Lucia Di Lammermoor Page 1 of 2 Opera Assn

Total Page：16

File Type：pdf, Size：1020Kb

San Francisco War Memorial 1961 Lucia di Lammermoor Page 1 of 2 Opera Assn. Opera House Lucia di Lammermoor (in Italian) Opera in three acts by Gaetano Donizetti Libretto by Salvadore Cammarano Based on Sir Walter Scott's "The Bride of Lammermoor" Conductor CAST Francesco Molinari-Pradelli Norman, follower of Lord Ashton Howard Fried Stage director Lord Henry Ashton of Lammermoor Vladimir Ruzdak † Dino Yannopoulos Claude Heater (10/25) Production design Raymond Bidebent, Lucy's tutor Kieth Engen † Leni Bauer-Ecsy Giorgio Tozzi (9/23,10/25) Ming-Cho Lee (resident designer) Lucy, Lord Henry's sister Anna Moffo Chorus Director Joan Sutherland (9/23,10/25) Vincenzo Giannini Alice, Lucy's companion Dorothy Cole Choreographer Lord Edgar of Ravenswood Renato Cioni Lew Christensen Lord Arthur Bucklaw Herbert Handt *Role debut †U.S. opera debut PLACE AND TIME: Scotland at the close of the sixteenth century Friday, September 15 1961, at 8:15 PM Act I, The Departure: Scene 1 -- Grounds of Ravenswood castle Saturday, September 23 1961, at 8:30 PM Scene 2 -- A secluded place in the park Wednesday, October 25 1961, at 8:30 PM Act II, The Marriage Contract: Scene 1 -- Lord Ashton's apartment Scene 2 -- Hall in Ravenswood castle Act III, The Destruction: Scene 1 -- Tower of Wolfcrag Scene 2 -- Hall in Ravenswood castle Scene 3 -- Graveyard of Edgar's ancestors San Francisco War Memorial 1961 Lucia di Lammermoor Page 2 of 2 Opera Assn. Opera House Sponsors: Notes: "Lucia di Lammermoor" opened San Francisco Opera's 1961 season New production Costumes courtesy of the Wuerttembergische Staatstheater, Stuttgart, Germany Designer, Leni Bauer-Ecsy Kieth Engen's first name IS correctly spelled. He changed the spelling during his career in German opera houses. Corps de Ballet Opening night program note: Floral decorations in the auditorium are provided through thr courtesy of Podesta Baldocchi, Edward Goeppner, president. It is requested that flowers not be removed..

Copy Link

Recommended publications

Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
[Show full text]
The Glenville Mercury AJID R.EIIIND Yout
AJID R.EIIIND YOUt To Get Behlnd the Student Coa~t The Glenville Mercury dl'.a Pioneer Week Prolr"UII and Booat, Booa\o. Boaat. Official Weekly Student Publicati~n of Glenville State Teachers College Lyceum Chairman SECOND SEMESTER Best Looking ,COLLEGE TO GIVE A. L COTI1DJ. JITNEY PLAYERS TO BEGIN JAN. 31 TFJJ.S snJDENTS WILL BE HERE ON Four New Counea Will Be RADIO PROGRAM Offered; Advance Enroll· FEB. 2 ment U.Proa-reaa FRIDAY, FEB. II OFTRIPTO\mT WEDN~DAY·' Ethel Barrymore Colt to Ap Dun f.. Laban Whit.e announ~H Special Feature Will Be Heu.1 pear in Auditorium For tit. is semester "'''ill close Wednesday, Over Radio StatioD Second Time An. 28, at I o'clock and- the second WBLK itmuter will begin Monday, Jan. 31, MR. WHITING IN ·CHARGE :h c::«!s::~o;~e~~:b. i."" PRES. ROHRBOUGH SPEAKS c.;.,.._,. to Ciwe r-1----. Eighty-twc.. subj~ts •ill be ~trer· BDf:• ia Aft....._ ad ... here. the ser:ond semeetu; four of -~~~ MO.t Oltea ia CJaarae thie:h hne nc:>t bee-n offerH pre. ., ..............b 4loasly. 'Mie new subjHt.a are: Art Ethel Barrymore Colt, prin- e·plastic de&ign, two houniJ: Eng- Glenville State Teaehen cess of the theater's royal fam- 324 • the high school ne~paper, Colle.sre will broadcast over ily, and D ouglass Rowland hours; French 308• spo k ~n the West Virlinia network will appear Wednesday , Feb. J'rench, tw~ h.oun, ~nd _sociology tram WBLK, Clarklburg, !Feb- 2, in the College• auditorium, IO~ IJ)ro'r.lt:JN of the famaly, three ruary 11 , for thirty minuta Mr.
