2019 MAY 40th season

RAVEL’s magical opera 2018-19 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES

Carl St.Clair, conductor Prokofiev PETER AND THE WOLF Magic Circle Mime Company Magic Circle Mime Company Robert Neu, director Ravel Pacific Chorale—Robert Istad, Artistic Director L’ENFANT ET LES SORTILÈGES CSUF Singers Southern California Children’s Chorus CAST: The Child: Tess Altiveros, soprano Mama; The China Cup; The Dragon Fly: Nicole Birkland, mezzo soprano A Country Lass; The Bat; The Screech Owl: Patricia Westley, soprano The Fire; The Princess; The Nightingale: Liv Redpath, soprano A Shepard; The White Cat; The Squirrel: Leandra Ramm, mezzo soprano The Armchair; A Tree: Benjamin Sieverding, bass The Black Cat; The Grandfather Clock: Gabriel Preisser, baritone The Teapot; The Little Old Man; The Frog: Brian Wallin, tenor TECHNICAL TEAM: Matt Scarpino, scenic designer Hannah Welter, scenic designer Kristin Campbell, scenic designer Alethia Moore-Del-Monaco, costume designer Kathy Pryzgoda, lighting designer

Thursday, May 16, 2019 @ 8 p.m. Friday, May 17, 2019 @ 8 p.m. Saturday, May 18, 2019 @ 8 p.m. Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall Official Hotel Official TV Station Official Music Station This concert is being recorded for broadcast on Sunday, July 21, 2019, at 7 p.m. on Classical KUSC.

PacificSymphony.org 40th Season | MAY 2019 15 DIRECTOR’S NOTE has a sense of theater and collaboration. had been working intensively for Obviously, none of these have to do about two years on his ballet setting with the accessibility, playfulness, joy and of Shakespeare’s Romeo and Juliet— Robert Neu: depth that this opera provides. So leave now a beloved score that seems like it to Pacific Symphony to figure out that an effortlessly inspired expression of L’Enfant et les Sortileges this is the perfect piece for an orchestra to romantic drama in music. Inspired, yes, It’s always a little humbling when you’re program in a situation that is much more but hardly effortless: Prokofiev not only asked to direct a piece you don’t know. flexible, nimble and freewheeling than sweated the details of its crafting, but also Since I’ve been working in the opera most opera houses are able to be. And knew the Kremlin’s cultural bureaucracy business for a while I pride myself on thank you, Pacific Symphony, for inviting was looking over his shoulder as he knowing the repertoire. So when I recently me and a first-rate group of performers worked. He even composed a happy had this happen—with a work by Ravel, and designers to have the rare treat to ending for the musical narrative on the one of my favorite composers—I was produce this masterpiece, and to have assumption that it would be deemed more immediately curious to figure out why this the pleasure of presenting it to your in keeping with government standards for great work had never been on my radar. audiences. the people’s music. (Wrong assumption.) I quickly figured out it wasn’t that the You and I—we’re all richer for being able Perhaps as a relief from the tension of music is in any way inaccessible. If you to add L’enfant to our repertoires! larger commissions, Prokofiev turned to love Ravel’s greatest hits—Boléro, Daphnis writing music for children—piano pieces et Chloe, La Valse—you’ll love this piece. that don’t require virtuoso technique to L’Enfant is unmistakably pure Ravel! Then play, but disciplined musicianship to play could it be the text? But this was written PROGRAM NOTES well. During that same period, he brought by Colette—that amazing and provocative his own children to the Moscow Children’s early 20th century French writer who also Musical Theatre, where together they penned Gigi and was nominated for the Sergei Prokofiev: attended performances that delighted Nobel Prize for Literature. (There was even him. When the director invited him to a recent movie about her starring Keira Peter and the Wolf compose something for the venue, he was Knightley!) Looking at glad to accept. The text he was given, a Maybe it was the subject matter? composers’ naïve story comprised of crude rhyming Let’s see—a charming quasi-fairy tale portraits is couplets, proved unsatisfactory, so he about a misbehaving young child who has always interesting took matters into his own hands and wrote encounters with dancing chairs, a grumpy and usually his own. His diary spells out the process: grandfather clock, and two amorous cats instructive, if only “In the spring of 1936 I started a symphonic and nurses an injured singing squirrel back because they tale for children titled Peter and the to life. What’s not to like about that? challenge