Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director

Wednesday, January 15, 2020 at 8:00pm Thursday, January 16, 2020 at 8:00pm Friday, January 17, 2020 at 7:30pm Saturday, January 18, 2020 at 8:00pm

Mozart Requiem

Sir Andrew Davis, conductor Jenavieve Moore, soprano Jillian Bonner, mezzo-soprano Charles Sy, tenor Trevor Eliot Bowes, bass Toronto Mendelssohn Choir Jenavieve Moore, Jillian Bonner, Charles Sy, and Trevor Eliot Bowes are members of the Equilibrium Young Artists initiative.

Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 I. Adagio – Allegro II. Andante con moto III. Menuetto: Allegretto IV. Finale: Allegro

Intermission

Wolfgang Amadeus Mozart Requiem, K. 626 (compl. by Süssmayr) I. Introitus – Requiem IV. Offertorium II. Kyrie Domine Jesu III. Sequenz Hostias Dies irae V. Sanctus Tuba mirum VI. Benedictus Rex tremendae VII. Agnus Dei Recordare VIII. Communio Confutatis Lacrimosa

The January 15 performance is generously supported by Blake and Belinda Goldring. Appearances of Sir Andrew Davis this season are generously supported by Hans and Susan Brenninkmeyer. Appearances of the Equilibrium Young Artists are generously supported by Sharon Groom and Robert Polese. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. JANUARY 15, 16, 17 & 18, 2020 17 ABOUT THE WORKS superficial. Beneath the euphonious surface, tempests sometimes rage. Even in the slow movement, a warmly lyrical outpouring, there Wolfgang Amadeus Mozart are dark and troubled passages. In fact, the symphony is rife with surprising harmonic Symphony No. 39 in E-flat digressions; the ostensibly joyous finale, a Major, K. 543 whirling contredanse, passes through keys (both major and minor) as distant as E, B, and F-sharp. Born: Salzburg, Austria, Jan 27, 1756 Emotional and psychological complexity were Died: Vienna, Austria, Dec 5, 1791 typical of the later Mozart, even in those works Composed: 1788 27 that seem the most complacently “Classical.” min Over the years there have been many attempts to unlock the underlying meaning of this remarkable symphony. For instance, the key Mozart composed his last three symphonies, of E-flat major, which has three flats in its key his greatest works in this form, in a signature, had special Masonic significance remarkable six-week period in the summer of for Mozart: it is the principal key of some of 1788. The impetus for this ambitious project the music he wrote for Masonic lodges; of has never been conclusively determined. The The Magic Flute, which alludes unmistakably evidence suggests, however, that he wrote to Freemasonry; and of the Divertimento for them in haste for a planned concert series. string trio, K. 563, which he wrote for a fellow- Difficult as it is to imagine that an inspired Mason. It was also, at least in part, a tribute to and original masterpiece like No. 39 was his friend and mentor Joseph Haydn. It opens dashed off by a cash-strapped composer who with a slow introduction, a device invented by considered a symphony to be less important Haydn, and its finale, like so many movements than a piano concerto or opera, most likely by Haydn, is built up almost entirely from a that is what happened. little motif introduced in the opening bars. As These last three symphonies are astonishingly the motif is batted around like a shuttlecock individual. No. 40 is dark, passionate, throughout the orchestra, we hear that Romantic, and tragic, while No. 41—the marriage of high comedy and intellectual “Jupiter”—is bright, formal, Olympian, and rigour so characteristic of Haydn’s art. optimistic. No. 39 has never incited as much No. 39 builds its originality on topics that were admiration or discussion as its two cousins; clichés of 18th-century music. The magnificent it is both less conspicuously eccentric and Adagio introduction, for instance, features less problematical. That being said, it is the the pompous dotted rhythms and rapid scale most melodious, the most graceful, sociable, figures characteristic of the stately ouverture, and accessible of the last three symphonies, a staple of French Baroque court music. The a study in pure sonority. There is no more Allegro, in 3/4 time, has the courtly elegance of a vibrantly colourful Mozart symphony: the French minuet. In the third movement, the Trio music shimmers. Mozart creates an especially is a sweet, gently ironic country dance, based “open” and radiant sound by using a flute on a tune—assigned to his beloved clarinet— and two clarinets and omitting the plangent, borrowed from an actual Austrian Ländler, and penetrating sound of the oboe. He persistently set against a homely oom-pah accompaniment. pits the sonorities of strings and woodwinds As in all of his late symphonies, there is a whole against each other to brilliant effect. world in No. 39; the music is as inclusive and If beauty takes precedence over profundity in accommodating as it is idiosyncratic. No. 39, the music is by no means simplistic or Program note by Kevin Bazzana

