music from the University of Michigan. Mr. Griffin received his Master’s Degree in It was at the latter institution that he had the distinction of holding a Jessye Norman Graduate Vocal Performance from Rice University’s Fellowship. He is a native of Orlando, Florida. Shepherd School of Music under the tutelage of Dr. Stephen King, and his Bachelor’s Degree from The Ohio State University. 8 VIRGINIA SYMPHONY ORCHESTRA

2019-20 Season

Friday, January 24, 2020 | Ferguson Center for the Arts, Newport News | 8PM Saturday, January 25, 2020 | Chrysler Hall, Norfolk | 8PM Sunday, January 26, 2020 | Sandler Center for the Performing Arts, Virginia Beach | 2:30PM BERLIOZ SYMPHONIE FANTASTIQUE DOUGLAS BOYD, conductor ELENA URIOSTE, violin STRAVINSKY Feu d’artifice( Fireworks), Op. 4 5’ VAUGHAN WILLIAMS The Lark Ascending 13’ Elena Urioste, violin RAVEL Tzigane, rapsodie de concert, for Violin & Orchestra 10’ Elena Urioste, violin

— INTERMISSION —

BERLIOZ Symphonie fantastique (Fantastic Symphony), Op. 14 49’ I. Rêveries, Passions (Reveries, Passions) II. Un bal (A Ball) III. Scène aux champs (Scene in the Country) IV. Marche au supplice (March to the Scaffold) V. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath) NORFOLK CLASSICS SERIES SPONSOR:

BERLIOZ CONCERT SERIES SPONSOR: NORFOLK BERLIOZ CONCERT SPONSOR:

The Virginia Symphony Orchestra Classics series is graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, the City of Norfolk, the Newport News Arts Commission, and the Virginia Beach Arts and Humanities Commission.

VIRGINIA SYMPHONY ORCHESTRA 11 PROGRAM NOTES

Feu d’artifice, Op. 4 (1908) spent studying with Maurice Ravel some IGOR STRAVINSKY (1882-1971) years earlier, he composed a uniquely free- floating work for violin and piano,Lark efore Igor Stravinsky upended the Ascending. Drawing on his love of poetry, Bconventions of classical music, he was George Meredith’s 1881 pastoral poem of a reluctant law student in his home town the same name describes in 122 lines the of Saint Petersburg. However, the most floating lark and its song. Little is known important Russian composer of the day, about inceptions of the violin piece: it was Nikolai Rimsky-Korsakov, convinced him shelved for six years, during which time the to study composition with him privately. 42-year-old Vaughan-Williams fervently He became a close mentor to Stravinsky for played whatever role he could for the British several years, imparting, among many things, in World War I. a masterful sense of colorful orchestration which can be heard in Stravinsky’s early The work was finally performed 1920 by orchestral fantasy Feu d’artifice (Fireworks). violinist Geoffrey Mendham, who eight This short work was composed as a wedding months later premiered the orchestral version gift for Rimsky-Korsekov’s daughter, most known today. As though the lark, the but, dying a few days after the wedding, soaring violin observes the picturesque was never heard by the elder composer. landscape depicted by the orchestra. In 1914, There is no doubt that Rimsky-Korsekov Vaughan-Williams quasi-impressionistic would been proud of the ecstatic swirling work was notable for its lyrical simplicity, orchestral effects. If anything, the work’s but in 1920, it was an idyllic respite from vibrant colors impressed the impresario the traumas of the recent devastations. Sergei Diaghilev who immediately commissioned the budding composer Tzigane: Rhapsodie de concert (1924) for a new work, The Firebird, launching MAURICE RAVEL (1870-1937) Stravinsky’s dominant career. n the 1920s, Maurice Ravel was The Lark Ascending (1914) Icelebrated as France’s most important modern composer. Often associated with RALPH VAUGHAN WILLIAMS Claude Debussy’s Impressionism, Ravel was (1872-1958) a master in his ability to imbue his scores with instrumental color. While a champion y the end of his life, Ralph Vaughan of the keyboard, he committed himself to BWilliams was a figurehead of British understanding the idioms and nuances of music, and retains his place as among the whatever instrument he was composing for, greatest British composers. His musical whether it was a huge orchestra, or a modest output was large and varied, and reflected combination of violin and piano, as with his his love of the British landscape, his rhapsodic Tzigane. devotion to literature and poetry, and was affected by the emotional turmoil of the Ravel was constantly gripped by the sound First World War. worlds of other cultures, and a new work for the Hungarian violinist Jelly d’Aranyi Vaughan-Williams developed his reputation offered him the opportunity to create his writing a lot of orchestral and choral work inspired by the musical styles of the music for prestigious music festivals, and Eastern European Roma peoples. While no in 1914, perhaps reflecting on his time authentic melodies were used in Tzigane

12 VIRGINIA SYMPHONY ORCHESTRA PROGRAM NOTES

(the French word for “Gypsy”), Ravel deeply Composed in five movements, Symphonie studied the violin to create the sounds of a Fantastique depicts an artist afflicted with fantasized Gypsy music. the obsession of a woman. A melody haunts the artist: Berlioz calls this the idée fixe, Originally, Ravel composed the work and is a precursor to Wagner’s Leitmotif, for the innovative luthéal, which was an as its recurrence throughout the work attachment to the piano which allowed for carries the specific symbolism of the artist’s colorful changes to the instrument’s tone. fixation. In the work’s opening movement, As the luthéal did not achieve wide use, it is our protagonist is lost in thought, and typical to hear the work with piano or its later suffers every emotion brought on by his orchestrated accompaniment. The virtuosic passions. Melancholy, joy, tenderness, and showmanship of the violin writing was hopelessness afflict the artist. lauded for its incredibly successful idiomatic nature, which can be heard immediately Even in the daily life of the artist, he is with the intensity of the work’s extended reminded of his love. The second movement opening cadenza. Throughout the work, depicts a ball, and amidst festive waltzing, dreamy colors dance us into Ravel’s dreamy the idée fixe asserts itself. In the quiet third Gypsy world. movement, the artist finds himself in the countryside as two distant shepherds duet, Symphonie fantastique (1830) cooling his passions. But even in the pastoral setting, he is not assuaged and is consumed HECTOR BERLIOZ (1803-1869) with jealous thoughts. eethoven’s ninth and final symphonic The despairing artist self-sabotages with a Bstatement, the ground-breaking near-lethal dose on opium, causing wild Choral Symphony, was premiered in 1824, visions. In the fourth movement, he dreams and reinforced a younger generation’s that he has killed his love and is marched veneration of the elder statesman of the to the scaffold, where, in a final moment new Romantic era. The same year, a young, of clarity, hears the idée fixe as he meets uninspired Hector Berlioz was graduating his end. In the final movement, all sorts of from medical school. Disgusted by surgery, diabolical figures such as witches, monsters, the musical upstart was something of an and skeletons gather for the artists funeral, underdog at the conservatory, but rebuking and as witches dance, the final song of the his parents, he chose poverty and passion as artist is heard: the Dies irae. his way forward, winning the vaunted Prix de Rome on his fourth attempt in 1830. The fantastic drama that Berlioz created, in many ways, was all too real. His obsession Obsessive and passionate, Berlioz wrote with Smithson eventually turned into an many unanswered letters to his love interest, extremely unhappy and doomed marriage. Irish actress Harriet Smithson, who he saw Although his love life was a disaster, in a Paris performance of Shakespeare’s the importance of Berlioz’ radical work Hamlet. In the same year as his Prix de cannot be understated, as it set the tone Rome victory, in a frustrated expression for later composers of programmatic works of unrequited love, he composed his first of fantasy. major work, Symphonie Fantastique. Just six years after Beethoven’s final Symphony, Chaz Stuart, 2019 the young Berlioz raised the bar of musical progressivism with this psychedelic symphonic drama.

VIRGINIA SYMPHONY ORCHESTRA 13 GUEST ARTISTS

Finnish Radio Symphony Orchestra, Basel Sinfonieorchester, Orchestre National de Lyon, Orchestre, Tonhalle Orchester Zürich, Budapest Festival Orchestra, Mozarteum Orchestra Salzburg, as well as Munich Chamber Orchestra and many others.

Further afield he has conducted the Nagoya Symphony Orchestra in Japan, Hong Kong Philharmonic and with many of the symphony orchestras in Australia including a complete cycle of Beethoven Symphonies with the Melbourne Symphony, returning for the complete Beethoven Piano Concertos with Paul Lewis.

