A Theatre Piece for Singers, Players, and Dancers by Leonard Bernstein

Friday, October 26, 2018 at 7:30 pm New Psalmist Baptist Church

A

Good evening, and welcome to this very special performance of Leonard Bernstein’s LETTER MASS, a theatrical and musical spectacle unlike anything else. MASS needs to be seen as well as heard to be fully experienced, and opportunities to do so are relatively

rare given the scale and task in mounting the work. So all the more important that we are here together this evening to share this experience. Through an eclectic score FROM influenced by rock, jazz, gospel, and other musical styles, MASS explores challenging

issues of peace and conflict, truth and faith, and the individual’s place in society. I was THE fortunate to have the opportunity to experience the work live again this summer, and

was struck once again by its power, its timeliness, and in particular, its relevance to the DEAN social issues of today. My first direct experience with MASS was in presenting it at the Symphony Orchestra in November 2003, on the 40th anniversary of the November 1963 assassination of President John F. Kennedy in Dallas. For that auspicious occasion, the late Senator Edward M. Kennedy wrote a letter supporting the performance which I read from that evening. In it, Senator Kennedy said, “Bernstein’s extraordinary MASS was first performed at the opening of the Kennedy Center for the Performing Arts in our nation’s Capital. It was commissioned to celebrate my brother’s life and legacy. Its message is hope, and the impact a single life can have for the good of others. President Kennedy believed that ‘One person can make a difference and that each of us should try.’ His greatest legacy is those people he inspired to enter public service and to recognize the nobility in serving our fellow citizens here and around the world. All who have ever extended the hand of friendship and assistance to another have contributed hope to our world. It is fitting that this should be the message of this most poignant evening.” Some 15 years later, Senator Kennedy’s letter rings true, as do President Kennedy’s words, perhaps now more than ever. I hope you enjoy MASS and take away something very special this evening.

— Fred Bronstein Dean, Peabody Institute Leonard Bernstein — known to the world as a , conductor, teacher, author, television star, provocateur, and humanitarian — was my hero. A visionary artist who NOTE believed deeply in the power of music, he took me under his wing and imparted to me the heart and soul of his craft. As with all true mentors, Bernstein taught me much more than a craft. He showed me — and the world — that is a powerful force that can transform lives as well as inspire and move people. He lived by those principles. CONDUCTOR’S His epic MASS is perhaps his greatest embodiment of those principles. Written for the opening of the Kennedy Center for the Performing Arts and to commemorate America’s first Catholic president, it takes the Roman Catholic Mass as a framework to a piece about individuality, tolerance, peace, conflict, self-doubt, self-awareness, and so much more! An entirely unique piece in content, structure, scope and message, the MASS contains the essence of Bernstein as a complex man and artist, and a nimble composer, moving comfortably between high art and popular vernacular. He did this long before crossover became trendy. The scoring epitomizes his agility and eclecticism as a composer: in addition to orchestra and electric guitars, MASS contains a children’s chorus, adult chorus, a marching band, a rock band, pop singers, and even dancers. The work embraces a range of genres from musical theater and opera, to rock ballads and , with a libretto that mixes Hebrew and Latin texts. With all of that going on, MASS is a piece that embraces and unites, bringing together hundreds of performers of all ages and backgrounds, to work together toward a goal. For music students it is not only a journey about the musical piece, but also a journey with a moral. Bernstein wanted all young people to feel the transformational power of music and use that power to make important statements in our world. For that reason, I am especially proud to conduct this defining work with the Peabody Institute and our many community partners in celebration of what would have been Bernstein’s 100th birthday year. Ultimately, MASS is a reflection of Leonard Bernstein’s deep faith in the goodness of humankind and his belief in our extraordinary potential when we join together in unity, as vital and relevant today as it was at its 1971 premiere. Thank you for joining us this evening.

— Marin Alsop Conductor

2 We live in a fractured time. Not since the Civil Rights movement, or the Civil War, has DIRECTOR’S there been such a chasm between ideas on how we move forward as a people. In some ways, perhaps, the current situation is worse. In the darkest days of the above plights, we always had an entity, an institution, to turn to for solace, for truth. Whether it was

the church, or the judicial system, or the free press, or the scientific truths revealed NOTE with regularity, there was something, or someplace, for resting our souls, knowing that foundation was there. Today, every one of these places is being called into question. Molestation charges, conspiracy, and financial malfeasance roil every church. DNA exonerations and proof of prosecutorial collusion and misconduct are waking us up to the truth in the judicial system. We can’t trust truths we read on the internet for fear it was written by Russian bots, and our President and others dismiss the rest as Fake News. Scientific fact is dismissed as partisan. The food we eat is killing us. The rich get richer and the poor get poorer. We see so many Freddie Grays, LaQuan McDonalds, and Michael Browns we can’t help but conclude the whole process is corrupt. This is the backdrop before which we present tonight’s production. It is strikingly similar to the backdrop Bernstein had when he wrote MASS in 1970. Civil Rights, Vietnam, social unrest, sexual liberation — all were weighing on his mind and colored the composition. Many different musical styles, musical genres, instruments, hordes of performers — these all are representations of the many different forms of unrest at the time and are easily transferred to the unrest we see today. Bernstein’s answer — that by looking to each other on a personal level, and revealing and opening ourselves up to the better angels of our nature, we can form new institutions, new congregations, that can be places of rest and healing — can at least be part of the solution. This country went through so much pain, so much animosity, so much bloodshed, during the Civil War and the fight for Civil Rights. Let us all pray that we can come together as a people, find ways to celebrate our commonalities, and accept our differences before our current fracture sparks similar brutalities, and we lose ourselves completely.

— Samuel Mungo Director

3 The Peabody Opera Theatre Samuel Mungo, Managing Director presents

MASS A Theatre Piece for Singers, Players, and Dancers by Leonard Bernstein Libretto from the liturgy of the Roman Mass with additional texts by Stephen Schwartz and the composer New Psalmist Baptist Church Friday, October 26, 2018 at 7:30 pm

Marin Alsop Leslie Stifelman Samuel Mungo danah bella Conductor Music Supervisor Director Choreographer

Curtis Bannister Georgia Pickard Hayden Spitzer Tenor/Celebrant Acolyte Acolyte

The Street Singers | Eileen Cornett, music director Charlotte Bagwell, Rahzé Cheatham, Kevin Paton-Cole, Jasper Cox, Madilyn Crossland, Emma Dickinson, Ricardo Garcia, Jared Hancock, Christopher Hartung, Henry Hubbard, HaYoung Jung, Savannah McElhaney, Colleen McGonigle, Randa Melhem, Shaul Leket-Mor, Emma Nicholson, Arianna Rodriguez, Daniel Sampson, Brianna Samuels, Garrett Sanderson, Joshua Scheid, Maria Servodidio, Lorenzo Zapata Peabody Opera Theatre Orchestra | Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles Peabody Conservatory Dancers | danah bella, chair Peabody Children’s Chorus | Doreen Falby, director Morgan State University Choir | Eric Conway, director Peabody-Hopkins Chorus | Edward Polochick, director of choral activities Peabody Singers | Edward Polochick, director of choral activities