18 TORONTO SYMPHONY ORCHESTRA Wolfgang Amadeus Mozart Desperate for funds, Mozart’s wife Constanze Requiem, K. 626 took it upon herself to find someone to complete the Requiem so that she could sell (compl. by Süssmayr) it as Mozart’s. The project was undertaken by Composed: 1791; compl. 1792 one of Mozart’s pupils, Franz Xavier Süssmayr. 60 min Thanks to his efforts, the Requiem was completed by February 1792, and Constanze was paid the full amount owed.

It is perhaps one of the greatest paradoxes of Not surprisingly, the Requiem does not classical music that perhaps the most-often resemble any of Mozart’s earlier large- heard and best-loved of Mozart’s works is scale choral works. Gone are the operatic the one of which he actually composed the flourishes evident in his earlier choral works. smallest percentage. The circumstances of his Likewise, the work both lacks the brilliance Requiem’s composition are by now common of his earlier choral works and eschews the knowledge. In July 1791, Mozart received a apocalyptic drama of the later Requiems by commission, via anonymous courier, from the Verdi and Berlioz. Notably, Mozart omits the Count Franz von Walsegg, a Viennese nobleman upper woodwinds, using no flutes, oboes or with a habit of commissioning music from well- clarinets, and no French horns. The resulting known composers and then passing it off as his tone is undeniably dark, but warm, with none own. His offer was substantial, and Mozart, ever of the desperation of a man who knows his on the edge of poverty, accepted. end is nigh, as has often been suggested.

Mozart set to work on the Requiem in October Süssmayr’s work has been harshly criticized, 1791, but had completed only a fraction of the not without good reason: the Requiem is full work before taking to his bed in mid-November, of errors in harmony, and his musical ideas with what was to be his final illness. At the time were no match for Mozart’s. However, despite of his death, only the introductory “Requiem its detractors, the Süssmayr completion of Aeternam” was finished. Of the Kyrie, part the Requiem has remained the standard of the Sequenz, and the Offertorium, he had version, despite several new completions in completed only the vocal parts, a bass line with recent years. This may be because, despite figures (to indicate harmonies), and occasional what Süssmayr (or anyone else) might have fragments of instrumental sketches. The done to the Requiem, its tone remains purely remaining movements—Sanctus, Benedictus Mozartean—and the work remains one of the and “Hosanna”, Agnus Dei, and Communio— greatest settings of the Requiem text in history. were apparently completely uncomposed at Program note by Margot Rejskind the time of his death.

BRING YOUR RACHMANINOFF & SCHEHERAZADE VALENTINE TO February 14–16 THE TSO! Elim Chan leads the Orchestra in Rimsky-Korsakov’s bewitching Scheherazade, plus Stephen Hough plays Rachmaninoff’s Second Piano Concerto. TSO.CA 416.593.1285

JANUARY 15, 16, 17 & 18, 2020 19 MOZART REQUIEM LIBRETTO

I. INTROITUS I. INTROITUS (Solo Soprano and Chorus) (Solo Soprano and Chorus) Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Te decet hymnus, Deus, in Sion, A hymn in Zion befits you, O God, et tibi reddetur votum in Jerusalem. and homage will be paid to You in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. to You all flesh will come. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.