our Wolf, Op. 67, to a text of my own. Every And then I figured it out—why L’enfant preconceptions. character had its own motif played each is rarely produced: 1) It’s an unusual length. In the case of time by the same instruments … Before At just 52 minutes, it barely counts as one Sergei Prokofiev, each performance, the instruments were act in the opera house. So any theater almost every likeness shows us an ascetic- shown to the children and the themes producing it needs to find a companion looking man of serious demeanor. His played for them; during the performance, piece—and there are very few operas of eyes smolder behind severe, wire-rimmed the children heard the themes repeated comparable length. 2) Along with eight glasses, and his gaze is penetrating—not several times and learned to recognize principal singers covering 21 roles, the the sort of visage we might associate with the timbres of the different instruments.” piece requires a children’s chorus and an a composer who loved to tell tales in music Leitmotifs! If Peter and the Wolf is here, adult chorus, and a sizeable and virtuosic and had a special feeling for children. Yet can Wagner’s monumental Ring cycle be orchestra. 3) L’enfant needs that rare these are the qualities we hear in Peter far behind? conductor who is equally at home with and the Wolf. Despite its brilliance, the success vocalists and instrumentalists and who In 1935, the 44-year-old Prokofiev of Peter and the Wolf was not quite

Sergei Prokofiev Maurice Ravel Born: 1891. Sontsovka, Ukraine Born: 1875. Ciboure, France Died: 1953. Moscow, Russia Died: 1937. Paris, France Peter and the Wolf L’enfant et les sortilèges Composed: 1936 Composed: 1917-1925 World Premiere: May 2, 1936, with the Moscow Philharmonic World premiere: Feb. 1, 1926, with Opéra-Comique Most recent Pacific Symphony performance: May 1, 2016, with Most recent Pacific Symphony performance: May 7, 1992, with Richard Kaufman conducting Carl St.Clair conducting Instrumentation: Flute, oboe, clarinet, bassoon; 3 French horns, Instrumentation: 3 flutes including piccolo, 3 oboes including English trumpet, trombone; timpani, percussion; strings horn, 4 clarinets including bass clarinet and e-flat clarinet, 3 bassoons Estimated duration: 25 minutes including contrabasoon; 4 horns, 3 trumpets, 3 trombones, tuba; timpani, percussion; harp; celesta; piano; strings Estimated duration: 47 minutes

16 MAY 2019 | 40th Season PacificSymphony.org instantaneous. Prokofiev’s story of a boy The meanings and sheer beauty of husband (whom she divorced), saw the alone in nature and who triumphs by dint L’enfant et les sortilèges go far deeper possibilities for mature music-drama of his own resourcefulness and bravery than its surface enchantments; in fact, in a children’s story. She had met Ravel was a tested favorite with the cultural it can be said to be an allegory about socially, and when Rouche proposed him apparatchiks, so there was no official World War I, the conflict that unleashed as composer, she was delighted with the resistance. His masterfully simple motivic unprecedented violence upon Europe. choice. Ravel’s reticence and vulnerability structure, with its abbreviated narration, Even those who saw war coming were had impressed her, and we can hear these is now an accepted template for such unprepared for the scale of its horrors, qualities in the tenderness of his music, works. And it was well received in its first which descended on the continent like a which fit the scenario like a glove. performance, which Prokofiev directed collective trauma at a time when human In performance, L’enfant et les from the keyboard. But subsequent psychology was just beginning to emerge sortilèges immerses us in a story that performances were lackluster until several as a science. bears more than a passing resemblance weeks later, when a better performance in We know that Ravel was deeply to Sendak’s Where the Wild Things Are (or, Moscow won raves. Prokofiev biographer affected by his experience of World War actually, vice-versa): wayward and willful, Harlow Robinson notes: “Long after I. He made many attempts to enlist, a child refuses to do his homework, and his his own idyllic childhood, [Prokofiev] first with the French Air Force and later maman—we see her from his point of view, continued to love children for their with the French Army, finally joining just a giant skirt with keys and scissors unfettered imagination, sense of play and the Thirteenth Artillery Regiment as hanging from her belt—scolds him. Soon inability to dissimulate. That he never a lorry driver in 1915 at the age of 40. we realize that