Baltimore City College High School Choir | Marcus D. Smith, director Baltimore School for the Arts Chamber Chorus | Mark Hardy, director Community Chorus of Peabody | Kristen Toedtman, director Johns Hopkins Concert Choir | Mark Hardy, director New Psalmist Baptist Church Choral Ensemble | Tamba Giles, director of Worship and the Arts; James D. Alston, minister of music Peabody Preparatory Wind Orchestra | Elijah Wirth, director Peabody Opera Chorus | Edson Piza, director

By with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing LLC, publisher and copyright owner. 4 I. Devotions before Mass MUSICAL Antiphon: Kyrie eleison Hymn and Psalm: “A Simple Song”

Responsory: Alleluia SELECTIONS II. First Introit (Rondo) Prefatory Prayers (“Kyrie Rondo”) Thrice-Triple Canon: Dominus vobiscum III. Second Introit In nomine Patris Prayer for the Congregation (Chorale: “Almighty Father”) Epiphany IV. Confession Confiteor Trope: “I Don’t Know” Trope: “Easy” V. Meditation No. 1 VI. Gloria Gloria tibi Gloria in excelsis Deo Trope: “Half of the People” Trope: “Thank You” VII. Meditation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo Credo in unum Deum Trope: “Non Credo” Trope: “Hurry” Trope: “World without End” Trope: “I Believe in God” XI. Meditation No. 3: De profundis, part 1 XII. Offertory: De profundis, part 2 XIII. The Lord’s Prayer Our Father … Trope: “I Go On” XIV. Sanctus XV. Agnus Dei XVI. Fraction: “Things Get Broken” XVII. Pax: Communion (“Secret Songs”)

5 During his legendary tenure at the New York Philharmonic from 1958 to 1969, Leonard Bernstein composed only two works, Symphony No. 3: Kaddish (1963) and Chichester NOTES

Psalms (1965). He had dedicated Kaddish to the memory of John F. Kennedy shortly after his assassination, and when Jacqueline Kennedy Onassis asked Bernstein to compose a piece for the 1971 inauguration of the Kennedy Center for the Performing Arts in Washington, D.C., he was eager to honor the occasion with a new, large-scale

PROGRAM work because he knew he had always wanted “to compose a service of one sort or another.” The son of Russian-Jewish parents, a social liberal, and lifelong activist, Bernstein made a surprising choice: the Roman Catholic Mass. But instead of a straightforward, purely musical setting of the Latin liturgy, he created a broadly eclectic theatrical event by placing the 400-year-old religious rite into a tense, dramatic dialog with music and lyrics of the 20th century vernacular, using this dialectic to explore the crisis in faith and cultural breakdown of the post-Kennedy era. By the late 1960s, the country had become polarized over U.S. involvement in the Vietnam War. A powerful anti-war movement swept the nation, fueled by outrage at the draft, the massive casualties, atrocities such as the Mai Lai Massacre, incursions into Laos and Cambodia, the imprisonment of conscientious objectors and activists, and in 1970, the Kent State shootings. These turbulent times produced a restless youth culture that hungered for a trustworthy government and for spiritual authority that reflected their values. MASS gave them a voice. Six months before the scheduled premiere, MASS was far from completion. Needing a collaborator, Bernstein decided to ask the young composer-lyricist Stephen Schwartz to work with him on the text. Schwartz had recently proven his ability to transform religious stories and rituals into contemporary theater with Godspell, his hit musical based on the Gospel of St. Matthew. The two writers hit it off and worked briskly to meet the deadline. Bernstein and Schwartz envisioned MASS not as a concert piece, but as a fully staged, dramatic pageant. They mixed sacred and secular texts, using the traditional Latin liturgical sequence as the fundamental structure and inserting tropes in contemporary English that question and challenge the prescribed service, as well as meditations that demand time for reflection. They took the Tridentine Mass, a highly-ritualized Catholic rite meant to be recited verbatim, and applied to it a very Jewish practice of debating and arguing with God. The result was a piece that powerfully communicated the confusion and cultural malaise of the early 1970s, questioning authority and advocating for peace. In MASS, the ceremony is performed by a Celebrant accompanied by a formal choir, a boys’ choir, acolytes, and musicians. His congregation of disaffected youth (the “Street Chorus”) sings the tropes that challenge the formal ecclesiastic dogma of the Church. As the tension grows and the Celebrant becomes more and more vested, the cynical congregants turn to him as the healer of all their ills, violently demanding peace. In a climactic moment, overwhelmed by the burden of his authority, the Celebrant hurls the sacraments to the floor and has a complete spiritual breakdown. The catharsis creates an opening for a return to the simple, pure faith with which he had begun the ritual (expressed in the sublime “A Simple Song”). Though MASS challenges divine authority, exposing its contradictions and questioning religion’s relevance to contemporary life, it ultimately serves as a reaffirmation of faith and hope for universal peace.

6 The eclecticism of MASS’s music reflects the multifaceted nature of Bernstein’s career, with blues, rock, gospel, folk, Broadway, and jazz idioms appearing side by side with 12-tone serialism, symphonic marches, solemn hymns, Middle Eastern dances, orchestral meditations, and lush chorales, all united in a single dramatic event with recurring musical motifs. Bernstein uses the uninhibitedly tonal rock ‘n’ roll of the Street Chorus to challenge the dogmatic, atonal music of the Church; ultimately, the musical argument is resolved with a glorious, tonal chorale (“Almighty Father”) sung by the entire company. MASS premiered on September 8, 1971, at the inauguration of the Kennedy Center, directed by Gordon Davidson, conducted by Maurice Peress, and choreographed by Alvin Ailey. The performance was fully staged, with over 200 participants. The pit orchestra contained the strings, percussion, a concert organ, and a “rock” organ; all of the other instrumentalists—brass, woodwinds, rock musicians— were on stage in costume and acted as members of the cast. The Street Chorus was made up of singers and dancers in contemporary dress, a 60-person robed choir filled the stage pews, and a complement of dancers costumed as Acolytes assisted the Celebrant. During his work on MASS, Bernstein consulted with Father Dan Berrigan, a Catholic priest and anti-war activist who had been on the FBI’s “10 Most-Wanted” list before being apprehended and imprisoned. In the summer of 1971, as MASS approached its premiere, the FBI warned the White House that the piece’s Latin text might contain coded anti-war messages and that Bernstein was mounting a plot “to embarrass the government.” President Nixon was strongly advised not to attend and was conspicuously absent at the premiere. Responses to the premiere of MASS covered the spectrum. The Roman Catholic Church did not approve — some cities cancelled performances under pressure from their local Catholic churches — while other prominent clergy declared their support for the piece. Certain music critics disapproved of the mixing of genres, while others found the work to be inspired. For the most part, the audiences were deeply moved, experiencing firsthand the shared, communal journey of the composition. Over the years, the ideas and dissent embodied in MASS, which were so threatening to the political and religious establishments in the volatile early-1970s, have become a more accepted part of spiritual and political discourse. MASS came full circle when, in 2000, Pope John Paul II requested a performance at the Vatican. Its radical mixing of musical styles, too, has also become less shocking and more accepted in the musical sphere. Time has revealed MASS to be a visionary piece that continues to be relevant and move audiences as it enjoys performances around the world.