His regular North American appearances have included concerts with the St. Paul Chamber DOUGLAS BOYD Orchestra, Baltimore, Colorado, Dallas, Detroit, CONDUCTOR Indianapolis, Pacific and Seattle Symphony Orchestras. In Canada he has appeared with the Toronto Symphony Orchestra and National Arts lasgow-born conductor Douglas Boyd enjoyed Orchestra in Ottawa. Ga stellar career as a world-renowned oboist (including as a founder member and principal In addition to Boyd’s leadership of Garsington oboist of the Chamber Orchestra of Europe) Opera in Buckinghamshire, other opera before stepping away after 21 years to begin an engagements have included work with the international career as conductor. Currently, Glyndebourne Opera, the Zürich Opera and L’Orchestre de Boyd is Music Director of the Opera North in Leeds, England. Chambre de Paris as well as Artistic Director of the Buckinghamshire’s summer opera festival, Boyd’s recording of the Bach Concerti for Deutsche Garsington Opera, in England. Boyd has Grammophon marked his recording debut as conducted all the BBC Orchestras, as well as director/soloist, and he has since gone on to build orchestras throughout Europe, Australia, and the an extensive discography. His recordings of the United States. complete Beethoven Symphonies and Mahler Symphony No 4 (on Avie) and Das Lied von der In recent years he has also held the positions Erde have received universal critical acclaim. He of Chief Conductor of the Musikkollegium has also recorded the Schubert Symphonies with Winterthur, Music Director of Manchester the St. Paul Chamber Orchestra. Camerata, Principal Guest Conductor of the Colorado Symphony Orchestra, Artistic Partner Recent and future conducting highlights include of St Paul Chamber Orchestra and Principal concerts with the Alborg Symfonikester, Antwerp Guest Conductor of City of London Sinfonia. Symphony Orchestra, Auckland Philharmonia, BBC Philharmonic, BBC Symphony Orchestra, In the United Kingdom, Boyd’s past conducting Britten Sinfonia, Kammerakademie Potsdam, assignments include the Royal Scottish National Los Angeles Chamber Orchestra, Melbourne Orchestra, Scottish Chamber Orchestra, London Symphony, The Minnesota Orchestra, Mozart Players, City of Birmingham Symphony Mozarteum Orchestra Salzburg, Orquestra Orchestra, Bournemouth Symphony Orchestra Sinfonica do Porto Casa da Música, Philharmonia and Northern Sinfonia. On the continent, he Orchestra and Tasmania and West Australia has worked with the Bergen Philharmonic, Symphony Orchestras.

14 VIRGINIA SYMPHONY ORCHESTRA GUEST ARTISTS ELENA URIOSTE VIOLIN

lena Urioste, amusingly hailed by EThe Washington Post as “a drop-dead beauty who plays with equal parts passion, sensuality, brains and humor,” was recently selected as a BBC New Generation Artist and has been featured on the covers of Strings and Symphony magazines. She has given acclaimed performances with major orchestras throughout the United States and abroad. She has regularly performed as a featured soloist in Carnegie Hall’s Stern Auditorium and has given recitals in such distinguished venues across the world. Michael Brown, was released on BIS Records in October 2016. Elena is the co-founder Recent season highlights have included debuts of Intermission, a program that combines with the Royal Liverpool Philharmonic music and yoga; and the founder and artistic Orchestra, Orchestre National de Lille, and director of Chamber Music by the Sea, an LA Philharmonic; three separate concerto annual summer chamber music festival on and chamber music appearances in Carnegie Maryland’s Eastern Shore. Hall’s Zankel Hall in the 2017/18 season; and the release of Elena’s second album on BIS Elena is a graduate of the Curtis Institute Records, Estrellita, a collection of miniatures of Music where she studied with Joseph for violin and piano with pianist Tom Poster. Silverstein, Pamela Frank, and Ida Kavafian. Upcoming highlights include debuts with She completed graduate studies with Joel the Malaysian Philharmonic and Minnesota Smirnoff at The Juilliard School. Other orchestras, a return performance with the notable teachers include David Cerone, BBC Symphony Orchestra at the Barbican Choong-Jin Chang, Soovin Kim, and in London, a European tour as soloist with Rafael Druian. the Chineke! Orchestra, and a residency at the Cheltenham Music Festival. The outstanding instruments being used by Elena are an Alessandro Gagliano violin, Miscellaneous accomplishments include first Naples c. 1706, and a Nicolas Kittel bow, prizes at the Sphinx and Sion International both on generous extended loan from the Violin Competitions; an inaugural Sphinx private collection of Dr. Charles E. King Medal of Excellence presented by Supreme through the Stradivari Society of Chicago. Court Justice Sonia Sotomayor; spreads in Latina and La Revista Mujer magazines; and In addition to being a devoted musician, the 2015 Brooklyn Film Festival’s Audience Elena is a yoga fanatic; voracious reader; Choice and Best Original Score awards for lover of delicious food, semi-colons, and But Not For Me, the independent feature film corgis; hopeless dreamer; and occasional in which Elena acted as the lead female role. scarf-knitter. Her second album, Echoes, a recital disc with

VIRGINIA SYMPHONY ORCHESTRA 15 2019-20 Season Thursday, February 6, 2020 | Regent University, Virginia Beach | 7:30PM Saturday, February 8, 2020 | CrossWalk Church, Williamsburg | 7:30PM

MOZART

NICHOLAS HERSH, conductor RANDALL GOOSBY, violin MOZART Overture to La clemenza di Tito, K. 621 5’ MOZART Concerto No. 4 in D major for Violin & Orchestra, K. 218 26’ I. Allegro II. Andante cantabile III. Rondeau: Andante grazioso—Allegro ma non troppo Randall Goosby, violin

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MOZART Symphony No.41 in C major, K.551, Jupiter 31’ I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro

REGENT UNIVERSITY SERIES SPONSOR:

The Virginia Symphony Orchestra Williamsburg Classics series is graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, and the Williamsburg Area Arts Commission.

16 VIRGINIA SYMPHONY ORCHESTRA PROGRAM NOTES

La clemenza di Tito, K.621, Symphony No. 41 in C major, Overture (1791) K. 551, Jupiter (1788) WOLFGANG AMADEUS MOZART MOZART

(1756-1791) ith the Austro-Turkish War raging, economic Wopportunities for Viennese musicians were ozart was putting the final touches on Die Zauberflöte depressed, and Mozart found himself once again M(The Magic Flute) we he was presented with the in financial turmoil. Only in his early thirties, his opportunity to compose an opera seria in celebration untimely death three years later was certainly of Leopold II, Holy Roman Emperor’s coronation as unknowable, and yet his artistic output in 1788 King of Bohemia. His ability for a quick turnaround seemed to fulfill an existential artistic need rather than made him perfect for the commission, and given that a financially expedient one. Rather than focusing on he was recovering from financial misfortune, he leapt another income-driving piano concerto or opera, he at the high-paying opportunity. Set in Ancient Rome, penned an unprecedented series of three symphonies, La clemenza di Tito (The Clemency of Titus) his final works of the genre. dramatizes the romantic dilemmas of Emperor Titus, and jealousy nearly leads to his assassination. Composing Symphonies 39, 40, and 41 in one year, there are many clues that lead one to believe that Mozart became ill while in Prague for his final Opera’s Mozart’s unprecedented vision linked the three in premiere, and while he worked through his ailments, a series as a sort of meta-symphony. Notable are he would never recover, and died in December. the extended introduction and abrupt ending of Symphony 39, and the unusually absent introduction Violin Concerto No. 4 in D major, and grand finale of Symphony 41. Taking nearly K. 218 (1775) forty minutes to perform, Mozart’s final symphony, Jupiter, was massive for its time, and although the MOZART nickname appeared years after the composer’s death, it represented the wide-held view that the work was ozart spent much of his youth touring with his perhaps the greatest symphony of the Classical era. Mfather, performing alongside his sister in courts throughout Europe. Upon their return to Salzburg, The foundation of the work’s opening Allegro Mozart spent his teenage years employed as the vivace is made clear in the first notes with two brief, concertmaster for the local court orchestra, where he contrasting motifs: the first is three declamatory was expected not only to perform as a soloist but also notes, the second is a lyrically ascending line. After to compose repertoire for the ensemble. His interest some fanfare, a new theme is introduced, followed in the violin concerto was concentrated in 1775 by a quote from one of his own arias, “Un bacio di when he composed in one year his only five works of mano.” This large amount of thematic material is the genre. With each concerto, he honed his abilities, developed dramatically and includes many minor- and the final three are some of his earliest orchestral key transitions before returning to the opening works performed regularly today. statement. The second movement, a muted Andante cantabile in a triple-meter sarabande dance The Fourth Violin Concerto begins with a militant style, provides contrasting fervor to the opening unison, but is balanced with a sweetly flirtatious movement and is often brooding and dense, even melody. The playful mood of the opening is carried heavy in its lyricism. The work’s brief trio, marked through the first movement, with countless florid Allegretto, is a folksy minuet, but behind its assumed passages streaming gracefully from the soloist. The simplicity, Mozart colors the music with some sneaky central movement exudes the tenderness of a romantic harmonic progressions. aria. Mozart’s youthful energy is on display in a dancing finale. Purposely using the French spelling, The Symphony’s celebrated Molto allegro finale in the Rondeau, Mozart longs for the gracefulness of begins with a plain church-like theme but quickly France. Not long after his Year of Violin Concertos, becomes bold and heroic. Again, Mozart front-loads Mozart would leave his Salzburg post for Paris. the movement with five themes that interweave brilliantly. The movement is notable for its use of fugal devices in which the themes have staggered entrances and create complex counterpoint. The movement does not deviate from a standard sonata-form, but the final coda features an unusually complex setting of the themes in a grand fugue. Considered among his most brilliant statements, the final fugue presents Mozart at his greatest intellectual facility.