everyone and everything forgot what it meant to be a child, and how Transporting munitions by night under in the little boy’s world has been hurt by children think, is evident in the playful German bombardment, Ravel suffered his misbehavior: his toys, the household but never condescending music he wrote the risks and stress of combat without pets, the princess in his storybook, the for them, most of all the phenomenally actually fighting. He developed frostbite shepherds and shepherdesses that adorn successful Peter and the Wolf, written and dysentery when, as Stravinsky noted, the wallpaper and even the plants and when Prokofiev was a boy of 45.” “at his age and with his name he could animals in the garden. When we have The roster of international performing have had an easier place, or done nothing.” lost patience with the child’s destructive artists who have narrated performances His agonies were compounded by the impertinence, suddenly the music and the of Peter and the Wolf is far more exotic death of his mother, who died in January story make us see the pain and isolation than the array of wild creatures Peter of 1917 after their forced separation. After that overwhelm him as the toys and encounters in the woods. They include the War, Ravel’s pace of composition— animals of his world suddenly turn away. Sting, David Bowie, Patrick Stewart, John always deliberate—became slower. He “They love each other,” he says. “They have Gielgud, Sophia Loren, Sean Connery, kept an elegant, Gallic silence on matters forgotten me. I am alone.” When he finally Boris Karloff, Jack Lemmon, William F. such as his War experiences, but his 1930 notices an injured squirrel and binds its Buckley, Captain Kangaroo and Dame Piano Concerto in D major for the left wounded paw, the enchanted beings that Edna Everage, among many, many others. hand—commissioned by his friend Paul surround him recognize the goodness Wittgenstein, who had lost his right arm within, and struggle to call for help on his in combat—became emblematic of Ravel’s behalf: “Mama… Mama…” As the opera Maurice Ravel: own wartime losses, both emotional and ends, a light appears at the windows. physical. By the time Ravel completed the music L’enfant et les sortilèges For the L’enfant et les sortilèges, the for L’enfant et les sortilèges, Colette, like L’enfant et Paris Opera turned to one of the greatest Ravel, had been transformed by World les sortilèges French writers of the 20th century, War I. She had run a hospital for wounded is Maurice Colette, whom we know in the U.S. for her soldiers and been awarded the légion Ravel’s second incomparable novels and stories, one of d’honneur. In her scenario and in Ravel’s opera. Like its which became the basis for the Academy music we recognize the unbearable predecessor, Award-winning film Gigi. Colette had loss and pain that seemed to reduce a L’Heure made her reputation with sophisticated whole world to helpless suffering. In a espagnole, it is a narratives charged with eroticism, both remarkable paper written for the British work of exquisite veiled and overt. Then came a series of Psychoanalytical Society, the early subtlety—piquant, novels about a young schoolgirl named psychoanalyst Melanie Klein correctly funny and poignant. From the long time Claudine; these, too, made a sensation, discerns universal yearning in that final that elapsed between the commission and not least for the suggestive nature of cry for “Mama.” Together, Ravel and its completion, one might have expected Claudine’s relations with her girlfriends Colette have captured how the agony of something weighty and difficult was being and headmistress. So when Jacques war reduces us to children, and how the composed; the scenario was originally Rouche of the Paris Opera approached innocence of childhood gives us hope. sent to Ravel in 1916, while he was serving Colette for a scenario of a “fantasy ballet” in World War I, but he did not see it until about a child, a traditional children’s story 1917, and did not finish the score until 1925. was the last thing he had in mind. The Michael Clive is a cultural reporter living Yet its musical style is fleet and delicate. year was 1915, and despite World War I, in the Litchfield Hills of Connecticut. Ravel described it as being in the manner the avant garde was flourishing. Rouche He is program annotator for Pacific of an American musical comedy, and wanted to offer his public a work that Symphony and Louisiana Philharmonic, and the story shows every evidence of being would tantalize and astonish. editor‑in‑chief for The Santa Fe Opera. intended for children. But sometimes that Colette, who had experienced both phrase “for children” can be deceptive. a controlling mother and an abusive