II. KYRIE II. KYRIE (Chorus) (Chorus) Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us.

III. SEQUENZ III. SEQUENZ (Chorus) (Chorus) Dies irae, dies illa, Day of wrath, that day of anger solvet saeclum in favilla; when the world will be reduced to ashes; teste David cum Sibylla. as was foretold by David and the Sibyl. Quantus tremor est futurus, Great trembling there will be, quando judex est venturus, when the Judge descends from heaven cuncta stricte discussurus! to examine all things closely!

(Solo Quartet) (Solo Quartet) Tuba mirum spargens sonum The trumpet, sounding forth its wondrous call per sepulcra regionum, through the tombs of every land, coget omnes ante thronum. summons all before the throne.

Mors stupebit et natura, Death and Nature will be struck powerless, cum resurget creatura, when all Creation rises again judicanti responsura. to give answer to the Judge. Liber scriptus proferetur, A book will be brought forth, in quo totum continetur, in which all will be written, unde mundus judicetur. by which the world shall be judged.

Judex ergo cum sedebit, When the Judge takes His seat, quidquid latet apparebit; what is hidden will be revealed; nil inultum remanebit. nothing will remain unavenged.

Quid sum miser tunc dicturus? What can a wretch like me say? Quem patronum rogaturus, Who shall plead on my behalf, cum vix justus sit securus? when the just ones need mercy?

(Chorus) (Chorus) Rex tremendae majestatis, King of awesome majesty, qui salvandos salvas gratis, who freely saves those worthy ones, salva me, fons pietatis. save me, source of mercy.

20 TORONTO SYMPHONY ORCHESTRA (Solo Quartet) (Solo Quartet) Recordare, Jesu pie, Remember, merciful Jesus, quod sum causa tuae viae; that I am the reason for Your coming; ne me perdas illa die. let me not be lost on that day.

Quaerens me, sedisti lassus; In seeking me, You sat down wearily; redemisti crucem passus; enduring the Cross, You redeemed me; tantus labor non sit cassus. may such great effort not be in vain.

Juste judex ultionis, Just Judge of Punishment, donum fac remissionis give me the grace of Your forgiveness ante diem rationis. before the day of reckoning.

Ingemisco, tamquam reus, I groan as one who is accused, culpa rubet vultus meus; owning my shame with a red face; supplicanti parce, Deus. spare one who humbly entreats You, O God.

Qui Mariam absolvisti, You who forgave Mary Magdalen, et latronem exaudisti, and heard the plea of the thief, mihi quoque spem dedisti. have given me hope as well.

Preces meae non sunt dignae, My prayers are not worthy, sed tu, bonus, fac benigne, but You who are good, show your kindness, ne perenni cremer igne. that I might not burn in the eternal flames.

Inter oves locum praesta, Provide me a place among the sheep, et ab haedis me sequestra, and separate me from the goats, statuens in parte dextra. placing me at Your right hand.

(Chorus) (Chorus) Confutatis maledictis, When the accused are confounded, flammis acribus addictis, and cast into the bitter flames, voca me cum benedictis. call me forth among the blessed.

Oro supplex et acclinis, Suppliant and bowed down, I pray, cor contritum quasi cinis, with a contrite heart, as if reduced to ashes, gere curam mei finis. take my ending into Your care.

(Chorus) (Chorus) Lacrimosa, dies illa, That day of tears and mourning, qua resurget ex favilla when from the ashes shall arise, judicandus homo reus. the guilty man to be judged. Huic ergo parce Deus. Spare us by Your mercy, O Lord, Pie Jesu Domine, merciful Lord Jesus, dona eis requiem aeternam. Amen. grant them peace. Amen.

Please turn page quietly.

JANUARY 15, 16, 17 & 18, 2020 21 IV. OFFERTORIUM IV. OFFERTORIUM (Chorus and Solo Quartet) (Chorus and Solo Quartet) Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of all the faithful defunctorum de poenis inferni departed from the pains of hell et de profundo lacu. and from the deep pit. Libera eas de ore leonis, Deliver them from the jaws of the lion, ne absorbeat eas tartarus, that hell may not swallow them, ne cadant in obscurum. and that they may not fall into darkness.