Chaz Stuart, 2019 GUEST ARTISTS

NICHOLAS HERSH RANDALL GOOSBY CONDUCTOR VIOLIN icholas Hersh is Associate Conductor of merican violinist Randall Goosby first Nthe Baltimore Symphony Orchestra and Aperformed as an orchestra soloist at the age Artistic Director of the Baltimore Symphony of nine, with the Jacksonville Symphony. At Youth Orchestras. Since joining the BSO as thirteen, he was the youngest recipient ever to Assistant Conductor in 2014, he continues to win the Sphinx Concerto Competition. He also make his mark on the mid-Atlantic region with received Sphinx’s Isaac Stern Award, and made two exciting, innovative programming—notably as appearances at Carnegie Hall as part of the Young conductor and co-curator of the acclaimed BSO Artist Development Program. He has participated Pulse series, bringing together indie bands and in The Perlman Music Program’s Chamber Music orchestral musicians in unique collaborations. Workshop, been featured on NPR’s “From the Nicholas directs the BSO’s educational and family Top,” and been honored as Rising Star of the programming, including the celebrated Academy Stradivari Society. for adult amateur musicians, as well as a variety of In addition to formal concerts, Mr. Goosby classical and popular programs. shares his love of music in outreach programs Nicholas grew up in Evanston, Illinois and started for public schools, children’s hospitals and music his musical training with the cello. He earned programs across the country. He is currently a Bachelor’s Degree in Music from Stanford on faculty at Opportunity Music Project, a University and a Master’s Degree in Conducting nonprofit organization which provides free from the Indiana University Jacobs School of lessons, instruments and mentoring for children Music, studying with David Effron and Arthur from low-income families in New York City, and Fagen. In 2011 and 2012, he was a Conducting gives performances through Concerts in Motion, Fellow with the prestigious American Academy another NYC-based nonprofit which provides of Conducting at Aspen, studying with mentors private house concerts for elderly and otherwise Robert Spano, Hugh Wolff, and Larry Rachleff. homebound patrons. Nicholas is a two-time recipient of the Solti Randall Goosby began violin studies at the age Foundation Career Assistance Award. of seven. He received a full scholarship to The Nicholas is a skilled arranger and orchestrator, Juilliard School’s Pre-College program, continued and has had frequent arrangement commissions on as an undergraduate student of Itzhak Perlman from the Baltimore Symphony as well as from and Catherine Cho, and is currently pursuing a the Cleveland Pops, the National Repertory Master’s Degree at Juilliard on a Kovner Fellowship Orchestra, and the Jackson Symphony. His under the tutelage of Donald Weilerstein and symphonic arrangement of Queen’s Bohemian Laurie Smukler. Mr. Goosby plays a Guadagnini Rhapsody saw worldwide success as a viral YouTube violin on loan from The Juilliard School. hit, garnering over seven million views.

18 VIRGINIA SYMPHONY ORCHESTRA

2019-20 Season Thursday, February 13, 2020 | Ferguson Center for the Arts, Newport News | 7:30PM Friday, February 14, 2020 | Chrysler Hall, Norfolk | 8PM

DANCING AND ROMANCING

ADAM TURNER, conductor JOAN HESS, vocalist and dancer KIRBY WARD, vocalist and dancer

A selection of songs will be announced from stage.

NORFOLK DANCING AND ROMANCING CONCERT SPONSOR:

NORFOLK POPS SERIES SPONSOR: FERGUSON POPS SERIES SPONSOR:

The Virginia Symphony Orchestra Pops series is graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, the City of Norfolk, the Newport News Arts Commission, and the Newport News Cultural Attractions Fund.

VIRGINIA SYMPHONY ORCHESTRA 21 GUEST ARTISTS

ADAM TURNER JOAN HESS CONDUCTOR VOCALIST AND DANCER

merican conductor Adam Turner is quickly oan Hess most recently played the role of Againing momentum as a conductor to watch on Jthe wealthy and hilarious Tanya in her fifth international opera stages. Currently in his second Broadway show, Mamma Mia. She was also seen season as Artistic Director of Virginia Opera as Jessica (the “Leggy Blonde”) in HBO’s award- (following four seasons as Principal Conductor and winning comedy series, Flight of the Conchords. Artistic Advisor), Turner garners critical acclaim She recently had the great honor of working with for the breadth of his repertoire, artistic vision, and television’s iconic director Jay Sandrich when polished technique. she played Doris in Same Time, Next Year (Best Actress Nomination) and Jennie in Neil Simon’s Turner first gained recognition at age 25 during semi-autobiographical play Chapter Two. Prior his tenure at Stadttheater Pforzheim I Germany to that, she had the great fortune of playing the while taking over conducting responsibilities of plum role of Billie Dawn in Garson Kanin’s classic a production of Les Míserables. Musicals—Das play Born Yesterday. Ms. Hess was also featured Musicalmagazin, Germany’s premier musical on Broadway as Patsy in Crazy for You, as Edie and theater publication lauded his work: “Les Mis Hattie in Kiss Me Kate, as Sophia in Dirty Rotten reveals even here its magical effectiveness… The Scoundrels, where she understudied the lead roles main reason for this is the performance of the of Christine and Muriel, and as Bridgette in Bells orchestra, led by a young American conductor, are Ringing, where she understudied Faith Prince Adam Turner, who brings to the piece a suspenseful in the lead role. She appeared at the Lincoln drama that one does not always hear, even on the Center in the lead role in Dessa Rose, the powerful legendary, anniversary recording at the Royal Lynn Ahrens/Stephen Flaherty piece, directed by Albert Hall. During the dramatic dialogues, he 10-time Tony Award nominee, Graciela Daniele. pushes the action forward but one is nonetheless She appeared as Betty in the First National Tour of able to understand every single word…he builds Sunset Boulevard, Polly in the First National Tour up the aria-like solos with great crescendos yet of Crazy for You, and she toured the country with purposefully does not turn the first Thénardier- 42nd Street and Beehive, as well. Song into a homely operetta number…” Regional theater audiences and critics, alike, Prior to his appointment as the youngest lauded her performance in the title role in Gypsy administrator in Virginia Opera’s history, Turner (Best Actress Nomination) at the Repertory proved he has a vision for the future of the industry Theatre of St. Louis and Cincinnati Playhouse as a member of the next generation of leaders while in the Park, and as Picasso’s first love, Fernande holding several administrative and music staff Olivier, in the World Premier of La Vie en Bleu, appointments at houses across the country. at Philadelphia’s Walnut Street Theater. As Ann in

22 VIRGINIA SYMPHONY ORCHESTRA GUESTGUEST ARTISTS ARTISTS

The 1940’s Radio Hour she also received a Best Actress Nomination. She played the lead role of Maddy in the Australian import Hot Shoe Shuffle, Lilly McBain in Swingtime Canteen, Irene Molloy in Hello, Dolly! with Avery Schreiber, Peggy in The Taffetas, Irene in Crazy for You, Grace in Annie, and Rona in The 25th Annual Putnam County Spelling Bee.

Ms. Hess was featured in the PBS Great Performances series in My Favorite Broadway: The Love Songs, hosted by Julie Andrews. She has performed with numerous symphonies around the world, from Houston, Atlanta, North Carolina and Detroit Symphonies to the Philly Pops and the Hong Kong Philharmonic. In 2002, she had the privilege of singing for the World Economic Forum following Mayor Bloomberg’s address. Don’s and Tom’s thrown in to mix things up (That Joan served as script supervisor on the independent would be Singin’ in the Rain and No No Nanette short film entitled Down in the Mouth. She also for those keeping score). Departing from the song hosted and produced live television for three and dance motif has lead Kirby into such roles as seasons, acted in over thirty commercials, and King Herod in Jesus Christ Superstar, Arnolph in modeled for many years. She’s a Colorado native School For Wives, Vernon in They’re Playin’ Our and is blissfully married to actor and powerhouse Song, and even a stint as Che in Evita. tenor, David Hess, with whom she toured South New York area audiences have seen Kirby’s work Africa, England and Italy for the Travel Channel’s on Broadway in Hal Prince’s Show Boat! (Frank Fantasy Rails for Millionaires. Schultz), Woman of the Year at the Palace, Never Gonna Dance at the Broadhurst and in the Off- KIRBY WARD Broadway revival cast of Cocoanuts (Harvey), VOCALIST AND DANCER and in Company (David). His direction and choreography in the metro area for Dames at he quintessential song and dance man, Kirby Sea, The Jazz Singer and Grease were all critically TWard has entertained the world over, performing acclaimed. On television he’s appeared on Law for queens, presidents, first ladies and dignitaries and Order, Special Victims Unit, General Hospital, on nearly every continent on the globe. Born a The Tonight Show, and numerous commercials. California boy, he’s lived and played in Los Angeles, Film appearances include For the Boys, Pennies New York, London, China, Australia, Europe, From Heaven and S.O.B. Kirby was honored to Japan and now makes his home in Connecticut portray Bob Hope at the Library of Congress’ while continuing to travel the world as an actor, celebration for Mr. Hope’s 100th Birthday, an writer, director and choreographer. event hosted by legendary Dick Cavett.