PacificSymphony.org 40th Season | MAY 2019 17 PACIFIC SYMPHONY Led by Music Director Carl St.Clair since 1990, Pacific Symphony has been the resident orchestra of Renée and Henry Segerstrom Concert Hall for more than a decade. Currently in its 40th season, the symphony is the largest orchestra formed in the US in the last 50 years. It is not only a fixture of musical life in Southern California, but also recognized as an outstanding ensemble making strides on both the national and international scene. In Orange County, the orchestra presents over 100 concerts and events each year, as well as a rich array of education and community engagement programs, reaching more than 300,000 residents of all ages. The Symphony offers repertoire that ranges from the great orchestral masterworks to music from today’s most prominent composers. Seven seasons ago, the symphony launched the highly Carl St.Clair successful opera initiative “Symphonic Voices,” which continued in February 2019 with Puccini’s Madame Butterfly. It also The 2018–2019 season marks Music continues for the eighth season in 2018‑19 offers a popular pops season, enhanced Director Carl St.Clair’s 29th year leading with Puccini’s Madame Butterfly, following by state-of-the-art video and sound, led Pacific Symphony. He is one of the the concert‑opera productions of The by Principal Pops Conductor Richard longest-tenured conductors of a major Magic Flute, Aida, Turandot, Carmen, La Kaufman. Each symphony season also American orchestra. St.Clair’s lengthy Traviata, Tosca and La Bohème in previous includes Café Ludwig, a chamber music history solidifies the strong relationship seasons. series; an educational Family Musical he has forged with the musicians and St.Clair’s commitment to the Mornings series; and Sunday Matinees, the community. His continuing role also development and performance of new an orchestral matinee series that offers lends stability to the organization and works by contemporary composers is rich explorations of selected works led continuity to his vision for the symphony’s evident in the wealth of commissions and by St.Clair. future. Few orchestras can claim such recordings by the symphony. Commissions Pacific Symphony’s discography rapid artistic development as Pacific have included William Bolcom’s Canciones comprises 15 recordings, which feature Symphony—the largest orchestra formed de Lorca and Prometheus, Elliot 20th- and 21st-century music by in the United States in the last 50 years— Goldenthal’s Symphony in G-sharp Minor, American composers, including William due in large part to St.Clair’s leadership. Richard Danielpour’s Toward a Season of Bolcom, John Corigliano and Richard During his tenure, St.Clair has become Peace, and Michael Daugherty’s Mount Danielpour. In 2012 for Naxos, St.Clair widely recognized for his musically Rushmore, The Gospel According to and the orchestra recorded Philip Glass’s distinguished performances, commitment Sister Aimee and “To the New World.” The Passion of Ramakrishna, a Pacific to building outstanding educational St.Clair has led the orchestra in critically Symphony commission. The Symphony programs, and innovative approaches to acclaimed recordings that have included has also recorded for Harmonia Mundi, programming. two piano concertos by Lukas Foss, Koch International Classics, Reference In April 2018, St.Clair led Pacific Danielpour’s An American Requiem, Recordings, and Sony Classical, among Symphony in its Carnegie Hall debut, as and Goldenthal’s Fire Water Paper: A other labels. the finale to the Hall’s yearlong celebration Vietnam Oratorio with cellist Yo-Yo Ma. Pacific Symphony has been recognized of pre‑eminent composer Philip Glass’ Other commissioned composers include with multiple ASCAP Awards for 80th birthday. He led Pacific Symphony James Newton Howard, Zhou Long, Adventurous Programming and included on its first tour to China in May 2018, the Tobias Picker, Frank Ticheli, Chen Yi, among the country’s five most innovative orchestra’s first international tour since it Curt Cacioppo, Stephen Scott, Jim Self orchestras by the League of American toured Europe in 2006. Among St.Clair’s (Pacific Symphony’s principal tubist) and Orchestras. The symphony’s education many creative endeavors are the highly Christopher Theofanidis. and community engagement activities acclaimed American Composers Festival, have also been recognized by the League which began in 2010; and the opera as well as the National Endowment for initiative, “Symphonic Voices,” which the Arts.