[Show full text]
Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 [email protected]
CDs. L’OBRA DRAMÀTICA DE R. WAGNER. Qui és el director amb els temps més ajustats? Quin tenor ens colpeix més en la mort de Tristany? Quin ha estat el Gurnemanz més savi?........ Segons les respostes a aquestes i a moltíssimes més preguntes es pot confeccionar una llista de CDs o una altra. Una que doni més relleu a versions històriques o que reculli les més recents de manera que puguem escoltar els bons cantants actuals, que existeixen, sense haver de suportar les escenografies espantoses que avui dia es fan. O una mica de cada...... No volem ni podem ser exhaustius. A la xarxa trobareu més d0un lloc amb tot el que s’ha editat i totes les versions de les obres de Wagner. Nosaltres només volem obrir un espai de participació pels socis i us demanem que ens feu arribar les vostres predilectes amb un comentari, que si voleu publicarem en aquest espai, i així anirem entre tots compartint coneixements i emocions. DIE FEEN / LES FADES / LAS HADAS 1. Intèrprets: Kurt Moll, Linda Esther Gray, Kari Lövaas, Krisztina Laki, John Alexander, Cheryl Studer. Cor i orquestra: Chor des Bayerischen Rundfunk / Symphonieorchester des Bayerisches Rundfunk Director: Wolfgang Sawallisch Gravació d’una representació dels Festivals d’òpera de Munich ORFEO, 1984 2. Intèrprets: Jyrki Korhonen, Sue Patchell, Ulrize Sonntag, Manuela Kriscak, Raimo Sirkïa, arthur Korn Cor i orquestra: del Teatro Comunale di Cagliari Director: Gabor Ötvös Associació Wagneriana. Apartat postal 1159. Barcelona 08080 Http://www.associaciowagneriana.com [email protected] DAS LIEBESVERBOT / LA PROHIBICIÓ D’ESTIMAR / LA PROHIBICIÓN DE AMAR 1.
[Show full text]
Boris Godunov Page 1 of 2 Opera Assn
San Francisco War Memorial 1961 Boris Godunov Page 1 of 2 Opera Assn. Opera House Boris Godunov (in English) Opera in three acts by Modest Mussorgsky Libretto by Modest Mussorgsky Text translated by John Gutman Conductor CAST Leopold Ludwig A police officer Gino Leonetti Stage director Andrei Shchelkalov, Secretary of the Duma Claude Heater Dino Yannopoulos Prince Shuisky, court adviser to Boris Herbert Handt Chorus Director Boris Godunov, regent of Russia Giorgio Tozzi Vincenzo Giannini Pimen, a monk and historian Joshua Hecht Choreographer Grigori, a novice (later Dimitri, the pretender) Albert Lance Lew Christensen The innkeeper Katherine Hilgenberg Costumers Varlaam Kieth Engen Goldstein & Co. Missail Howard Fried Frontier guard Andrew Foldi Xenia, daughter of Boris Gwen Curatilo Xenia's nurse Janis Martin Fyodor, son of Boris Margot Blum Boyar Khrushchev Raymond Nilsson Marina Mnishek, daughter of a Polish landowner Irene Dalis Marilyn Horne (10/13) Rangoni, a Jesuit priest Plinio Clabassi A fool Raymond Manton Lavitsky Donald Drain Chernikovsky Gino Leonetti A peasant Karl Woellhaf Athena Knyiados Eloise Farrell Winther Andersen *Role debut †U.S. opera debut PLACE AND TIME: About 1600; Russia and Poland Thursday, September 21 1961, at 8:00 PM PROLOGUE, Scene 1 -- Outside a monastery near Moscow Friday, October 13 1961, at 8:00 PM Scene 2 -- Cathedral square in Moscow Act I, Scene 1 -- A cell in the monastery of the Miracle at Night, six years later Scene 2 -- Inn on the Lithuanian frontier INTERMISSION Act II, Scene 1 -- In the Kremlin Scene 2 -- Marina's palace in Poland Scene 3 -- Near Marina's palace INTERMISSION Act III, Scene 1 -- Forest of Kromy near Moscow Scene 2 -- Duma in the Kremlin San Francisco War Memorial 1961 Boris Godunov Page 2 of 2 Opera Assn.