When cast as Bobby Child in the London In Los Angeles Kirby choreographed portions of production of Crazy For You, Kirby packed up his Debbie Reynolds’ and Donald O’Connor’s Las family and moved the whole bunch to Kensington Vegas acts, appearing in both for a number of years for a year. His portrayal of the lead character in as a singer and dancer and trained Bette Midler this West End premier netted him an Olivier and James Caan in song and dance technique for award nomination as well as the honor of meeting the 20th Century Fox film For The Boys. He rounds and performing for the royal family on the Queen out his contribution to the entertainment field by Mum’s birthday. You can hear him on the original writing for television for Hanna Barbera Studios London cast album for First Night Records. and the regional stage as one of the creators of the musical The Gypsy King at the Village Theatre in As an actor he’s run the gamut of song and dance Ithaca, WA. Recently, his original short film Down roles, playing every “Billy” or “Bobby” from in the Mouth was awarded best short film at the My One and Only to 42nd Street, and a couple of Kent Film Festival in Kent, CT.

VIRGINIA SYMPHONY ORCHESTRA 23 2019-20 Season Friday, February 21, 2020 | Ferguson Center for the Arts, Newport News | 8PM Saturday, February 22, 2020 | Chrysler Hall, Norfolk | 8PM Sunday, February 23, 2020 | Sandler Center for the Performing Arts, Virginia Beach | 2:30PM MAHLER AND MOZART DAVID DANZMAYR, conductor CLARA ROTTSOLK, soprano MOZART Divertimento in D major, K. 136 15’ I. Allegro II. Andante III. Presto MOZART Voi avete un cor fedele, K. 217 6’ Clara Rottsolk, soprano MOZART Porgi amor from Le Nozze di Figaro, K. 492 5’ Clara Rottsolk, soprano

— INTERMISSION —

MAHLER Symphony No. 4 in G major 54’ I. Bedächtig; nicht eilen II. In gemächlicher Bewegung; ohne Hast III. Ruhevoll IV. Sehr behaglich Clara Rottsolk, soprano NORFOLK CLASSICS SERIES SPONSOR: FERGUSON CONCERT SPONSOR:

The Virginia Symphony Orchestra Classics series is graciously supported in part by the Virginia Commission for the Arts, the National Endowment for the Arts, the City of Norfolk, the Newport News Arts Commission, and the Virginia Beach Arts and Humanities Commission.

24 VIRGINIA SYMPHONY ORCHESTRA PROGRAM NOTES

Divertimento in D major, K. 136 (1772) Holding one prestigious post after another, his ambitions led him to the helm of Vienna’s Hofoper WOLFGANG AMADEUS MOZART in 1897. Constantly busy with the demands of (1756-1791) running one of Europe’s most influential opera houses, he always carved out time to compose, aving spent two years abroad, Mozart returned especially during his summer holidays. Through Hhome to Salzburg quite seasoned. During his the decades, he dreamt up enormous symphonies, European travels, he absorbed popular international but was also obsessed with composing songs. His styles, and even met notable composers like Johann understanding of vocal writing was immaculate, Christian Bach and Haydn. Composed in a form and although he never composed an Opera, his reminiscent of the earlier symphonies of such songs are numerous, including two dozen settings composers, his K. 136 Divertimento resembles an from the German folk poem collection Des Knaben Italian Sinfonia with its three-movement form, Wunderhorn (the boy’s magic horn). and is something of a Symphony in miniature, composed for four string parts. The opening Allegro In many ways, Mahler’s Symphonies flowed from is bright and energetic, the middle Andante is a one to another. The Classical form and adolescent calming dance, and the final Presto is vivacious. innocence of the Fourth can be seen as a massive coda to his enormous Third, or even a prologue to the fateful Fifth Symphony. He began his Voi avete un cor Fedele, K. 217 (1775) Fourth Symphony with the final movement in MOZART which heaven is described in the voice of a child: a soprano brings us the Wunderhorn song “Das uring Mozart’s years in Salzburg, he held a himmlische Leben” (the heavenly life). Everything Dposition with the court orchestra, and was in the Symphony draws on and leads towards this industrious, composing many genres of music. finale, and as such, is a journey both from and During his travels, he encountered the wildly toward innocence. popular Italian Opera scene and yearned to be a part of it. Eventually establishing himself as a prolific The opening movement begins with the odd sound Opera composer, he also composed nearly three of sleigh bells and a questionable mood, but this is dozen independent arias throughout his life, such dispelled for a pleasantly joyful melody. Childish as his 1775 aria “Voi avete un cor Fedele” (You have naiveté abounds throughout the opening movement, a faithful heart). The text of the aria was created but foreshadowing materials anticipate the heavenly by Italian librettist Carlo Goldoni, and Mozart’s finale. The second movement is a scherzo, and setting was likely intended as an “insertion aria,” features a violin solo with strings tuned a whole step or an aria to be added to another composer’s opera, higher than usual. This detail portrays the medieval the 1755 opera Le nozze di Dorina (Baldassare figure Freund Hein, who, with his high-strung fiddle, Galuppi). However, like most independent arias, it personifies death. Even so, moments of serenity calm is usually heard in a concert setting. the nerves, but ultimately, death is an inevitability. The joy of the opening movement, followed by the Symphony No. 4 in G major (1900) danse macabre scherzo, leads to a fateful conclusion with a solemn funeral march as the third movement, GUSTAV MAHLER (1860-1911) massively structured as a theme with variations. The struggle of sorrow and hope create a grand climax, oday, Mahler is respected as the pinnacle of but the innocent joy once felt in the Symphony TRomantic Symphonists, a proto-modernist has dissipated. symphonic dramatist, an elite orchestrator and melodist steeped in knowledge of his predecessors. Mahler’s folkloric dramatic arch ends with the In his own time, professional anxieties, a turbulent joys of heaven. Although the Symphony begins love life, Vienna’s looming anti-Semitism, and in G major, it ascends in the finale to a bright the populace’s generally vexed attitude toward his E major, but he returns to simple melodies, and a music dogged him constantly. However, he was human voice describes the joys of heavens, where no struggling hermit, but a titan of Europe’s opera dancing and food are aplenty. “There is no music houses where he gained enormous fame, especially on earth/that can compare to ours” proclaims as a conductor of the operas of Wagner, Mozart, or our protagonist. In its final moments, the music any score in front of him. disappears past the horizon.

Chaz Stuart, 2019

VIRGINIA SYMPHONY ORCHESTRA 25 GUEST ARTISTS

DAVID DANZMAYR, initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. CONDUCTOR He is strongly influenced by Pierre Boulez and Claudio Abbado. anzmayr has what it takes,” wrote The Chicago “DTribune of David Danzmayr’s performance leading the Illinois Philharmonic. Danzmayr is CLARA ROTTSOLK chief conductor of the Zagreb Philharmonic— SOPRANO part of an extensive European career of concerts in venues like the Musikverein and Konzerthaus escribed as “pure and shining” by the Cleveland in Vienna, and the Grosses Festspielhaus in DPlain Dealer, soprano Clara Rottsolk has been Salzburg—where he led the Zagreb Philharmonic lauded by The New York Times for her “clear, in a highly prestigious New Year’s concert for appealing voice and expressive conviction” and which the orchestra was immediately re-invited by The Philadelphia Inquirer for the “opulent to perform in future seasons. tone [with which] every phrase has such a communicative emotional presence.” In a In the United States, Danzmayr is Music Director repertoire extending from the Renaissance to of the ProMusica Chamber Orchestra, as well as the the contemporary, her solo appearances with Artistic Advisor to the Breckenridge Music Festival. orchestras and chamber ensembles have taken her across the United States, the Middle East, Japan Previously, David Danzmayr served as Music and South America. She specializes in historically Director of the Illinois Philharmonic Orchestra informed performance practice. in Chicago, where he was lauded regularly for his performances. He was also the only conductor Her recordings include Myths and Allegories, in the Chicago area who programmed a piece of French Baroque cantatas with Les Délices and American music on every concert. “supple and stylish… and unflaggingly attractive” (Gramophone Magazine) Scarlatti Cantatas with David has won prizes at some of the world’s most Tempesta di Mare on the Chandos-Chaconne prestigious conducting competitions, including label. Last winter, a new recording of compositions a 2nd prize at the International Gustav Mahler by Rachel Matthews was released, including three Conducting Competition and prizes at the songs set to Elizabeth Bishop’s poetry. International Malko Conducting Competition. For his extraordinary success, he was awarded A native of Seattle, Ms. Rottsolk earned her the Bernhard Paumgartner Medal by the music degrees at Rice University and Westminster Internationale Stiftung Mozarteum. Choir College, and was awarded for musical excellence by the Metropolitan Opera National Danzmayr received his musical training at the Council (Northwest Region). She is currently University Mozarteum in Salzburg where, after based in Philadelphia.