© 2006 Used by permission of The Leonard Bernstein Office.

7 MASS begins in darkness with a pre-recorded 12-tone “Kyrie Eleison” played over four speakers placed in the corners of the house. The cacophony created by the overlapping voices and percussion is suddenly SYNOPSIS interrupted by the simple strains of a guitar, and the Celebrant appears, joyfully singing of the pure praise of God (“A Simple Song”). A jazzy, pre-recorded responsory (“Alleluia”) completes the Devotions before Mass. The stage is suddenly flooded with people as a festive Street Chorus enters with marching band and dancers to sing the prefatory prayers (“Kyrie Rondo”), joined by the Celebrant and Boys’ Choir. After a dance, they complete the First Introit with the “Dominus Vobiscum” sung in a thrice-triple canon. The Celebrant recites “In the name of the Father” and a third pre-recorded tape features the Choir and Boys’ Choir repeating the incantation (“In Nomine Patris”). A Prayer for the Congregation is sung by the Choir in a quiet chorale (“Almighty Father”) followed by the pre-recorded instrumental “Epiphany.” The Confession begins with an agitated “Confiteor” sung by the Choir, but the service is interrupted by the first trope (“I Don’t Know”), accompanied by rock band, in which a Street Singer questions the value of confession. More Street Singers follow with another trope (“Easy”), a blues about how easy it is to feign piety when they “just don’t care.” The Choir tries to continue the Confeitor, but the Street Singers reassert themselves. The Celebrant offers absolution and invites the congregation to pray; an orchestral interlude (“Meditation No. 1”) offers time for reflection. A group of children join the Celebrant and sing an exultant “Gloria Tibi,” followed by the Choir’s “Gloria in Excelsis.” The Street Chorus responds with a trope, questioning the relevance of the Church in the midst of so many lost souls (“Half of the People”). In the next trope (“Thank You”), a soprano sings longingly of a former time when she felt gratitude toward God. When the Street Chorus starts to reassert their cynicism, the Celebrant again invites them to pray, and all are silent during an instrumental meditation (“Meditation No. 2”). In the Epistle, the Celebrant reads a Bible passage (“The Word of the Lord”), followed by contemporary messages from members. Together, they reflect on the notion that the world may have its struggles, but they “cannot imprison the Word of the Lord.” Next, in the Gospel-Sermon (“God Said”), the Street Chorus parody the Creation story and contemporary human beings who distort God’s commands to justify their own selfish needs and desires. They halt their dance when the Celebrant reappears. In “Credo,” a recording of the Choir singing a dispassionate, mechanical recitation of the Credo is interrupted by the Street Chorus singing a series of tropes expressing their sense that God is absent from the world and has no understanding of them. The men vent their anger that God could choose when to live and die, but that they have no choice (“Non Credo”); a woman implores Jesus to hurry and come again as he said he would (“Hurry”); another woman sings of the world falling apart (“World Without End”). Finally, an angry rock singer gives up on a seemingly absent God and instead, puts his faith in music (“I Believe in God”). The Celebrant resumes control of the service by imploring them to pray. The Choir sings a supplication to God in a setting of Psalm 130 (“Meditation No. 3: De profundis, Part 1”), as acolytes bring the Celebrant the vessels

8 for Communion. For the Offertory, the Boys’ Choir and Choir complete the psalm (“De profundus, Part 2”), singing of God’s kindness and redemption, as the Celebrant blesses the sacred Communion objects, and the dancers collect the offering. The ensemble dance around the holy objects with fetishistic passion. The Celebrant re-enters wearing a cope, and the ensemble backs off in silence and exits. Alone, the Celebrant recites the Lord’s Prayer a capella (“Our Father”), followed by his own trope (“I Go On”), in which he sings hauntingly of persevering through times of trouble and doubt. The acolytes assist him in the washing and drying of his hands, and he rings the Sanctus Bell. The Children’s Choir rush on stage singing a laudatory “Sanctus,” to which the Celebrant and Choir join in, singing in English, Latin, and Hebrew, while the Street Singers sing mockingly. As the Celebrant tries to offer the bread and wine of the Eucharist, the Street Chorus interrupts, singing the “Agnus Dei” and becoming fixated on the phrase, “Dona nobis pacem” (“Grant us peace”). They take over the service, singing a full-blown rock-blues protest song, violently demanding peace, joined by the Choir and instrumentalists. The Celebrant tries to continue with the Eucharist but finally the anarchy is too much for him to bear; at the climax of their protest, he hurls the altar to the floor, breaking the Chalice and Monstrance. There is a stunned silence, and all but the Celebrant are petrified. In an extended aria (“Things Get Broken”), the Celebrant breaks down completely, scorning his beliefs, defiling the altar, and stripping himself of his vestments. He berates the congregation for their silence and inability to act without him, parodying back to them the “crying and complaining” of their tropes. Exhausted and embittered, he relinquishes his sacred office. After a sustained silence, a querulous flute is heard, followed by the pure and innocent sound of a boy soprano, intoning the earlier “Simple Song” of the Celebrant (“Pax: Communion (Secret Songs)”). One by one, the congregants discover a renewed sense of faith and join the boy’s song, embracing one another. Gradually, the Street Chorus, Choir, and instrumentalists all join in and pass the peace throughout the ensemble. Finally, the Celebrant joins the boy in a canon, reminded of the simple joy of gathering together in praise. The entire company reprises the lush chorale “Almighty Father,” asking for God’s benediction, as the Company passes the peace to the audience. After all of the discord, the chorale ends with a unison “Amen” and the Mass concludes with the line, “The Mass is ended; go in peace.”

© 2006 Used by permission of The Leonard Bernstein Office.

9 Marin Alsop Conductor Her outstanding success as music director of the Baltimore Symphony Orchestra (BSO) since 2007 has been recognized by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Alsop has created bold initiatives that have contributed to the wider community and reached new

ARTIST BIOGRAPHIES audiences. In 2008 she launched OrchKids, which provides music education, instruments, meals, and mentorship of the city’s neediest young people. Alsop serves as principal conductor of the São Paulo Symphony Orchestra (OSESP). Marin Alsop now conducts the world’s major orchestras including the Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra, Symphony Orchestra (LSO), and London Philharmonic Orchestra (LPO). As one of Leonard Bernstein’s best known pupils, Alsop is central to his 100th anniversary global celebrations in 2018: she opens the LSO’s tribute, an orchestra with whom she has a close and long- standing relationship; and conducts performances of Bernstein’s MASS at the Ravinia Festival, where she has been appointed musical curator for 2018 and 2019, and at Southbank Centre, where she is artist in residence. In September 2013, Alsop made history as the first female conductor of the BBC’s Last Night of the , which she returned to conduct in 2015. Her extensive discography has led to Grammy and Gramophone awards and includes highly praised Naxos cycles of Brahms with the LPO and MDR Leipzig, Dvořák with the BSO, Prokofiev with OSESP, and further recordings for Decca Classics, Harmonia Mundi, and Sony Classical. She is dedicated to new music, borne out in her 25-year tenure as music director of ’s Cabrillo Festival of Contemporary Music. Among her many awards and academic positions, Marin Alsop is the only conductor to receive the prestigious MacArthur Fellowship, is an honorary member of the Royal Academy of Music and Royal Philharmonic Society, and is the director of graduate conducting at the Peabody Conservatory. She attended the Juilliard School and Yale University, who awarded her an honorary doctorate in 2017. Her conducting career was launched in 1989, when she won the Leopold Stokowski International Conducting Competition and was the first woman to be awarded the Koussevitzky Conducting Prize from the Tanglewood Music Center.