[Show full text]
Der Fliegende Holländer Seminar/Webinar
DER FLIEGENDE HOLLÄNDER SEMINAR/WEBINAR JUNE 29, 2020 and JULY 1, 2020 SENTAS: KNOWN AND UNKNOWN JOE PEARCE 1. KIRSTEN FLAGSTAD, soprano (1895-1962) a) Act II: - “Wohl kenn’ ich Golden Age HERBERT JANSSEN, baritone (1892-1965) Weibes heil’ge Pflichten” of Opera MAX LORENZ, tenor (1901-1975) b) Act II: - “Verzheit! EJS-515 LUDWIG WEBER, bass (1899-1974) Mein Volk….” MARY JARRED, m. s. (1899-1993) c) Act III: - “Zahllose Opfer Royal Opera Chorus, Covent Garden fielen diesen Spruch” London Philharmonic Orchestra Fritz Reiner, conductor (June 11, 1937) (6:29) 2. ASTRID VARNAY, soprano (1918-2006) Act II: - “Wohl kenn’ ich Voce Della HERMANN UHDE, bass-baritone (1914-1965) Weibes heil’ge Pflichten: Luna Bayreuth Festival Orchestra 2012-2 Joseph Keilberth, conductor (August 1955) (3:28) 3. INGRID BJONER, soprano (1927-2006) Act III: - “Zahllose Opfer Hamburger FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Archive SVEN OLAF ELIASSON, tenor (1933-2015) 10613 KARL RIDDERBUSCH, bass (1932-1997) REGINE FONSECA, m. s. (1932- ) RAI Rome Chorus and Orchestra Wolfgang Sawallisch, conductor (February 2, 1969) (2:50) 4. HELEN TRAUBEL, soprano (1898-1972) Act II: - “Traft ihr das Schiff” RCA RCA Victor Orchestra Victor Frieder Weissmann, conductor (1950) (5:10) 49-3148/49 5. MARIA MUELLER, soprano (1898?-1958) a) Act II: - “Wohl kenn’ ich Preiser JOEL BERGLUND, bass-baritone (1903-1985) Weibes heil’ge Pflichten” 90232 LUDWIG HOFMANN, bass (1895-1963) b) Act II: - “Verzheit! Bayreuth Festival Orchestra Mein Volk...” Richard Kraus, conductor (July 18, 1942) (4:22) 6. LEONIE RYSANEK, soprano (1926-1998) Act III: - “Zahllose Opfer Living FRANZ CRASS, bass (1928-2012) fielen diesen Spruch” Stage CLAUDE HEATER, tenor (1927-2020) 40-35125 KARL RIDDERBUSCH, bass (1932-1997) ANNEMARIE BESSEL, m.
[Show full text]
1985 Newsletters.Pdf
&tir Wagner *urivtg VOL. 1 NO.1 FEB. 1985 LOOKING BACK AT 1984 This first issue of the Wagner Society in ti ie last appea 001101? of LI TO [HIll [1—1 [fl/S ii (31 ynn newsletter comes as we begin our second year Ross production thaL summer, as an independent organization. It seems an In May, we r.el ebratod LI 10 1)1st birthday appropriate time to look back at what we have of Richard Wagner with a parLy aL the German been doing, and ahead at what promises to Oak restaurant. Among the guests were Ring be an exciting year for Wagnerites in Northern director Nikolaus ehnliof; vii Morton, on the California. eve of her first BrOnn[iil Un; Iniga Dernesch, The winter of ‘86 saw the most intrepid our Erda; and Helmut Pompuch, here to sing of us at the first Donner Ring party, enjoying Mime. Mr. lehnhoff spoke on his stage work good food and wine and rare recordings. In on the ~ and we were all entertained by February we journeyed north to Petaluma, a campy film biography of the composer, where the Cinnabar Theater presented Das called ~jp~ of Fire, and of course the great Rheingold as a chamber opera in Andrew Por What’s Opera, Doc? with Bugs Bunny. ter’s translation, its tiny orchestra augmented Also in May, we saw another unique by a synthesizer. Despite an indisposed Loge, Wagnerian production, as WS member Sally it was a bold attempt by a small company, Gorham directed her fourth-grade students and a delightful evening.