Sed signifier sanctus Michael But let the holy standard-bearer Michael, repraesentet eas in lucem sanctam, lead them into holy light, quam olim Abrahae promisisti as once You promised to Abraham et semini ejus. and his descendants.

(Chorus) (Chorus) Hostias et preces tibi, Domine, Sacrifices and prayers of praise, O Lord, laudis offerimus. we offer to You. Tu suscipe pro animabus illis, Accept them on behalf of those souls quarum hodie memoriam facimus. we commemorate today. Fac eas, Domine, Grant them, O Lord, de morte transire ad vitam, to pass from death to life, quam olim Abrahae promisisti as once You promised to Abraham et semini ejus. and his descendants.

V. SANCTUS V. SANCTUS (Chorus) (Chorus) Sanctus, sanctus, sanctus Holy, holy, holy Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.

VI. BENEDICTUS VI. BENEDICTUS (Solo Quartet and Chorus) (Solo Quartet and Chorus) Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

VII. AGNUS DEI VII. AGNUS DEI (Chorus) (Chorus) Agnus Dei, qui tollis Lamb of God, who takes away peccata mundi, dona eis requiem. the sins of the world, grant them rest. Agnus Dei, qui tollis Lamb of God, who takes away peccata mundi, dona eis requiem. the sins of the world, grant them rest. Agnus Dei, qui tollis Lamb of God, who takes away peccata mundi, dona eis requiem the sins of the world, grant them rest sempiternam. everlasting.

VIII. COMMUNIO VIII. COMMUNIO (Solo Soprano and Chorus) (Solo Soprano and Chorus) Lux aeterna luceat eis, Domine, Let eternal light shine upon them, O Lord, cum sanctis tuis in aeternum, with Your saints forever, quia pius es. for you are merciful. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis, and let perpetual light shine upon them, cum santis tuis in aeternum, with Your saints forever, quia pius es. for you are merciful.

22 TORONTO SYMPHONY ORCHESTRA THE ARTISTS

Sir Andrew Davis conductor Sir Andrew Davis, Interim Artistic Director, served as TSO Music Director from 1975 to 1988, when he was named TSO Conductor Laureate. For his detailed biography, please turn to page 13.

Equilibrium Young Artists Equilibrium Young Artists (EQ) is an international mentoring initiative founded by Canadian soprano and conductor Barbara Hannigan, designed for young professional musicians in the first substantial phase of their career. With a special focus on singers and conductors, EQ exists to elevate the participants’ total musicianship and discipline to the highest level. Through intense workshops, EQ artists work toward professional performance opportunities with some of the world’s leading orchestras.

Equilibrium’s inaugural season (2018/19) included The Rake’s Progress directed by Linus Fellbom (Gothenburg Symphony, Munich Philharmonic, Ludwig Orchestra, European tour, and performances at Aldeburgh and Ojai Festivals) and Mozart Requiem (Danish Radio Symphony Orchestra, Munich Philharmonic), both conducted by Barbara Hannigan. This collaboration with the TSO marks the first time Hannigan brings Equilibrium Young Artists to Canada. Hannigan and the Toronto Symphony Orchestra have a long-standing history of introducing firsts to Canadian audiences, including Hannigan’s début with the Orchestra (as soprano) with the Canadian Première of Ligeti’s Mysteries of the Macabre in 2000, and her North American conducting début in 2015.

Barbara Hannigan and Sir Andrew Davis selected tonight’s soloists after a national search and application process, out of which 23 talented young artists were invited for live auditions in Toronto. These auditions also included mentoring sessions with Hannigan and Davis, who engaged the singers in conversations about a wide range of musical and professional-development topics.