10 Leslie Stifelman Music Supervisor Leslie Stifelman is the music director and conductor of : The Musical, the longest running American musical in Broadway history and the second longest running Broadway show of all time. In her 22 years with the show, she has brought many stars to the stage including Chita Rivera, , Cuba Gooding Jr., Jennifer Nettles, Patti Labelle, , ., Rita Wilson, George Hamilton, Sofia Vergara, Melanie Gri¤th, Brooke Shields among a host of others. Stifelman is also the executive producer of the Peabody Award-winning HBO series The Music in Me, a documentary television series celebrating children and music; a music supervisor and master teacher for theatrical productions and online initiatives for Carnegie Hall’s Weill Music Institute; a symphonic conductor leading the Orchestra, Pittsburgh Symphony Orchestra, Milwaukee Symphony Orchestra, and the Symphony Orchestra among others; music director and creator of Here Lies Jenny written with Bebe Neuwirth, Roger Rees, and Ann Reinking; a concert pianist collaborating with Marin Alsop, Nadja Salerno-Sonnenberg, Dawn Upshaw, and the London Symphony; a recording artist for all the major labels including Angel, Nonesuch, BMG, EMI; and a music supervisor for films directed by Martin Scorcese and Rita Wilson. As an educator Stifelman has designed and contributed to some of the most powerful educational initiatives of the last decade through her work with Carnegie Hall’s Weill Music Institute, including the -wide Somewhere Project: West Side Story and the first- ever interactive Broadway show for families called Take The Stage With Broadway Stars that starred Stifelman and Tony award winner Jessie Mueller. As part of the Leonard Bernstein at 100 worldwide celebration, Stifelman was the music supervisor for the Philadelphia Orchestra’s production of West Side Story with conductor Yannick Nézet-Séguin, and MASS for Marin Alsop at the Ravinia Festival. She will return to Philadelphia this year to collaborate with Maestro Nézet-Séguin’s production of Bernstein’s Candide. Stifelman is proud that this year she and her esteemed collaborators Kevin Newbury and Melissa Mahon created the Musical Theater Performance Lab for the College of the Performing Arts at the New School, an initiative that is a collaboration between Mannes College, The New School for Drama, and The New School for Jazz.

11 Samuel Mungo Director Samuel Mungo is the newly appointed managing director of opera at Peabody. He has been involved in opera as a director, singer, and teacher for 30 years and comes to Peabody with the dedication to foster the growth of a true opera music theatre — combining the great music of beautifully sung opera together with complete

ARTIST BIOGRAPHIES dedication to character and truthfully created relationships. Last season, he directed Donizetti’s The Elixir of Love and Massenet’s Chérubin, and produced Jake Heggie’s Out of Darkness and Errollyn Wallen’s opera ANON. He was previously director of opera studies at State University, where he founded the Texas State Opera Theatre. Under his guidance, TSOT grew from a non-degree extracurricular activity — performing one show in a church with a piano — to a nationally recognized, award winning two-tiered program of opera training, with eight fully staged performances of opera, and a full orchestra in a state-of-the- art theater designed for the opera. National awards include Opera Production of the Year in 2012 from the National Opera Association, and professional directing credits include Die Entführung aus dem Serail for Grand Opera, Gianni Schicchi for Opera Plovdiv in Bulgaria, Rigoletto for San Antonio Opera, and Pirates of Penzance for Colorado Light Opera. In the academic setting, he has produced and directed over 30 operas, including Dialogues of the Carmelites, Turn of the Screw, and Street Scene. An accomplished singer as well, Mungo has performed with opera companies and orchestras throughout North America, and he made his Carnegie Hall debut with Milos Bok’s Missa Solemnis. Performing credits include Don Giovanni for Minnesota Opera, Chicago Opera Theatre, and Opera Theater of Connecticut; and Falke in Die Fledermaus for Vancouver Opera. Mungo has been full-time faculty at the Actor’s Studio Drama School, New York University, the New School University, and Texas State University before joining Peabody. He received his doctorate from the University of Colorado at Boulder and his master’s degree in vocal performance from the New England Conservatory. He also holds an artist diploma from The Conservatory and a bachelor’s degree in communications from Illinois State University.

12 danah bella Choreographer danah bella, dance chair at the Peabody Conservatory, is the artistic director of d a n a h b e l l a DanceWorks — a modern dance company focused on reclaiming evocative movement as social practice. bella has performed and presented her work throughout the country including the Cool New York Festival in New York, the United States Asian American Festival in San Francisco, the Bates Dance Festival in Maine, the American College Dance Association’s National Dance Festival at the Kennedy Center, in Santa Barbara, Calif.; and ReVIEWING Black Mountain College, as well as in Mexico and Italy. She has taught workshops and has been artist-in-residence in festivals and universities throughout the United States and abroad including Pro Danza Italia, Bates Dance Festival, Monterey Dance Fest, the American College Dance Association’s regional and national conferences, Western University, University of Virginia, Oklahoma Contemporary Dance Festival, Santa Barbara City College, and Goose Route Dance Festival. bella is also a founding member of Colectivo Caliban, an artist collective that transgresses disciplinary borders through sound and movement. She has worked in higher education since 2002 teaching modern technique, dance theory, and history. She has an MFA in performance from the Ohio State University and a BA in dance from the University of California in Santa Barbara.

Curtis Bannister Tenor/Celebrant Described by TimeOut Chicago Magazine as “radiating with slowly simmering energy,” tenor Curtis Bannister has been praised for his vocal artistry and dramatic portrayals in both the operatic and musical theatre repertoire. Bannister made his professional debut with the Utah Festival Opera Company, stepping in for all performances as the title role in Verdi’s Otello. In the 2018–19 season, Bannister returns to his second season as Reimers on NBC’s Chicago Fire, debuts with Jedlicka Performing Arts Center as Jamie in Jason Robert Brown’s The Last 5 Years in Chicago, debuts as the Celebrant in Leonard Bernstein’s MASS under the baton of Marin Alsop, performs a pair of concerts with the Musica Lumina Orchestra, debuts with St. Petersburg Opera as Paul in Cole Porter’s Kiss Me Kate, and returns to Chicago Opera Theatre in April 2019 in Heggie’s Moby Dick. Future engagements yet to be announced include debut performances in New York, , , and Washington, D.C. He has also performed with the Lyric Opera of Chicago in The Scorpion’s Sting, the Francesca Zambello directed production of Porgy and Bess, and Carousel directed by Rob Ashford. He debuted with the Baltimore Symphony Orchestra as Ragotski/Cacambo/ The Baron in Candide conducted by Marin Alsop in 2015. Other

13 performances include a recital debut of German lieder and Negro spirituals with the Musiques de Chambre au Musee du Louvre and performing with the Opera Ballet as an ensemble dancer in the Maurice Béjart interpretation of Ravel’s Bolero for the Ballet’s 2012 North American tour. Bannister has also performed as Pirelli in the o®-Broadway production of Sweeney Todd, Thomas in the pre-Broadway production

ARTIST BIOGRAPHIES of the musical Amazing Grace for Broadway in Chicago, and portrayed the role of Andre DeSheilds for the 2009 National Players Tour of Ain’t Misbehavin’ with Olney Theatre Center. A graduate of the Peabody Conservatory and an award recipient of the Metropolitan Opera National Council Auditions (Mid-west region encouragement and audience choice award winner), Bannister is a proud native of Green Bay, Wisconsin.