26 VIRGINIA SYMPHONY ORCHESTRA VIRGINIA SYMPHONY ORCHESTRA CHORUS

SOPRANOS ALTOS TENORS Barbara Arnold Julianne Albright Joe Browne Cindy Baggott Diane Blischak Charles Bump Brandy Bollen* Kelli Bly Jeff Field Barbara Byers Rachel Bradley* Don Grady Loretta Cak Edna Broadhurst Joe Guardino Jeri Lynne Field Linda Bump Michael S. Haigh Erin Gregg Hannah Capin Christopher Johnson Kimberly Haggard Jennifer Chase Raymond S. Landon+ Sarah Haigh* Amy Cook Robert Landon Dana Henning Minette Cooper Michael Peck Rebekah Judd Lori Crouch Christopher Pritchard Stephanie Kim Emily Dale David Proffitt Jane Lederman Kari Skipper Foster Wesley Shearer Jean Major Debbie Garrick William Trimble Mary Matthews Gabrielle Goodrich Doug Young Kwisuk McDonald LaChele R. Gray Amelia Mendonsa Diane Haltigan BASSES Karla D. Robinson Anne Kincaid-Luna Michael Broadhurst Patricia Rublein Terri Kirchner Kip Bruinsma Deborah Ruhl* Ashley Landon Charlie Davidson Brittney Smith Jennifer Laski Greg Deutsch Johanna Smith Michelle Lee John Diefenbacher Lisa Smith Anna Leverenz David French Diana Walters Caroline Morse* Peter Guhl Katie Wesley Linn Mullin Charles Hopkins Alicia Willson-Metzger Gail Pittman Tom Madison Suzanne Wolvin Gina Polychronopoulos Michael McKenna Susan Neal Price Eryk Nicolay Whitney Reynolds Christopher Palestrant* Amy Riek Raymond Rodrigues Lari Roberts Max Sarosdy Jeanne Roll David Snouffer Jo Rosenberg Chuck Spence Marie Sluss Scott Strickland Karin Smith Melissa Thrasher West CHORUS REHEARSAL Carrie Weston ACCOMPANIST Patricia Winchester Rachel Crumbly

+ Chorus Manager * Professional Core

VIRGINIA SYMPHONY ORCHESTRA 27 VIRGINIA SYMPHONY ORCHESTRA

JoAnn Falletta, Music Director Robert Shoup, Chorusmaster/Staff Conductor

VIOLIN CELLO CLARINET Vahn Armstrong, Concertmaster Michael Daniels, Principal Michael Byerly, Principal Dorothy Redwood Cooke Elise Nusbaum Hofheimer Ann Lee Van Buren Principal Sutherland Concertmaster Chair Principal Cello Chair Clarinet Chair Yun Zhang, Associate Concertmaster Rebecca Gilmore, Scott Boyer Amanda Gates, Assistant Principal E-FLAT CLARINET Assistant Concertmaster Rose Bart Scott Boyer Simon Lapointe, Principal Second Lui Berz Lee A. & Helen G. Gifford Ismar Gomes BASS CLARINET Principal Second Violin Chair Nancy Keevan William Thomas Elizabeth Coulter Vonderheide, J. Carter Melin BASSOON Assistant Principal Second Daniel Mumm Laura Leisring, Principal Christine Allison BASS David Savige Jorge Aguirre Christopher White, Principal Yeseul Ann + CONTRABASSON Scott Harris, Assistant Principal Anna Bishop Elizabeth Roberts Alec Hiller Lesa McCoy Bishop Kynan Horton-Thomas HORN Hui Cao William McPeters Jacob Wilder, Principal Mayu Cipriano Thomas P. Reel Kriner Family Principal Amy Taira Danielson Horn Chair HARP Jeanne DeDominick Stephen Slater Linda Dennis Barbara Chapman, Principal Everett Burns Angelina Gandolfo The Benton Family Principal John Shawger Kirsty B. Green Harp Chair Dennis Herring Joan Griffing HARPSICHORD TRUMPET Allegra Tortolano Havens Gift of the Chrysler Museum of Yu-Chia Hsiao David Vonderheide, Principal Art from Newell H. Porter in Marc & Connie Jacobson Linda Hurwitz honor of his wife Anetha L. Porter Allison Kim Principal Trumpet Chair Jacqueline Kitzmiller PIANO/KEYBOARD Adam Gandolfo Tara-Louise Montour + The Fannie G. and Milton L. Jeremy Garnett Jonathan Richards Friedman Piano/Keyboard Chair TROMBONE Seiko Syvertsen FLUTE R. Scott McElroy, Principal VIOLA Debra Wendells Cross, Principal Tanner Antonetti Beverly Kane Baker, Principal H. Lee Kanter Principal Flute Chair BASS TROMBONE Marshall Family Principal Joanne Meyer White Rodney Martell, Viola Chair Rachel Ordaz Olga & Henry Bensel Bass Xuan Lin PICCOLO Trombone Chair Anastasia Migliozzi Rachel Ordaz Satoko Rickenbacker TUBA Laura Seay OBOE Peter DuBeau Jocelyn Smith Sherie Lake Aguirre, Principal TIMPANI Alexandra Takasugi Virginia Symphony League Michael Laubach, Principal Matthew Umlauf Principal Oboe Chair Dr. Ralph & Barbara Stephens George Corbett Principal Timpani Chair David Garcia PERCUSSION ENGLISH HORN Robert W. Cross, Principal George Corbett J. Scott Jackson Will McVay

+ denotes Leave of Absence

28 VIRGINIA SYMPHONY ORCHESTRA ANNUAL FUND DONORS

he Virginia Symphony Orchestra wishes to thank each contributor to the VSO’s Annual Fund for their outstanding Tsupport. The collective vision and generosity of these donors enables the VSO to provide incredible concerts and educational activities year after year. Included are all Annual Fund gifts and pledges received between July 1, 2018 and June 30, 2019.

STRADIVARIUS SOCIETY ($25,000 AND UP) City of Virginia Beach F. Ludwig Diehn Fund of the Hampton Roads INDIVIDUALS Community Foundation Anonymous (2) Hampton Roads Community Foundation Mr. and Mrs. Charles Banks, III League of American Orchestras Mr. James A. Hixon Mary Morton Parsons Foundation Susan and David Goode Newport News Shipbuilding Connie Jacobson Norfolk Southern Foundation Mrs. Eleanor Marshall PNC Bank Regent University GOVERNMENT, CORPORATE, AND FOUNDATION Slover Library Anonymous (3) Texas Instruments Foundation The Breeden Company TowneBank Business Consortium for Arts Support Virginia Beach Arts and Humanities Commission The Camp Foundation Virginia Commission for the Arts Christian Broadcasting Network Virginia Eye Consultants City of Norfolk Virginia Symphony Society

CRESCENDO SOCIETY JOANN FALLETTA SOCIETY Mark and Ginny Costenbader Norman and Margaret Cubberly ($15,000-$24,999) ($10,000-$14,999) Ms. Cheryl A. Dronzek INDIVIDUALS INDIVIDUALS Mr. Theodore Gournelos Anonymous Anonymous (2) Mrs. James W. Gray, Jr. Mr. and Mrs. Charles N. Cooper Lilly and Bruce Bradley Mr. and Mrs. Conrad Hall Dr. Lester Dubnick* Mr. and Mrs. Stacy Cummings Richard W. Hudgins Ms. Christina L. Goode Leslie H. Friedman Mr. and Mrs. Howard Kern Martha Goode and Blair Mielnik Mr. James A. Hixon Doris and Virgil Kocher Mrs. Eleanor Marshall Oriana McKinnon Mrs. Franklin H. Macgregor Mr. and Mrs. Michael R. McClellan Virginia R. Melin Bill Martin and Pamela Russell The Spigel Family Diane and Bob Petterson Virginia R. Melin Ms. Vanessa A. Sutherland and Dr. George C. Sakakini Col. and Mrs. T. H. Meurer, Mr. Elliot Wolf Richard* and Leah Waitzer USMC Ret. F. Blair and Jane S. Wimbush Ms. Thelma Oser GOVERNMENT, CORPORATE, Richard Parise and Dori Iwanowski AND FOUNDATION GOVERNMENT, CORPORATE, James and Pamela Penny Brenda Snow and Oliver Portmann Cape Henry Collegiate AND FOUNDATION Mr. and Mrs. Gayle M. Rauch Capital Group Companies Bank of America Group Mrs. Ann D. Reed Charitable Foundation BayPort Credit Union Mr. and Mrs. John S. Shannon City of Newport News Bradley Family Fund at HRCF Elaine M. Themo Gold Key|PHR Rona and Erwin Drucker Mr. Asa Shield, Jr. and Marriott Norfolk Waterside Hotel Charitable Fund Helene Uhlfelder, Ph. D National Endowment for the Arts The Helen G. Gifford Foundation Jane and Win Short Newport News Arts Commission Kaufman & Canoles, P.C. Charla Smith-Worley The Patricia and Douglas Perry Norfolk Collegiate Dr. Frederic R. Walker Foundation Portsmouth Museum and Riverside Performing Arts Medicine Fine Arts Commission GOVERNMENT, CORPORATE, George J. & Effie L. Seay Foundation The Sandler Center Foundation Bank of America, N.A., Trustee Wilbanks, Smith & Thomas AND FOUNDATION Sentara Healthcare Asset Management, Inc. Alperin Law PLLC Sheraton Norfolk Waterside Hotel Williamsburg Area Arts Commission Atlantic Shores Cooperative Town Point Financial Associates LLC Association William A. Goldback Fund of SYMPHONY SOCIETY Baldwin and Associates the HRCF BDO ($5,000-$9,999) Birdsong Peanuts Canon Virginia, Inc. INDIVIDUALS Carl’s Wash Robert Alemany and JoAnn Falletta Checkered Flag Motor Car Co., Inc. Avraham Ashkenazi Chesapeake Fine Arts Commission John and Kathleen Broderick The Darden Foundation