In August 2019, the four chosen soloists—along with TSO RBC Resident Conductor Simon Rivard, who is also an EQ Young Artist for the 2019/20 season—gathered in Nova Scotia for an EQ intensive week at the Lunenburg Academy for the Performing Arts. In this beautiful setting, the musicians worked in-depth on the Requiem material, as well as exploring and discussing the meaning of requiem, ritual, and ceremony in our society. They worked daily with Barbara Hannigan, as well as with T’ai chi master Patrick Stanley. They also worked with Barbara’s long-time colleague, sport performance coach Jackie Reardon, who has worked with medal-winning Olympic athletes in both team and individual sport, and who brought her insights and methods of breath and eye control, and focus and discipline under pressure. The week ended with a gala performance in Lunenburg.

JANUARY 15, 16, 17 & 18, 2020 23 THE ARTISTS

Jenavieve Moore soprano These performances mark Jenavieve Moore’s TSO début.

Described as “an artist of extraordinary talent”, soprano Jenavieve Moore has a “silvery voice of great flexibility, precision, and beauty,” and is renowned for her Mozart and Strauss interpretations. The young Canadian began gaining attention in London, England when she stepped in at the last minute to sing Verdi’s Requiem in the Barbican Centre, for the opening concert of the 2014/15 season.

Equally at home on the opera and concert stage, Jenavieve has performed across North America, Europe, and China, with operatic credits ranging from W.A. Mozart to H. Birtwistle. Recent performances include her début at England’s Royal Festival Hall with the London Philharmonic Orchestra performing Brett Dean’s Wolf Lieder; an appearance in the Budapest Liszt Academy and the Royal Opera House performing European premières of three chamber operas; Stephan Benson’s new production of Mozart’s Der Schauspieldirektor (Md.Silberklang) with Die Schönen Theatre in Freiburg, Germany; as well as many oratorio performances throughout Europe.

Jenavieve completed her education at the Royal Conservatory of Music in Toronto with Helga Tucker, and at the Guildhall School of Music & Drama in England with Yvonne Kenny (Opera Course and Masters). She has participated in masterclasses with Thomas Hampson, Barbara Bonney, Eugene Asti, Roger Vignoles, and Sarah Walker. During her studies, she received awards and competition prizes including a jury prize at the Pustina International Vocal Competition, the Guildhall Aria Prize, First Prize at the Dean & Chadlington Festival Competition, the Belle Shankman Award for the Arts from the Canadian Embassy, and a Drake Calleja Foundation award.

Jillian Bonner mezzo-soprano These performances mark Jillian Bonner’s TSO début.

Jillian Bonner is a mezzo soprano from Saint John, New Brunswick. She is a recent graduate of the Calgary Opera Emerging Artists Program (2017–18), and the University of Manitoba (MMus, 2016). Currently, she is a Rebanks Family Fellowship and International Performance Residency recipient at the Glenn Gould School in Toronto, Ontario, as well as part of soprano and conductor Barbara Hannigan’s Equilibrium Young Artist Initiative.

An avid competitor, Jillian was a National Finalist at the Opera de Montreal’s Atelier Lyrique competition (2019), a Regional finalist for the Metropolitan Opera National Council Auditions (2019), and a winner of the St. Andrews International Aria competition (2018). She has performed with Symphony New Brunswick, the Winnipeg Symphony Orchestra, the Thunder Bay Symphony Orchestra, and the Calgary Bach Society. Recent operatic roles include Arsace in Semiramide (LAMP), Charlotte in Werther (LAMP), Dorabella in Cosí fan tutte (Calgary Opera), and Olga (cover) in Eugene Onegin (Calgary Opera).

24 TORONTO SYMPHONY ORCHESTRA Charles Sy tenor These performances mark Charles Sy’s TSO début.

Toronto native Charles Sy has been recognized internationally as a promising young artist with a “softly lyric sound, and a natural sense of phrasing coupled with a rare willingness to project beyond the apron” (National Post). He is described as “vocally and dramatically mature with a delicious dark tenor sound that [stretches] easily into shining high notes” (Schmopera).