Georgia Pickard Acolyte Georgia Elizabeth Pickard is a Performing & Visual Arts Magnet Vocal Program student at Broadneck High School in Anne Arundel County, Maryland. Georgia has also been singing with the Peabody Children’s Chorus since 2014, currently with the senior Cantate Group. In 2016, she performed in the Peabody Symphony Orchestra’s production of Engelbert Humperdinck’s Hänsel und Gretel opera, with guest conductor Simeone Tartaglione. Until recently, Georgia was a singer with both the Honor’s Chorus and the Dolce Donna group at MacArthur Middle School. Georgia enjoys playing the violin, piano, and ukulele. She was born in Washington, D.C. and returned to the capital region in 2010 after having resided in Portugal for 4 years.

Hayden Spitzer Acolyte Hayden Ross Spitzer is honored to be a soloist in his biggest performance to date! There is a special connection to this composer, as Hayden’s late cousin Amy Antonelli sang with the original choral group when Bernstein performed the MASS at the opening of the Kennedy Center in 1971. Hayden is 13 years old and a 7th grader at the Park School. He also continues his Jewish education at Beth El Synagogue. He has been acting and singing since the age of 5. You can see him in national commercials for Carefirst, National Association of Realtors, and USPS, and in episodes of “VEEP” and “Divorce” on HBO. In local theatre, Hayden has played Tootles in Peter Pan and Wendy, Augustus Gloop in Charlie and the Chocolate Factory, and most recently, Ryan in High School Musical. Hayden played Leo in Listen, a short film and finalist in the Ridgewood Guild International Film Festival this past spring. He studies voice with Madeleine Gray at the Peabody Institute and attends Young People’s Summer Stock every summer. Hayden has been sewing since the age of 10 and made his mother’s evening gown for his Bar Mitzvah celebration. He also loves to play tennis.

14 Joseph Young, Ruth Blaustein Rosenberg Artistic Director of Ensembles PEABODY

Violin Double bass Tuba Shannon Fitzhenry † Brock Drevlow* Samuel Adam* OPERA Trista Wong* Benjamin Hamilton Timpani

Winnie Chen Rachel Keene

Colin Crandal THEATRE Yung Tzu Chen April Kim Ann Ching Noah Strevell Percussion Huan Ci Jianze Zhang Taylor Davis

Ben Giroux

Claire Hebeisen ORCHESTRA Flute Wei-Ling Hu Zachary Gutierrez Christian Paquette* Elizabeth Jones Robert Rocheteau Amanda Dame Erin Kim Yonatan Rozin Esther Kim Oboe Mingyu Son Sonia Matheus* Jun Ha Kim Harp Ellen Gruber Brenda Koh Esther Chung Zhiqi Liu Clarinet Keyboard Sean Meng Chad Thomas* Monica Daly Ting-Hsuan Miao Gemma Baek Bella Ming Juho Chae Organ Yujin Park Jordan Prescott Yu-Chu Teng Bassoon Sarah Thomas Xinqi Dong* Saxophone Chih-Chun Wang Mateen Daniel Kamon* Tea Mottolese Sixuan Zhu Horn Kai Sun Viola Noah Tingen* Maksymilian Krzak* Scott Campbell Electric guitar Brian Anderson Teresa Deskur Sean Brennan Will Church Jordan Dinkins Jordan Colquitt Hannah Jung Yasmeen Richards Electric bass Kate Moran Trumpet Lawrence Hutfles Gavon Peck David Sayers* Alaina Rea Drum set Sabrina Johnson Robert Jenkins Amy Tan Todd Oehler Cello John Wagner Marcie Kolacki* Trombone Blair Cheng * Principal Bailey Schmidt* † Concertmaster Alexander Cousins Nicholas Bulgarino Elias Leceta Gomez-Nebreda Jacob Niemann Addie Olsen Soyoon Park Olivia Rainoff Julia Solomon

15 danah bella, chair

Julia Asher Ui-Seng Francois Clare Naughton DANCERS

Chase Benjamin Lincoln Gray Elizabeth Parry Natalie Cox Rush Johnston Peter Pattengill Lindsey Fera Eliana Krasner Aren Vaughn Chase Fittin Rebecca Lee Amanda Yuen CONSERVATORY

PEABODY

Doreen Falby, director

CHORUS Georgia Pickard * Sadie Lange Gloria Robberto Hayden Spitzer * Nadia Lessing John Roesler Elise Brucker Jonathan MacKrell Sofia Scherer Hailey Clark Sophia Manni Ava Seastrom Pooja Dahiwadkar Eliana McFate Chelsea Sergeon

CHILDREN’S Neha Dinesh Abigail Mooney Rebecca Sherber Alison Ferraro Julia Nguyen Sylvie Shrum Erin Finnigan Vivian Orta Ben Strong Addison Giannini-Cook Jackie Palmer Genevieve Sudbrink

PEABODY Kaci Haslbeck Uma Phatak Evangelina Thibault Brianna Herbert Georgia Pickard Annika Vanlandingham Gracie Herron Alicia Poling Edrea Verghis Sarisha Hettiarachchi Sahana Rathod Ava Wilke Anika Huang Lindsay Reamer Avery Yoder-Wells Inayat Jain Isabella Rendor Ryan Zhou Christina Rivera

* Soloist

16 Eric Conway, director MORGAN

Soprano Alto Bass STATE Briana Annette Boley Makayla Ariana Banks Gregory Allen Marisol Cartagena Kennedy Bell Javon Bernard Bright

Christal Coleman Jocelyn Christian Devin Funderburk UNIVERSITY Deja Crenshaw Kiana Cobb Lawren Henry Alexandria Janie Catheryn Debevec Darius Jackson Crichlow-Bradshaw Amirah Farmer Joshua Xavier Jones Lydia Charnelle Ford Avery Goldsborough Jalen Knight