VIRGINIA SYMPHONY ORCHESTRA 29 ANNUAL FUND DONORS

The Fannie, Milton, and GOVERNMENT, CORPORATE, D.B. Ames Charitable Foundation Leslie Friedman Family Foundation AND FOUNDATION Eugenia Kennedy Fund Franklin Southampton Charities Ameriprise IBM International Foundation LifeNet Health Associates in Dermatology KPMG LLP Norfolk Southern Matching Gifts Caterpillar Foundation Larchmont United Rouse-Bottom Foundation Children’s Hospital of Methodist Church Shearwater Foundation, Inc. the King’s Daughters Mathews Community Foundation The Trust Company of Virginia The Pruden Foundation The Morningstar Foundation Union Bank Suffolk Fine Arts Commission Portsmouth Service League Virginia Symphony League Suffolk Foundation Rotary of Norfolk Wells Fargo Tidewater Children’s Foundation Southeast Virginia James M. Wilcox Memorial Fund York County Arts Commission Community Foundation at HRCF Suffolk Fine Arts Commission Thrivent Financial TREBLE SOCIETY CONDUCTOR’S CIRCLE Trinder Charitable Fund ($1,500-$2,999) Virginia Symphony Chorus ($3,000-$4,999) Williamsburg Community INDIVIDUALS INDIVIDUALS Foundation Anonymous (2) Williamsburg Community Trust Mr. and Mrs. Bert Aaron Mrs. Carolyn Abbitt Robert Ake and Joyce Neff Ronald and Celia Adolphi Elizabeth and Ted Baroody Mr. and Mrs. Frank Batten, Jr. SOLOIST CIRCLE Mrs. Clay Barr Mr. Garrett G. Berger ($1,000-$1,499) Mr. and Mrs. Manfred Bloch Bruce and Sarah Bishop Deb Butler Mr. and Mrs. Robert M. Burchette INDIVIDUALS Leroy and Cora Collins Christopher and Julie Coffing Anonymous (3) Mr. and Mrs. Charles N. Cooper Dr. and Mrs. William A. Coulter Mr. and Mrs. John C. Allen Parker Councill and Robin Everett Mr. Lehan Crane and Florence M. Young and Page and Virginia Cranford Dr. Stephanie Eppinger Leonard J. Ballback Dr. and Mrs. Robert T. Davis Mrs. Nancy A. Creech Vern and Nancy Barham Ms. Ernestine I. Dole Allan and Susan Donn Peter and Mary Lou Barhydt Mr. and Mrs. William B. Downey Mr. and Mrs. W. R. Drury Dr. and Mrs. S.W. Berg Barry and Anita Fletcher Marty and Susan Einhorn Mr. and Mrs. George Y. Birdsong Jo Ann and Buzzy Hofheimer Dianne Epplein and John Patton Mr. and Mrs. McLemore Birdsong, Jr. Mr. and Mrs. Stan Howard Drs. Susan Lontkowski and Mr. Burton Bland Dr. and Mrs. T.W. Hubbard David Feldman Dr. James Bliss Mr. and Mrs. Edward Hudgins Linda and Rick Furiga Jim and Judith Bowers Nancy Sacks Jacobson Jim and Helene Haluska Mr. and Mrs. William E. Bradley Mr. Larry J. Kohmescher Mr. and Mrs. William M. Hart Barry and Sandy Brown Ms. Cynthia M. Lawson Mr. and Mrs. James L. Howe III Ms. Bridget Browne David J. Littley, Jr. Dan Jobson Teresa M. Kraus and Walter T. Camp Dr. Jean Major Marc and Terri Kirchner Mrs. Zora Camp Mr. Howard Mandeville and Grace and Jack Leach Mr. and Mrs. William J. Cashman Mrs. Sherill Schneider Drs. Donald R. and Elyse B. Lehman Drs. Sarah B. Clarkson and Mr. and Mrs. Carl L. Master, Jr. Dr. and Mrs. Mayer G. Levy John M. Herre Leigh and Danny McDaniel Dr. Jesse C. Lewis Dr. J. Floyd and Mary Clingenpeel Mr. and Mrs. Patrick B. McDermott Ms. Janie A. Lightbourn Susan and Norman Colpitts Mr. and Mrs. James L. Miller Dr. John MacCormack Mrs. Bess Decker Erwin B. Nachman Scott and Ruth McElroy Sergi L. Demchuk Mrs. Fran Pedersen Charles and Elizabeth Nuttycombe Linda G. Wilder Dyer Karen and Tom Philion A. L.* and Carolyn O’Toole Joe and Jane Susan Frank Bradley and Carolyn Pittman Sam and Priscilla Roady James M. George Mrs. Ann D. Reed John Saunders Mr. and Mrs. John Halderman Mrs. Sandra Armstrong and Mr. and Mrs. Lucius E. Steere III W.G. Hamm Mr. Tom Richmond Lawrence Steingold Mr. Steven B. Harris Louis F. and Prudence H. Ryan Dr. and Mrs. Kearfott M. Stone Harry and Pat Haynsworth Mrs. William Sammons Mr. and Mrs. Rony Thomas Dr. John M. Hess Mr. and Mrs. Gregory Sawyer Lehman Family Trust C. Holloway Joan and Jim Spore Eleanor and Henry Watts John and Nancy Horgan Dr. and Mrs. John R. Stephens Mr. and Mrs. Samuel J. Webster Mr. and Mrs. Ian Howard Judge Robert W. Stewart W. Lewis and Judith Witt Robert Hundley Family Garland Tillery and Jim Early Daniel J. Hunt and Mr. and Mrs. William R. Van Buren, lll GOVERNMENT, CORPORATE Roderick R. Ingram Mr. and Mrs. Wayne F. Wilbanks AND FOUNDATION Tom and Patricia Isenhour Mr. and Mrs. Donald G. Winchester Anonymous Mr. and Mrs. James Jiral Kirk and Rebecca Woodruff Abbitt Family Foundation Dr. and Mrs. John H. Kauffman David Polston Freelance Evelyn and Richard Keever Mr. and Mrs. Stanley Kosidlak