Charles is currently completing his studies at The Juilliard School (ArtDip in Opera Studies) and completed previous training at the University of Toronto (BMus, MMus). He is an alumnus of several opera training programs including the Canadian Opera Company’s Ensemble Studio, Music Academy of the West, The Merola Opera Program, Opera Theatre of Saint Louis, Centre for Opera Studies in Italy (COSI), and the Britten-Pears Young Artist Program.

His 2018/19 season included performances of Peter Quint/Turn of the Screw with Juilliard Opera, Messiah with the Kitchener Waterloo Symphony, Nemorino/L’elisir d’amore in Chengdu, China and Ramiro/Cenerentola in his Vancouver Opera début. Last season, Charles sang Agenore/Il re pastore with the Merola Opera Program. He made his Juilliard Opera début as Belfiore/La finta giardiniera and also made his Carnegie Hall début as the Evangelist and Tenor Soloist in Bach’s Weihnachtsoratorium.

Charles was a 2019 George London Foundation winner, a finalist for the Glyndebourne Opera Cup 2018, and won both First Prize and Audience Choice in the Canadian Opera Company’s 2014 Centre Stage Competition. He is a recipient of major grants from the Hnatyshyn Foundation, Sylva Gelber Music Foundation, and Sullivan Foundation.

Trevor Eliot Bowes bass These performances mark Trevor Eliot Bowes’s TSO début.

Lyric bass Trevor Eliot Bowes was born in Victoria, Canada, and studied at the University of Toronto, the Banff Centre for the Arts, the Britten-Pears Young Artists Programme, and the Royal Scottish Academy of Music and Drama. He is currently one of Barbara Hannigan’s Equilibrium Young Artists.

Highlights in recent seasons include José Castro (La fanciulla del West) and Policeman (Lady Macbeth of Mtsensk) for English National Opera; Father Trulove (The Rake’s Progress) with the Münchner Philharmoniker; Silvano (Un ballo in maschera) for Grange Park Opera; Ein Lakai (Ariadne auf Naxos) for Opera Holland Park; and Boots and Footman (Der Rosenkavalier) for Glyndebourne.

His operatic roles include Figaro (Le nozze di Figaro), Leporello (Don Giovanni), Don Alfonso (Così fan tutte), Léandre (L’amour des trois oranges), Don Inigo (L’heure espagnole), and Sarastro (Die Zauberflöte). As a full-time member of Opera North, in Leeds, roles included Talbot (Maria

JANUARY 15, 16, 17 & 18, 2020 25 Stuarda) opposite Sarah Connolly, and the Drum-maker in Jonathan Dove’s The Adventures of Pinocchio. Concert appearances include Handel Messiah for the London Handel Festival; Vaughan Williams Fantasia on Christmas Carols with the Orchestra of English National Opera, under Martyn Brabbins; Bach Cantata 71 under Helmuth Rilling (Toronto International Bach Festival); the Thief in Grieg’s Peer Gynt (Royal Scottish National Orchestra); and Mendelssohn Elijah, Vaughan Williams Hodie, and Handel Messiah in cities across Canada.

This season, Trevor makes his début with Scottish Opera as Theseus (A Midsummer Night’s Dream); returns to Opera Holland Park as Ceprano (Rigoletto); and understudies Public Opinion (Orpheus in the Underworld) for English National Opera. trevorbowes.com

Toronto Mendelssohn Choir

David Fallis, Interim Conductor and Artistic Advisor Anna Kajtar, Executive Director Ezra Burke, Associate Conductor

The Toronto Mendelssohn Choir made its TSO début in March 1937.

The Toronto Mendelssohn Choir (TMC), Canada’s world-renowned large vocal ensemble, performs choral music drawn from five centuries, including grand symphonic masterworks, a cappella motets, world premières of TMC commissions, and rarely heard works. In addition to its own concert season, the Choir also appears regularly with the Toronto Symphony Orchestra and makes other guest appearances. It presented its first concert on January 15, 1895, as part of the inaugural season of Massey Hall. Since then, it has flourished under the leadership of seven of Canada’s pre-eminent conductors, and will welcome its eighth conductor in 2020. Over the years, the Choir has received critical acclaim for its performances and recordings.