Alexis Griffin Asia Haynie James Martin Jr. CHOIR Raejean Noell Hill Taylor Jackson Brandon McKoy Paule Jackson Janee Johnson Isaiah McLin Nasya Jeffers Myia C. Johnson Llewellyn Means Shameka Landon Deijah Knight David Mincey Diamond Lonon Ebonee Knight Aubrei Perry Jaelyn Marshall Taniya Moses Cameron Potts Aleisha Murdock Brittnee Ross Marcel Sawyer Chidinma Okwum-Emulo Kewanna S. Taylor Anthony Stanton Faith Oliver Asa Wilson Aaron Stewart Jouelle Roberson Kiya Niche Wright Dorian Whittington-Forbes Kendra Speight Robert Wooden Tenor Kalynn Spriggs Samuel Ailemen Micaela Stewart Matthew Barnwell Craig Brown-Dickens Dezmond Covington Kevon Dix Donovan Fowler Corey J Harvey Hakeem Henderson Larry Donell Hylton Stephen Jones Jr. Matthew Lewis Quamir Payton Jonathan Pettus Kameron Ralls Darrin Scott Warren Shakes Kevin Webb

17 Edward Polochick, director of choral activities CHORUS

Soprano Alto Bass Zoe Woodaman Alexandria Zallo Yongdai Yan Isabella Xie Yamin Chen Won Ik Suh Nancy Fallon Kathy Walsh Joe Tollefsen Margaux Frohlich Heidi Hansen Hongtai Chi Kayla Raschke Emma Hils Liam Ashwill Zoe Sheller Kelly Hur Dante Baskett

PEABODY-HOPKINS Siying Chen Eureem Shin Parker Callister Hyunjoo Kang Elisa Sikula Haoyuan Chen Mackenzie Payne Lingiun Song Jun An Chew Alayna Borden Wei-Chia Wu Yi Chen Feng Grace George Yunling Zhang Yunhan Gu Tianrun Long Yuan Gu Scott Li Doyoung Park Sean McFarland Yunsi Zhang Elijah Smith Sally Hyun Ian Blanchardon Jennifer Kim Joseph Miller Serena Miller Andrew Bohman Zishan Ming Alex Hagopian Rhonda Robinson James Qian Haoyue Xu Pedro Rivera Kevin Sherman Tenor Botao Feng Falcom Greear Kaijeh Johnson Anthony Peña Ruben Portillo Jonathan Rush

18 Edward Polochick, director of choral activities PEABODY

Soprano Alto Bass Zoe Woodaman Alexandria Zallo Yongdai Yan SINGERS Isabella Xie Yamin Chen Won Ik Suh Nancy Fallon Kathy Walsh Joe Tollefsen Margaux Frohlich Emma Hils Hongtai Chi Kayla Raschke Kelly Hur Liam Ashwill Zoe Sheller Eureem Shin Dante Baskett Siying Chen Elisa Sikula Parker Callister Hyunjoo Kang Lingiun Song Haoyuan Chen Mackenzie Payne Wei-Chia Wu Jun An Chew Alayna Borden Yunling Zhang Yi Chen Feng Grace George Yuan Gu Yunhan Gu Tianrun Long Doyoung Park Scott Li Yunsi Zhang Sean McFarland Sally Hyun Elijah Smith Jennifer Kim Ian Blanchardon Serena Miller Joseph Miller Zishan Ming Andrew Bohman Rhonda Robinson Alex Hagopian Haoyue Xu James Qian Pedro Rivera Tenor Kevin Sherman Falcom Greear Botao Feng Kaijeh Johnson Anthony Peña Ruben Portillo Jonathan Rush

19 Marcus D. Smith, director CHOIR Soprano Alto Tenor Jakalah Arca Sheniah Carroll Roemon Dubose Janiya Camphor Kendyl Deramus Maliek Green SCHOOL

Kara Covington D’shaye Downs Alexander Iyalekhue Maimouna Diop Amari Fleet Monyae Smalls HIGH

Julia Donn Savannah Green Isaiah Yarberough Dijor Gladney Jade Leach Bass Kimberly Holland Bre’lia Marshal Ezra Crawford Bobbi Irving Peyton Miller COLLEGE Keishaun Dempsey Jade Jackson Mya Moore Corey Smith Samira Jackson Janece Nelson

CITY Sydney Smith

Jenna Melani Brianna Russell Alexus Scott Kelly Russell Maya Smith Iyanna Wilson Yashira Valenzuela

BALTIMORE Emma Villanueva

Mark Hardy, director

CHORUS Alex Blenman Patricia Gonzalez Kathy Pfister Deryus Carter Shaniya Harris Elizabeth Pope Dacey Curran Mekai Hines Gina Pietrogiacomo Joshua Davis Nataysha Lewis Joshua Ray Reje Durant Alec McCreight Louisa Tornari CHAMBER Jasmine Foreman Joshua Moore Thomas Wilkerson Tamauri Forest Sean Murphy Manayzha Williams ARTS

Anaya Green Elijah Nichols THE

FOR

SCHOOL

BALTIMORE

20 Kristen Toedtman, director COMMUNITY

Soprano Alto Tenor Patti Birkmaier Lauren Albers Denhart Christopher Denhart

Willa Cochran Elise Altschuler Mike Eisner CHORUS Joanne Douglas Victoria Eisner Patricia Mahoney Alejandra Ellison-Barnes Sarah Farrell Bass Sarah Gaillot Úrsula Fernández del Castillo Kellan Baker OF

Bella Gullia Cristina Harris

Jules Bonner PEABODY Kathy Helzlsouer Vanessa Paul Cresanta Annette Logan Tina Jones Andrew Goolsby-Cole Nora Lützgendorf Casey Lyons Mark Miller Abby Markoe Michele Mengel Jay Prager Kaitlyn McCoach Emma Oppenheim Tavon Smith Claire Schreiber Ginny Perkins Jessica Schwartz Debbie Rice Meghan Virro Carolyn Rosinsky Ging Shamberger Meredith Shaw Lara Silverman Veronica Wallace

Mark Hardy, director JOHNS

Soprano Alto Bass HOPKINS Lindsay Tao Sadie Garber Jack Williams Katherine Torres Rachna Thirthuvadoss Jaron Lee

Bea Tran Claire Husselbee Michael Klisiwecz CONCERT Danielle Gaskin Tenor Michael Xiang Arthur Ding

Owen Campbell CHOIR

21 Tamba Giles, director of Worship and Arts James D. Alston, minister of music ENSEMBLE

Soprano Alto Bass Shirletta H. Jerry Debra Godsey Manasseh Johnson Tracey Jones Edna Price

CHORAL Joyce Lea-Street Patricia Ross Maytwone Ross Tenor Hollis McDaniels Donald Debnam Mary Ann Mitchell

CHURCH Patricia Johnson

Tracy Stukes Anthony Moon Attlay S. Williams James C. Morant Ellen Polston BAPTIST

Elner W. Prater PSALMIST

NEW

Elijah Wirth, director

Flute Saxophone Euphonium

ORCHESTRA Jonah Lassiter Kevin Liu Sumaya Elkashif Asia Palmer Nyshae Cheatham Tuba Angela Park

WIND Trumpet Keith Fleming Kendall Pfeifer Hana Harwood Lowrider James Kristina Chao Myla Brown Alexander Wu Oboe Alan Tucker Percussion Jacob Sherber Teagen Hoey Mailin Eagle Tiffany Liu Martha Lieberman Nolan Pfeifer PREPARATORY

Zach Smith Trombone Tabitha You Clarinet Chyna Beals Keyona Carrington Ethan Pound