30 VIRGINIA SYMPHONY ORCHESTRA ANNUAL FUND DONORS

Henry and Angelica Light Stephen A. Davis Capt. and Mrs. Robert Swain, USCG Dr. and Mrs. Edward Lilly Mr. and Mrs. Stuart T. Davis Adam Turner Steven and Joan Marks Charlotte Elia Barbara and Pete Vollmer Rodney and Helen Martell John and Ignacio Farnham-Ceja Neil and Pat Walsh Joanne C. McClellan Lawrence and Charlotte Field Tim and Ellen Weidman Colin and Patt McKinnon Mr. Arthur Fleming Mr. and Mrs. Arba Williamson, III Mac McLoughlin Mr. Peter Foster Cathy and Leroy Williamson John F. Mileo John Page Garrett Susanne and Jack Wood John and Pollie Morison Richard and Lauren Giannotti Mrs. Joyce J. Wood Mr. and Mrs. Jack Peltz Dorothy P. Grandstaff Dr. Robert Woolfitt Mr. and Mrs. G. Conoly Phillips Dr. and Mrs. George C. Grant John and Deborah Wyld Mrs. Marybell Quesenberry Mr. Christopher Hale Jean Reid Dr. Isabelle L. Hallam CORPORATE AND FOUNDATION Ms. Carole L. Rekrut Mr. O. K. Hallam Divaris Real Estate Gordon H. Rheinstrom Mickey and Stuart Held East Beach Institute Drs. Walt and Jeanne Roll Mrs. George Helfrich Mr. And Mrs. G. Zeb Holt Dr. Paul Sayegh Dr. and Mrs. E. Beaumont Hodge, Jr. Charitable Fund Elise Emanuel and David Scherer Mr. Eric L. Holland Sis Nash Memorial Fund of Dr. and Mrs. James Schneider Mr. and Mrs. G. Zeb Holt the HRCF Raymond and Donna St. John Mr. and Mrs. Peter Homa Sanitary Linen Services, Inc. Dr. and Mrs. Roger R. Stenlund Dr. and Mrs. Robert E. Howard Jr. Tidewater Jewish Foundation Mr. William K. Stulb Mr. and Mrs. William P. Hunter Virginia Beach Task Force on Aging David and May Scott Sutelan Robert and Kathleen Hurliman Virginia and John L. Sinclair Mr. and Mrs. James E. Taylor Dr. Wojciech Grzeski and Foundation Mr. William H. Turner and Dr. Yumi Imai Mrs. Jennifer Stern Mr. and Mrs. Walter T. Judd ORCHESTRA CIRCLE Adeline Ungerman Kathleen W. Kane ($200-$499) Bill and Carole Vogler Mr. and Mrs. Jerry Kantor Mr. and Mrs. J. Kenneth Walsh, Jr. Mr. and Mrs. Stuart E. Katz INDIVIDUALS Faye G. Whitlock Roy and Abby Knox Anonymous (5) George and Elaine Wickard Mr. Dennis Lane Mr. and Mrs. Frederick R. Adamchak Mr. and Mrs. Donald G. Winchester Polly A. Lasich Drs. Melody and David Adler Steve and Lynne Winter Dr. Willette and Mary Louis LeHew Hon. Kenneth C. Alexander Elizabeth L. Young Dr. and Mrs. Roger W. Lidman Patricia Arant Mr. and Mrs. Douglas Lowry CORPORATE AND FOUNDATION Mr. and Mrs. Charles G. Armfield Mr. and Mrs. Harry E. McCoy Michael P. Armstrong and Anonymous Mr. and Mrs. S. Randall McDaniel Dawn M. Beam Mary E. and Curtis M. Chappell Jr. Mr. and Mrs. John B. Meek, Jr. Mr. and Mrs. Gordon Auchincloss Fund of the HRCF Mr. and Mrs. William A. Messner Debbie and John Baer Combined Federal Campaign of Dr. and Mrs. Donald H. Miller Mrs. Kristin Ball South Hampton Roads Mr. and Mrs. Barry Mitchel David and Susan Baime The JBH Fund at the Williamsburg Robert and Kathleen Morris William D. and Joy M. Bankart Community Foundation Mr. Michael Murphy Jayne Barnard McGuire Woods The Honorable Norman and Emily Barnhill and Ryan Napier Marianne Olivieri Memorial Fund Susan Olitsky Mr. and Mrs. Stanley G. Barr, Jr. for the Performing Arts Concetta Tina Pagley James and Peggy Barringer Grace and Fred Parkinson Dr. and Mrs. Alan Bartel CONCERTMASTER CIRCLE Mr. and Mrs. Donald E. Perry Elena B. Baum ($500-$999) David and Julia Pezza Mrs. Donna Bausch Mr. and Mrs. Robert Pihlcrantz Mr. and Mrs. Rodney N. Bencks INDIVIDUALS Mr. Ralph Rabinowitz Diane Blischak Joan D. Aaron Dr. and Mrs. Bishop P. Read William and Anne Boeh Anonymous Allan and Harriet Reynolds Paula Peebles Bonds Mr. and Mrs. Warren L. Aleck Upstaging Realty Dr. and Mrs. Mack Bonner Mr. and Mrs. Allan Bamforth, Jr. David and Brenda Sack Dr. John and Jeanne Bowers Richard and Dorothy Bardzell Greg Sanford and Eugenie Anderson Ms. Sadie Boyer Mrs. Genevieve T. Barrett John Saunders Robert and Laney Brown Jane Marshall Bashara Matthew and Priscilla Scanlon Edward and Eleanor Burchianti Sandra and Stephen Billy Dr. and Mrs. H. Robert Schappert Mary Ann and Bill Bynum Capt. and Mrs. James G. Burritt Dr. and Mrs. Ivan R. Schiff Joseph and Charlotte Carriker Marilyn Buxbaum Nancy Lee Sease B. Chalk Barbara and Keith Byers Dr. and Mrs. Robert Seeherman Mr. and Mrs. Daniel P. Chamberlin Frank W. Chapman Lynn and Jeanette Showalter Mr. Moncure Chatfield-Taylor Mr. and Mrs. Ralph Connelly Mr. and Mrs. Conrad M. Shumadine Alice A. Clarke Dr. and Mrs. William A. Coulter Capt. and Mrs. Douglas M. Simon Dorothy Cole Norman and Nordleen Crews Raymond F. Spencer Mr. and Mrs. George F. Cole, III Mr. and Mrs. Robert H. Cropp Chris and Elizabeth Springs Mr. and Mrs. Robert F. Collins

VIRGINIA SYMPHONY ORCHESTRA 31 ANNUAL FUND DONORS

David Connito and Elizabeth Schon Mr. and Mrs. Robert Kelly Denise G. Ross Mr. and Mrs. Allen J. Cooke Col. Chuck B. Kenison Dr. and Mrs. Irwin Sacks Tom and Christine Cooper Evelyn Knox Sam and Mary Liz Sadler Dr. and Mrs. William R. Cooper Dan and Tess Koach Mr. and Mrs. Stanley L. Samuels Mr. and Mrs. Frank H. Cowling Mr. and Mrs. Robert Laib Andrew and Julie Sandorfi Bart and Peg Crews Captain and Mrs. Keith Larson Dr. and Mrs. Gary L. Schechter Dr. Charles Curran, Jr. Dr. and Mrs. George T. Lee Rep. Bobby Scott Mr. and Mrs. Stephen Curtis Ms. Ina D. Levy and Dr. James M. Shaeffer, Sr. Dr. Dennis Darby Mr. Richard Staub Betsy B. Shelton Donald and Gael Daugherty Ms. Carol B. Linehan Mrs. Donald E. Sly James and Suzanne Davis Mr. and Mrs. Jack Lowe Mr. and Mrs. Mannie Smith William J. and Janice Davis Captain and Mrs. Carl V. Mallett Mr. and Mrs. Gilbert Snyders Mary S. Delaney Rick and Gayle Matthews Ms. Kelly S. Sokol Mr. and Mrs. G. W. Detterman, Jr. Mr. and Mrs. John McAvoy Martha and John Stewart Stanwood and Harriet Dickman Melissa McLeod Kay Stovall S. Catherine Dodson Capt. and Mrs. Kenneth L. Meek Mr. and Mrs. James E. Taylor Ms. Marion Fast Ms. Betty Jean Meyer Mr. and Mrs. Robert H. Torgler Mr. and Mrs. Tim A. Faulkner Mr. and Mrs. Robert E. Michaels Donna and Len Wallin Michael Gaver and Marina Sviridova Ms. Elizabeth A. Miklos Mr. and Mrs. Larry Walter Dr. Patrick and Mrs. Erin Gerbus Dr. John and Debora Mosher Clara L. Warren Stan and Janet Glasofer Mr. and Mrs. Michael Myers Mr. and Mrs. Edward Waterman Marilyn and Ray Gindroz Gary and Jan Nachman Wolfgang and Carol Wawersik Mr. James P. Goodman Daryl and Stephen Nemo A. Collier Webb Mr. George R. Goodson, Jr. Reed and Karen Nester Mr. and Mrs. David W. West Ms. Pamela Hyatt Mr. and Mrs. Nathan Nickerson Mr. Nicholas Wheeler Mr. Thomas F. Greco Dennis W. and JoAnn M. Olson Mr. and Mrs. David Benson Dr. and Mrs. Arthur D. Greene Cdr. Robin and Jane Orr, David Wick Ray and Jane Hanson USCG, Ret. Captain and Mrs. Channing M. Barbara A. Haynes Dr. and Mrs. Ray C. Otte Zucker Mr. and Mrs. William A. Hearst Ms. Doris A. Overton Anne C. Heyniger Jane Nohava and David Paige CORPORATE AND FOUNDATION Ms. Dorothy J. Higbee Juliet Pao Alan and Esther Fleder Foundation Charles S. Hopkins, Jr. Dr. Thomas C. Phelps Bartel Family Philanthropic Fund Ms. Helen Hsy Alan and Harriet Peltz at the JCF Joan Ladd and Jim Hurst Dr. Thomas C. Phelps E.J. Dempsey Fund of HRCF James E. and Mary Margaret Marc and Kate Powell ExxonMobil Foundation Hutchins Ann D. Prince F & G Gurdziel Charitable Fund Mr. Scott Jackson Russell and Barbara Prince Fidelity Charitable Dr. Alan and Norma Jaffe Mr. and Mrs. Van Reading Good Done Great Dr. and Mrs. Melvin R. Johnson Kurt R. Reisweber Peninsula Community Foundation Mr. Michael Joseph Mr. and Mrs. Scott Reppert of Virginia Edward P. Joyce III Allen and Ann Richter Mr. and Mrs. Michael Junge Ms. Meghan Robbins *deceased Dr. Larry Kagan and Diana Erye Charles W. and Kathryn Roberts RADM and Mrs. Jack Kavanaugh, Ms. Danielle Roby USN (Ret.) Dr. and Mrs. Reuben D. Rohn Kathy and Ed Keil Bob and Aleene Rose

While great care has been taken to ensure the accuracy of this list, mistakes can happen. We sincerely regret any omissions or inaccuracies, and we ask that you please contact the Development Office at 757.213.1417 to report any errors as it is important that our records accurately reflect your giving. Thank you!

32 VIRGINIA SYMPHONY ORCHESTRA THE VIRGINIA SYMPHONY ORCHESTRA LEGACY SOCIETY

he Legacy Society honors those individuals who are helping to ensure the future of the Orchestra with a Legacy gift. TLegacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. If you would like to partner with the VSO to create your legacy or if you need to notify us of your intentions, please contact our Development Office at 757.213.1417. Included are all donors who have documented the VSO is included in their long-term financial plans as of November 1, 2019.