TMC choristers include a 20-member core of professional singers, auditioned volunteers, and choral apprentices. As part of the TMC’s education programs, the Choral Apprentice Program brings experienced 17- to 22-year-old singers into the Choir, and supports them through bursaries, voice coaching, and mentoring. The Associate Conductor position supports the development of emerging conductors through a two-year position. Outreach programs of the Choir include choral workshops for amateur choristers, and international webcasts of select concerts. GIMENO, YUJA WANG INCOMING & BRAHMS MUSIC DIRECTOR April 8, 9 & 11 GUSTAVO GIMENO! Don’t miss these all-Brahms concerts, featuring the expressive Second Symphony. Plus, the always dazzling Yuja Wang performs both TSO.CA of the composer’s piano concertos. 416.593.1285

26 TORONTO SYMPHONY ORCHESTRA TMC Choristers for These Toronto Symphony Orchestra Performances

Soprano Julia Barber* Alejandro Guerrero Ann-Marie Barrett-Tandy Betty Bennett Valdis Jevtejevs* Lesley Emma Bouza* Janis Benson Matthew Bruce Johnson Leslie Bradshaw Frances Chan Clement Kam Ada Chan Sarah Climenhaga Teddy Kendall ¥ Joanne Chapin* Kristin Crawford Cory Knight* Laureen Choi Avis Devine Will Parker Krista Chung Cora Dusk William Reid* Katy Clark* Kirsten Fielding* Isaiah-John Sison ¥ Sue Cummings Kim Finkelstein Steve Szmutni* Emily Dotzlaw ¥ Karen Frank Daniel Turner Janet Eide Gillian Grant Christopher Wenman Tamieka Evans Ilone Harrison Leslie Finlay Marilyn Isaac Stewart Bass Debbie Fleming Krista Käis-Prial Neil Aronoff* Kaveri Gandhi Valarie Koziol Jeffrey Baker Becky Gilling Manami Kuge Dan Bevan-Baker* Julia A. Goss Judy Lung Vlad Boshoyer Pat M. Irwin Hilary McCrimmon Hernan Botero Jennylynd James Jennifer McGraw Goody Cabral Holly Johnson Deborah Micucci Jarlen Caden Christine Kerr Marcia Myers Tony Churchill Jennifer Kerr Annie Odom Martinus Hadiwinata Jennifer (Ye Won) Kim Marg Rappolt Miles Hearn Alysha Ladha Alison Roy* Ronald Jewell Claire Luc ¥ Jan Szot Andrew Johnston Marlene Lynds Radka Tamchyna Jim Jones Teresa Mahon* Halyna Troian Kieran Kane* Sachiko Marshall Sue Varty Dennis Kwok ¥ Cathy Minnaar Patti Vipond Zhenglin Liu ¥ Emma Mogyorodi Emma Willemsma Jasper Moss Ngaio Potts Andrea Wong Paul Oros* Genevieve Proulx Susan Worthington Daniel Parkinson Boyanna Rajic Jessica Wright* Phil Penney Heather Rowe YuYang Wu David B. Powell MerryAnne Stuart* Shirley Xiao ¥ Milovan Prelevic Joanne Tang Mitzi Wolfe Zohar Edward Shafran Madison Trupp Joel Slonetsky Jennifer Ujimoto Tenor Seymour Stern Jennie Worden Rafael Avila Eric Tanner Claire X. Yu Samuel Broverman Chia-An (Victor) Tung Brian Chang David Yung* Alto Y. Chung Li Jane Agosta Peter DeRoche * Professional Core Member Marlo Alcock John Gladwell ¥ Apprentice Member Veronika Anissimova* Nicholas Gough*

JANUARY 15, 16, 17 & 18, 2020 27