[Show full text]
Guide to the William Knight Zewadski Classical Movie Stills Collection, 1860-2007
Guide to the William Knight Zewadski Classical movie stills collection, 1860-2007 Descriptive Summary Title : William Knight Zewadski Classical movie stills collection Creator: Zewadski, William Knight Dates : 1860-2007 ID Number : Z11 Size: 28 boxes Abstract: This collection traces the relationship between antiquity and popular culture through the usage of Classical imagery on the screen and stage. Materials in the collection include photographs (both color and black and white), postcards, advertising materials, and other visual art from the late 19th--early 21st centuries. Most images are American or European in origin, showcasing themes of antiquity, mythology, and literature. The film stills range from the early silent era to more modern Hollywood blockbusters, but also include televised movies and series. In addition to marketing images by studios, the collection also consists of rare behind the scenes images from film sets and creative departments. The stage works exhibited include theater, ballet, and opera. Materials from this previously private collection have been curated and displayed at institutions such as the Tate Modern, Emory University, and the University of Oxford. Language(s): English French German Italian Spanish;Castilian Russian Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Zewadski, William Knight Acquisition Information: Donation. Access Conditions: The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information. Processing History: processed Preferred Citation: William Knight Zewadski Classical movie stills collection, Special Collections, University of South Florida Tampa Library.
[Show full text]
A Midsummer Night's Dream Page 1 of 2 Opera Assn
San Francisco War Memorial 1961 A Midsummer Night's Dream Page 1 of 2 Opera Assn. Opera House U.S. Opera Premiere A Midsummer Night's Dream (in English) Opera in three acts by Benjamin Britten Libretto by Benjamin Britten and Peter Pears Based on William Shakespeare Conductor CAST Silvio Varviso Cobweb James Strubing Stage director Mustardseed Tim Olson Basil Coleman† Peaseblossom Evan Schaffer Designer Moth Philip Garay Harry Horner Puck Joy Coghill Choreographer Oberon, king of the Fairies Russell Oberlin Ghita Hager Tytania, queen of the Fairies Mary Costa Costumes executed by Lysander, in love with Hermia David Thaw Malabar Hermia, in love with Lysander Marilyn Horne Costumes supervised by Demetrius, in love with Hermia Claude Heater Maureen Heneghan Helena, in love with Demetrius Marguerite Gignac Bottom, a weaver Geraint Evans Quince, a carpenter Kieth Engen Flute, a bellows-mender Herbert Handt Snug, a joiner Andrew Foldi Snout, a tinker Raymond Manton Starveling, a tailor Donald Drain Theseus, duke of Athens Joshua Hecht Hippolyta, queen of the Amazons, betrothed to Theseus Margot Blum *Role debut †U.S. opera debut PLACE AND TIME: A wood near Athens Tuesday, October 10 1961, at 8:00 PM (not specified) Thursday, October 26 1961, at 8:00 PM THERE WILL BE AN INTERMISSION AFTER ACTS I AND II San Francisco War Memorial 1961 A Midsummer Night's Dream Page 2 of 2 Opera Assn. Opera House Sponsors: Notes: The production of "A Midsummer Night's Dream" was designed for the 1961 Vancouver International Festival San Francisco Opera Boys Chorus Madi Bacon, Director Kieth Engen's first name IS correctly spelled.
[Show full text]
Central Opera Service Bulletin
CENTRAL OPERA SERVICE BULLETIN MAY-JUNE, 1971 NATIONAL CONFERENCE - WASHINGTON, D.C. - NOVEMBER, 1971 INDEX NEW OPERAS AND PREMIERES 1 NEW OPERA COMPANIES & ARTS COOPERATIVES 3 ART AND ARTS CENTERS 4 GOVERNMENT AND THE ARTS 5 WHAT YOU MUST KNOW ABOUT TAX PROGRAMS 7 NEW TRANSLATIONS, NEW SETS 7 FOUNDATION RESEARCH AND GRANTS 8 PERFORMANCE STATISTICS 8 SINGERS AND ACTORS AS STAGE DIRECTORS 9 EDUCATION, incl. Summer & Arts Admin. Courses 10 ANNIVERSARIES 11 BOOK CORNER; COLLECTIONS 12 COMPETITIONS & WINNERS 14 APPOINTMENTS 15 ANNOUNCEMENTS FROM THE GUILD 17 NEW COS MEMBERS 17 PERFORMANCE LISTING, 1970-71 com. 18 PERFORMANCE LISTING, Summer 1971 19 FIRST PERFORMANCE LISTING, 1971-72 25 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaia • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MELLEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Hartt College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No.