Anonymous Dr. and Mrs. Valerio M. Genta The Perdue Charitable Trust Mr. Bert Aaron Mrs. Anna O. Gray Robert Petterson Dr. Arnold G. Abrams Gene Hite Dr. George C. Sakakini Ronald and Celia Adolphi JoAnn and Buzzy Hofheimer Dr. and Mrs. Miles Schwartz Mr. and Mrs. James F. Babcock Richard W. Hudgins Jane and Win Short Vern and Nancy Barham Ms. Pamela Hyatt* Helen and Dan Sonenshine Elena B. Baum Connie Jacobson Mr. Lawrence L. Steingold Dr. and Mrs. Alan Bartel Ms. Terry Jenkins Ms. Marian P. Taylor Mrs. Frances Levy Birshtein Marc and Terri Kirchner Elaine M. Themo Muriel Bonney* Dr. and Mrs. Edward Lilly Garland Tillery and Jim Early Robert and Roslyn Brown Dr. Jean Major John T. Vojtek Leroy and Cora Collins Milford* and Dione Maloney Mrs. Ruth Wasserman Mr. and Mrs. Robert F. Collins Suzanne and Vince Mastracco Mr. and Mrs. Samuel J. Webster Page and Virginia Cranford Pat and Doug Meyer Tim and Ellen Weidman Mr. and Mrs. Arthur Diamonstein Elizabeth Miklos F. Blair and Jane S. Wimbush Betty Harmon Edwards Mrs. Gayle V. Nichols Leslie H. Friedman Concetta Tina Pagley *deceased

VIRGINIA SYMPHONY ORCHESTRA 33 TRIBUTE GIFTS

The Virginia Symphony Orchestra welcomes gifts made in honor of individuals or in memory of the deceased. These special contributions are recognized with a listing in one edition of the season program book. In addition, a card is sent to the honoree or the family of the deceased to notify them of the gift. For more details and to make a tribute gift, please call our Development Office at 757.213.1417.

The following tribute gifts were made in the names of the listed individuals and are followed by the respective donors. This list represents all tribute gifts received between July 1, 2019 through November 1, 2019.

IN HONOR OF: IN MEMORY OF: In Memory of In Honor of Mr. Carter Melin In Memory of Eileen Mitchell Ms. Felicia Dorfrio Ms. Virginia R. Melin Mrs. Bernice Kimball Mrs. Jacquelyn B. Falls

In Honor of Thelma Oser In Memory of Manfred Bloch In Memory of Mrs. Margo M. Drucker Mr. and Mrs. Bland Stein Mrs. Patricia H. McClure Mrs. Sonya R. Nachman Mr. Paul A. McClure Mr. and Mrs. Arthur Fass In Memory of Virginia Stringer Mr. and Mrs. Stanley H. Scher Mrs. Alice C. Clarke In Memory of Mr. Joseph R. Loschi In Honor of Elizabeth and In Memory of Martha Mandelle Dr. Constance Loschi David Vonderheide Thomas Bradley Bishop R. K. Eutsler Mr. William Bradley In Memory of Mr. Matthew Toothman In Memory of Mr. James P. Goodman Ms. Rachel Crumbly Peninsula Community Foundation In Memory of Of Virginia Ms. Laura Wittkofski Ms. Mary L. O’Brien In Memory of Dr. Lester Dubnick In Memory of Karen and Tom Philion Mr. Arthur L. O’Toole Mr. and Mrs. Bert Aaron Mrs. Joan Strauss Mr. and Mrs. Charles N. Cooper In Memory of Mr. Jim McClellan In Memory of Ms. Deborah H. Butler Ms. Carole B. Rosenberg Baldwin Advisory LLC Mr. and Mrs. Charles N. Cooper

34 VIRGINIA SYMPHONY ORCHESTRA VIRGINIA SYMPHONY ORCHESTRA 35 36 VIRGINIA SYMPHONY ORCHESTRA

OUR PODIUM PERSONALITIES JOANN FALLETTA MUSIC DIRECTOR oAnn Falletta is internationally celebrated as Ja vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation”, she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and music advisor to the Hawaii Symphony.

Falletta is invited to guest conduct many of the world’s finest symphony orchestras. Recent guest Bruno Walter Awards for conducting, as well conducting highlights include debuts in Belgrade, as the American Symphony Orchestra League’s Gothenburg, Lima, Bogotá, Helsingborg, prestigious John S. Edwards Award. She is an Orchestra of St. Luke’s, a European tour with ardent champion of music of our time, introducing the Stuttgart Orchestra, return engagements over 500 works by American composers, including with the Warsaw, Detroit, Phoenix, and Krakow more than 110 world premieres. Hailing her as a Symphony Orchestras and a 13 city U.S. tour with “leading force for the music of our time,” she has the Irish Chamber Orchestra with James Galway. been honored with twelve ASCAP awards. Falletta served as a Member of the National Council on She has guest conducted over a hundred orchestras the Arts during both the George W. Bush and in North America, and many of the most prominent Obama administrations. orchestras in Europe, Asia, South America and Africa. Her North America guest conducting Under Falletta’s direction, the VSO has risen to appearances have included the orchestras of celebrated artistic heights. The VSO, which made Philadelphia, Los Angeles, San Francisco, Dallas, critically acclaimed debuts at the Kennedy Center St. Louis, Milwaukee, Indianapolis, Seattle, San and New York’s Carnegie Hall under Falletta and Diego, Montreal, Toronto and the National entered into their first multinational recording Symphony and international appearances agreement with Naxos, performs classics, pops have included the London Symphony, Czech and family concert series in Norfolk, Virginia Philharmonic, Rotterdam Philharmonic, Korean Beach, Newport News and Williamsburg. Broadcast Symphony, Seoul Philharmonic, China National Symphony, Shanghai Symphony, In addition to her current posts with the Buffalo Liverpool Philharmonic, Manchester BBC Philharmonic, the Virginia Symphony, Brevard Philharmonic, Scottish BBC orchestra, Orchestra Music Center and Hawaii Symphony, Falletta National de Lyon and Mannheim Orchestra has held the positions of principal conductor of among others. Falletta’s summer activities have the Ulster Orchestra, principal guest conductor taken her to numerous music festivals including of the Phoenix Symphony, music director of Aspen, Tanglewood, the Hollywood Bowl, Wolf the Long Beach Symphony Orchestra, associate Trap, Mann Center, Meadow Brook, OK Mozart conductor of the Milwaukee Symphony Festival, Grand Teton, Eastern, Peninsula and Orchestra, and music director of the Denver Brevard Festival. Chamber Orchestra.

Falletta is the recipient of many of the most Falletta received her undergraduate degree from prestigious conducting awards including the the Mannes College of Music in New York and Seaver/National Endowment for the Arts her master’s and doctorate degrees from The Conductors Award, the coveted Stokowski Juilliard School. Competition, and the Toscanini, Ditson and

OUR PODIUM PERSONALITIES ROBERT SHOUP CHORUS MASTER/STAFF CONDUCTOR his is Robert Shoup’s 23rd season as Chorus TMaster and Staff Conductor of the Virginia Symphony Orchestra. His national and international conducting credits include the Louisiana Philharmonic Orchestra, Breckenridge Music Festival Orchestra, ensembles from the Prague Radio Orchestra and Czech State Philharmonic, and numerous choral ensembles. He served as the Music Director of the all- professional Virginia Chorale from 1997-2007.

Critics have described Shoup’s choruses as “totally enthralling” and “completely mesmerizing,” and he has spearheaded numerous collaborations that have included music, dance and visual arts. His ensembles have been featured on numerous recordings, including two discs with the VSO for the Naxos label (Hailstork and Stravinsky). He Shoup also serves as the Director of Music served as Assistant Music Director for the Virginia Ministry at Freemason Street Baptist Church Symphony and Virginia Arts Festival’s highly where he continues to lead a vibrant vocal music acclaimed production of the Leonard Bernstein program. He has been instrumental in the creation “Mass” and coordinated the collaborating choruses of “The Hymnal of Freemason Street Baptist for 2012 performances and recording of Mahler’s Church,” published Fall 2016. He is also the Eighth symphony known as the “Symphony of a architect of a new musical outreach program— Thousand.” His achievements include the creation The Norfolk Street Choir—that will provide and coordination of “American Voices”, a two homeless individuals an opportunity to participate week-long festival of American choral music with in music in a performing choir. the Virginia Chorale and the VSO. The project earned one of seven major National Endowment He earned a Bachelor’s degree in Music Education for the Arts “American Masterpieces: Choral (voice) from Duquesne University, and a Master’s Music” grants. Shoup also prepared a nationally degree in Conducting from Carnegie Mellon recruited choir of over 1,800 singers for the University where he studied with Grammy Award th 400 Anniversary celebration of Jamestown. winning conductor Robert Page. Shoup is also a singer whom the Pittsburgh Post Gazette called “an especially fine tenor.” His vocal performances have included the role of John Adams in the world premiere performance of Adolphus Hailstork’s Crispus Attucks, and Beethoven’s Ninth Symphony with the Fort Collins (CO) Symphony.