PEABODY Elanor Kim Lola Stevenson Meilin Yuan Oliver Crossland Jiashu Yang Katy Franklin Steven Ying Katie Lee Eric O’Leary

22 PEABODY Edson Piza, director

Hana Abrams Anqi He Yeonha Park

Miranda Brugman Abigail Head Melanie Piercy OPERA Cierra Byrd Lacey Hindman Mengzhi Qiu Kyle Carney Katherine Holobinko David Sexton

Katherine Christenbury Samantha Hornback Sarah Spivack CHORUS Claire Cooper Huey-Fen Hsu Thomas Swain Kasey Cwynar-Foye Alicia Hurtado Kelly Timko Laura Doyon Madeline Huss Jose Vargas Amelia Gil-Figueroa Miso Kang Elise Volkmann Dena Goodman Chuyan Luo Melanie Walker Matthew Grifka Lisa McNulty Shanhong Zhang Erika Hagen Baajah Mohammed Siwei Zhang Jeong Wook Han Hannah Noyes Abigail Hart Tess Ottinger

23 Producer Jessica Satava STAFF

Projections Designer Mark Brown

Lighting Designer Katie McCreary

Lighting Specialist, New Psalmist Baptist Church Deaven Wood PRODUCTION Costume Designer AT Jones & Sons

Production Stage Manager Aaron Sherber

Technical Director, New Psalmist Baptist Church Rev. Joshua Thomas

Assistant to the Technical Director, New Psalmist Baptist Church Tasha Green

Front of House Engineer, New Psalmist Baptist Church Jonathan Lesane

Event Liaison, New Psalmist Baptist Church Anita Riley

Assistant Conductor, Chorus Edson Piza

Assistant Conductor, Orchestra Hayden Denesha

Assistant Stage Managers Carly Cummings Alicia Lumberry

Production Assistant Han Dewan

Wardrobe Assistants Amelia Gil-Figueroa Erika Hagen Kelly Timko

Rehearsal Pianists Monica Daly TianYuan Liu Natasha Talukdar Yin Zhu

Director of Concert and Ensemble Operations Andrew Kipe

Ensembles Program Manager Melina Gajger

Manager of Community Partnerships Aubree Weiley

Concert Series Coordinator Chelsea Buyalos

Ensemble Coordinator Ryan Tani

Ensemble Librarian Robin Felt

24 Audio/Visual Coordinator William Racine

Videographers John Benam Giulio Leone Fei Vanessa Richards Jim Rosenthal Bernadette Wegenstein

Stage Coordinator Daniel Chaloux

Box Office Coordinator Elizabeth Digney

Administrative Coordinator, Peabody Children’s Chorus Sharon Spicher

Program Designer Amelia Stinnette

Cover Design and Art Ben Johnson

Senior Piano Technician Mary Schwendeman

Piano Technicians Renee Kelsey Yuriy Kosachevich

Technical and Stage Consultant Dennis Malat

Stage Coordinator and Audiovisual Assistant Adam Scalici

Peabody Voice Faculty Tony Arnold Margaret Baroody Phyllis Bryn-Julson Stanley Cornett Elizabeth Futral Denyce Graves-Montgomery Ronald Gretz Ah Young Hong Robert Muckenfuss Patrick O’Donnell Steven Rainbolt William Sharp

25 WITH SPECIAL THANKS TO: Bishop Walter Thomas and First Lady Patricia Thomas Reverend Joshua Thomas Deaconess Linda Harris Brother James “JD” Alston Sister Holly Archer Brother Tamba Giles Sister Tasha Green Sister Anita Riley Sister Joi Thomas Michael Repper Mellasenah Edwards The Louisville Orchestra Chris Fominaya Ron Gretz and University Baptist Church JoAnn Kulesza and Eastport United Methodist Church

TALKBACK: REFLECTING ON BERNSTEIN’S MASS Monday, October 29, 7:00 pm Church of the Redeemer, 5603 North Charles Street Join scholars from the Institute for Islamic, Christian, and Jewish Studies for a community discussion of the social issues and themes addressed in Bernstein’s MASS.

26 THE GEORGE PEABODY SOCIETY $1.4 MILLION AND ABOVE We recognize those philanthropic visionaries whose cumulative giving has matched or exceeded George Peabody’s founding gift of $1.4 million. Their generosity has expanded and transformed the Peabody Institute of the Johns Hopkins University. The names are ordered by the date when they joined this elite group of donors.

George Peabody Elizabeth J. and Richard W. Case John L. Due Sidney M. Friedberg Florence H. and Charles R. Austrian Taylor A. Hanex Charitable Trust Michael R. Bloomberg Rheda Becker and The Blaustein-Rosenberg- Anonymous Robert E. Meyerhoff Thalheimer Philanthropic Group Tristan W. Rhodes Laifun Chung and Ted Kotcheff Eric and Edith Friedheim Hilda P. and Douglas S. Goodwin Sandra Levi Gerstung and the Loretta Ver Valen Levi Family Fund II of the Baltimore Claire S. and Allan D. Jensen Arabella Leith Community Foundation Symington Griswold Marc C. von May Cynthia and Paul Lorraine Wendy G. Griswold and Thomas H. Powell Nancy S. Grasmick Benjamin H. Griswold IV Anonymous

THE 2017–18 FRIEDBERG SOCIETY This society is named in honor of Sidney and Miriam Friedberg, whose generosity launched a new era of philanthropic leadership at the Peabody Institute. Friedberg Society donors sustain and enhance Peabody by giving $1,000 or more over the course of a fiscal year. The donors listed below have made outright gifts or pledges at the Friedberg Society level between July 1, 2017, and June 30, 2018.