[Show full text]
A Partial Discographical Conspectus by Ralph Moore Tristan Und Isolde Represents Both the Highpoint of Roman
Tristan und Isolde: A Partial Discographical Conspectus by Ralph Moore Tristan und Isolde represents both the highpoint of Romantic opera and the gateway to a new world of harmonic invention, epitomised by the famous “Tristan chord”. Despite its length and nearly insurmountable vocal challenges for its principal singers, it has established and maintained a central place in the operatic repertoire worldwide. For some, its popularity and appeal are inexplicable; they are likely to share Rossini’s verdict that “M. Wagner a de beaux moments, mais de mauvais quart d’heures” or, even worse, agree that, like Parsifal, Tristan "is the kind of opera that starts at six o'clock and after it has been going three hours, you look at your watch and it says 6:20.” I for one am not such a purist that I become very exercised if a few judicious cuts are made in this work, but at the same time I do not find that it drags, as long as the artists performing it can rise to its demands and sustain the requisite intensity. If I follow the work with a libretto I am apt to think that not a note is wasted; the intensity of Wagner’s vision is all-consuming if the listener can sustain concentration and be swept along by those glorious, through-composed melodies. I know of few more searingly dramatic moments in opera than “Er sah mir in die Augen” or “Rette dich, Tristan!”; this is grown-up music, devoid of stock gestures and tired platitudes, which instead explores the complexities of adult sexuality and relationships in the most extraordinarily subtle and profound manner, both musically and psychologically.
[Show full text]
TRISTAN UND ISOLDE WAGNER Argument MT / 3 Tristan Und Isolde Argument 4 / 5 Tristan Und Isolde
TRISTAN UND ISOLDE WAGNER Argument MT / 3 Tristan und Isolde Argument 4 / 5 Tristan und Isolde Tristan und Isolde torna al Liceu amb una producció de l’Opéra de Lyon. (Franchella Stofleth/ Opéra de Lyon) Argument Fitxa A la recerca 6 / 7 9 43 dels orígens María Montes Repartiment 10 Inspiració 49 Màrius Serra Amb el teló abaixat 12 Entrevista a 53 Iréne Theorin Argument 17 Tristany i Isolda al Liceu 61 Jaume Tribó English Synopsis 25 Cronologia 68 Jordi Fernández M. Sobre la producció Àlex Ollé 31 Selecció d’enregistraments Javier Pérez Senz Una òpera filosòfica 75 35 Magda Polo 78 Biografies Tristan und Isolde Temporada 2017-18 8 / 9 TRISTAN UND ISOLDE Drama musical en tres actes. Llibret i música de Richard Wagner. Estrenes 10 de juny de 1865: estrena absoluta al Hoftheater de Munic 8 de novembre de 1899: estrena a Barcelona al Gran Teatre del Liceu 18 de març de 2015: última representació al Liceu Total de representacions al Liceu: 171 Novembre 2017 Torn Tarifa 28 Dimarts 19:00 D 3 Durada total aproximada 4h 30m (*): Amb audiodescripció Desembre 2017 Torn Tarifa 2 Dissabte 19:00 C 2 4 Dilluns 19:00 A 2 7 Dijous 19:00 B 2 10 Diumenge 17:00 T 2 12 Dimarts 19:00 H 3 15* Divendres 19:00 E 2 Uneix-te a la conversa #TristanLiceu liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona Tristan und Isolde Tristan, cavaller bretó Stefan Vinke Marke, rei de Cornualla Albert Dohmen Isolde, princesa irlandesa promesa al rei Marke Iréne Theorin Kurwenal, amic de Tristan Greer Grimsley Melot, amic de Tristan Francisco Vas Brangäne,
[Show full text]
Awards Program from the Co-Chairs of National Philanthropy Day 202O
AWARDS PROGRAM FROM THE CO-CHAIRS OF NATIONAL PHILANTHROPY DAY 202O Welcome Welcome to our 35th annual National Philanthropy Day. When we started planning this beloved tradition, we had no idea that this event would need to be re-imagined. Yet here we are doing our first virtual celebration of the amazing philanthropists and fundraising professionals who have made such an important impact on the Bay Area. We strived to make today’s event meaningful and memorable in a new way as it feels to many of us, now more than ever, the need to connect as a community and honor those who bring us hope for a brighter tomorrow. Today’s program could not have been possible without the active participation of the Association of Fundraising Professionals Golden Gate Chapter Board of Directors and our National Philanthropy Day committees, and the generous financial support from our sponsors. Together, with the help of Leftwich Event Specialists, Hovercast, our Chapter Administrators Sabrina Ritchie and Andrea Hoar, and our graphic designer, Vicki Valentine, we have a special program that carries on the tradition of National Philanthropy Day. Special gratitude goes to our emcee Renel Brooks-Moon who is such a force in the community, and we are honored to have involved with this celebration. Normally we would ask each individual involved to stand to be thanked. Given that we are not able to physically stand together, we ask that you look at the list of our volunteers in the program (page 37), as well as the sponsors of today’s event (pages 5 and 6), and join us in a virtual round of applause.
[Show full text]