CHAIRMAN’S CIRCLE COMPOSER’S CIRCLE VIRTUOSO’S CIRCLE $100,000 AND ABOVE $50,000–$99,999 $10,000–$24,999 Anonymous * Brookby Foundation Pennie and Gary Abramson Robert Austrian * Carol M. Condon Anonymous Rheda Becker and Charles Delmar Foundation Richard W. Armstrong † Robert E. Meyerhoff Jeffrey Gould * Liza Bailey and Michael Musgrave Elana R. Byrd David Wayne Helsley * Jacob and Hilda Blaustein Foundation Lester Dequaine – Hittman Family Foundation † Frank Chiarenza * Foundation Barbara and Thomas Bozzuto Maria Emma and Vanda McMurtry Laifun Chung and Ted Kotcheff Estelle Dennis Scholarship Trust Henry and Ruth Blaustein Rosalee and Richard Davison Rosenberg Foundation Evergreen House Foundation Margaret and Robert Fisher Marc C. von May Ira B. Fader Jr. Hilda Perl Goodwin * Reba A. Will Foundation Edith Hall Friedheim and the Eric Friedheim Foundation Janet Rayburn Greive and Shirley S. L. Yang Tyrone Greive Sandra Levi Gerstung and the Wendy G. Griswold and Levi Family Fund II of the Benjamin H. Griswold IV MAESTRO’S CIRCLE Baltimore Community Foundation Taylor A. Hanex $25,000–$49,999 Karen Gober † Claire S. and Allan D. Jensen AEGON Transamerica Foundation Judith and Stephen Hittman † Calvin E. Jones Paul M. Angell Foundation Christina M. Holzapfel and William Bradshaw C. Albert Kuper III * Paula Boggs and Randee Fox Nina Rodale Houghton Cynthia and Paul Lorraine Jane W. I. and Larry D. Droppa Michiko Sakai and Jay Jones Clarence Manger and Phillip T. Dunk Jr. * Audrey Cordero Plitt Trust * Dorothy * and Louis Pollack Peggy and Yale Gordon Thomas H. Powell Charitable Trust Presser Foundation Suzanne J. Schlenger * Tamera and Brian Hays T. Rowe Price Foundation Hank Sopher Priscilla Huffman † Barbara and David Roux Ci-Ying Sun Sumati Murli and Sunil Kumar Christine Rutt Schmitz and Robert Schmitz Jill E. McGovern Adam G. Shapiro Amy L. Gould and Matthew S. Polk Jr. Judith R. and Turner B. Smith Lori Raphael and Speedwell Foundation J. Michael Hemmer Barbara P. and Martin P. Wasserman Julie A. Walters and Samuel G. Rose Wells Fargo Foundation Esther Carliner Viros Thomas Wilson Sanitarium for Andrew Yang Children of Baltimore City 27 CONCERTMASTER’S CIRCLE $5,000–$9,999 DIRECTOR’S CIRCLE Suzanne and John Peter Mantegna Bank of America Foundation ‡ $1,000–$2,499 Valerie and Michael Marcus Liz and Fred Bronstein Marin Alsop Paul B. Mathews Phyllis Bryn-Julson and Donald Sutherland Anonymous Carol and Paul Matlin Laura B. Garvin-Asher and Carol and Steven Batoff Irene T. Kitagawa and Edward J. Asher Aurelia G. Bolton Stephen S. McCall Ruby and Robert Wesley Hearn Anders V. Borge Jean and Paul R. McHugh Hecht-Levi Foundation Susan and John Brantley Cynthia and Michael McKee Jephson Educational Trusts Helene Breazeale Gary Melick Robert Wood Johnson Foundation ‡ Mary C. R. S. Morgan and Sharon and Andrew Nickol Kingsley’s Cause Private Foundation David J. Callard Eugene Minusk Ohr Koret Foundation Carol Cannon Eleanor Simon and Patrick O’Neall Susan J. Linde W. P. Carey Foundation Margaret B. Otenasek Peabody Institute Fund of the Linda P. Carter Baltimore Community Foundation L. Chinsoo Cho Elizabeth and Jonathan Peress Lucinda M. Rouse Kathleen Whalen and Frederick Cohen Michael Pham Riva A. and Albert B. Shackman † Margaret Hammond Cooke * Kimberly and Townsend Plant Lisa Smith and Barbara J. Cowie and Lawrence Pollack W. Christopher Smith Jr. William H. Cowie Jr. Donald Regier Marian and Abraham Sofaer Russell Davidson Foundation Burr and Judi Short Anne Luetkemeyer Stone Nijole Boguta Dedinas Terry Meiselman Shuch and Charles Emerson Walker Ruth L. and Arno P. Drucker Neal Meiselman Hildegard and Richard Eliasberg Thomas R. Silverman PRINCIPAL’S CIRCLE Kimberly and Donald Evans Edward Steinhouse $2,500–$4,999 Exelon Foundation ‡ Howard and Barbara Stowe Christine and John Fraser Angela and Daniel Taylor Frances K. and George Alderson Patrick Fraser Helen Stone Tice Mary Lou Bauer Carole and Hang Fung Sheila and Erick Vail Abra Bush Mary Jo and James Gary Mary Jo and Charles Wagandt Constance R. Caplan Wendy and Robert Ginsburg Beverly Dietrich Weber Pauline Chapin † Google, Inc. ‡ Susan F. Weiss Lydia and Charles Duff Jean P. Gordon † Yolanda and Robert Wiese Morton J. Ellin † Suruchi Mohan and Prabhat K. Goyal Wolman Family Foundation Barbara S. Hawkins and Avedis Zildjian Company Stephen W. Singer Ellen Halle and the Halle Family Ireneus Bohdan Yaromyr Zuk Patricia E. Kauffman Philanthropic Fund Christopher Kovalchick Maureen Harrigan and + In-Kind Gift David McDowell Galan Kral * Deceased Wilda M. Heiss ** Matching Gift Beth Kronenwetter Cynthia Adams Hoover and Links, Inc. Roland Armitage Hoover Thomas MacCracken Larraine Bernstein and Paul E. McAdam * Kenneth D. Hornstein The Peabody Institute trains musicians Barbara and John McDaniel Nancy and Robert Huber Lloyd E. Mitchell Foundation Trust Indian Spring Academy of Music and dancers of every age, stages Clara Juwon Ohr Alma D. Hunt/VCM Charitable Trust nearly 1,000 concerts each year, Thomas Pozefsky Donna and Eric Kahn Linda B. and Richard Q. Snurr Dure Shehwar R. Khan and extends music and arts training Marguerite M. VillaSanta Ralph W. Kuncl Margaret C. and Patrick C. Walsh D. L. Langdon throughout the community. Grace C. and Frank Chi-Pong Yin Sara W. Levi Jessica Preiss Lunken and David A. Lunken PLEASE MAKE A GIFT TO THE PEABODY INSTITUTE.

peabody.jhu.edu/giving 1 East Mount Vernon Place Baltimore, MD 21202 667-208-6550

The students, faculty, and sta of the Peabody Institute would also like to acknowledge the more than 1,000 dedicated donors whose gifts of $1 to $999 helped to realize Peabody’s 2017–18 academic year.

28 JOHNS HOPKINS UNIVERSITY ADMINISTRATION PEABODY INSTITUTE Ronald J. Daniels ADVISORY BOARD President Rheda Becker Sunil Kumar Paula E. Boggs Provost and Senior Vice President Barbara M. Bozzuto, Vice Chair for Academic A®airs Richard Davison Larry D. Droppa PEABODY INSTITUTE ADMINISTRATION Leon Fleisher Nancy S. Grasmick

Fred Bronstein Michael Greenebaum Dean Taylor A. Hanex, Chair Abra Bush Allan D. Jensen, Vice Chair Senior Associate Dean of Institute Studies Michiko S. Jones Sarah Hoover Laifun Chung Kotche® Associate Dean for Innovation, Interdisciplinary Christopher Kovalchick Partnerships, and Community Initiatives Abbe Levin Jessica Lunken Jill E. McGovern Associate Dean for External Relations Christine Rutt Schmitz Solomon H. Snyder

Townsend Plant David Tan Associate Dean for Enrollment and Student Life David L. Warnock Shirley S. L. Yang

EMERITUS MEMBERS Pilar Bradshaw Benjamin H. Griswold IV Turner B. Smith

The Peabody Institute trains musicians and dancers of every age, stages nearly 1,000 concerts each year, and extends music and arts training throughout the community.

PLEASE MAKE A GIFT TO THE PEABODY INSTITUTE. peabody.jhu.edu/giving 1 East Mount Vernon Place Baltimore, MD 21202 667-208-6550 by Leonard Bernstein