18 MAY 2019 | 40th Season PacificSymphony.org ROBERT NEU Vancouver and Winnipeg; the Cleveland Nicole Birkland director Orchestra, Minnesota Orchestra and Mama, The China Cup, The Dragon Fly Robert Neu, known for Philadelphia Orchestra; and on more than Noted as having a his highly theatrical a dozen occasions at The Kennedy Center voice of “dark, focused and musically sensitive For The Performing Arts with the National fury,” young American work, has directed Symphony Orchestra. 2016 marked their 5th mezzo-soprano Nicole over 90 productions of appearance at the National Arts Centre of Birkland is captivating operas, musicals and Canada. audiences with her “lush plays throughout the Magic Circle Mime Company also mezzo” and bewitching country. Neu’s recent has a growing reputation outside North portrayals of opera’s productions include America. They have performed with most famous mezzo- Bernstein’s Mass, Peer Gynt, La Traviata, orchestras in Australia, China, Colombia, soprano roles. The 2017-18 season saw her The Magic Flute and Carousel for the Japan, Hong Kong, Korea, Malaysia, New returning to San Francisco Opera as the Minnesota Orchestra; Hansel and Gretel Zealand, Singapore, Spain and Taiwan. Third Maidservant in Elektra and appearing with Minnesota Orchestra, Jacksonville International festival appearances include in The Ring Cycle as Schwertleite in Die Symphony and Colorado Symphony; Don the International Children’s Festivals of Walküre. She also will return to Opera San Giovanni for Opera Orlando and Opera Beijing, Shanghai and Taiwan. In 2018 they Jose for their production of Der fliegende Steamboat; La bohème for Colorado performed for the first time in Denmark Holländer as Mary. Last season she Symphony, Minnesota Orchestra, Opera with both the Aalborg Symfoniorkester and was at The Metropolitan Opera for their Orlando and Shreveport Opera; Tosca, Aarhus Symfoniorkester. production of The Magic Flute. St. Matthew Passion and The Music Man In 2015, she made her debut with Fargo- for Colorado Symphony; St. Matthew Moorhead Opera as Suzuki in Madame Passion and West Side Story for Central Tess Altiveros Butterfly and in 2016, Birkland joined the City Opera/Boulder Philharmonic; Don The Child roster of Washington National Opera Pasquale, St. John Passion, Carmen and Praised for “a ripe, covering Erda and the First Norn in The The Barber of Seville for Lyric Opera of sensual lyric soprano” Ring Cycle. For the 2014-15 season, Birkland the North; The Magic Flute for Pacific (Opera News) and worked with The Metropolitan Opera for Symphony; Art and Death of a Salesman a “captivating productions of Dimitri Shostakovich’s for Bloomington Civic Theater; The combination of skilled Lady Macbeth of the Mtsensk, Jacques Marriage of Figaro for Bellevue Opera singing and magnetic Offenbach’s Les contes d’Hoffmann, and and Spokane Opera; Ayn Rand in Love for acting” (Pioneer Igor Stravinsky’s The Rake’s Progress, in Chameleon Theater; The Laramie Project, Press), soprano Tess which she covered Stephanie Blyhte’s Baba Godspell and Blithe Spirit for Lyric Arts Altiveros is equally at the Turk. Theater; Florencia en el Amazonas for home in a vast range of repertoire from Emerald City Opera, and On the Town, the 17th century to the 21st, making her The Fantasticks, Candide, The Tragedy of highly sought after for a wide array of Patricia Westley Carmen, Don Giovanni, As One and Putting concert and operatic work alike. Her The Louis XV Chair, A Country Lass It Together for Skylark Opera Theatre. recent portrayal of E in Seattle Opera’s The Bat, The Screech Owl acclaimed O+E “stole the show” according New Zealand–American to The Stranger, while her Euridice/ soprano Patricia MAGIC CIRCLE MIME COMPANY Proserpina in the West Coast tour of Westley is gaining performers Monteverdi’s L’Orfeo under Grammy- recognition as a young winning conductor Stephen Stubbs artist of great vocal was described by Vancouver Classical and theatrical appeal. Music as “an artful combination of facial Her 2018 commitments expression, gesture, and vocal suavity ... included her San José infusing both characters with tenderness Chamber Orchestra and charm as well as dignity.” debut as a featured soloist, in partnership Other roles include Clorinda in Seattle with the San Francisco Opera Center, and Opera’s The Combat, Hannah in The Merry her Oakland Symphony debut as soprano Maggie Petersen Douglas MacIntyre Widow (Inland Northwest Opera), Pamina soloist in Brahms’ Ein Deutsches Requiem. in Die Zauberflöte (Pacific Symphony), She spent the summer of 2018 in residency Magic Circle Mime Company is regarded as Maria in West Side Story (Central City with San Francisco Opera’s illustrious one of today’s premier family attractions. Opera/Boulder Philharmonic), Bach’s St. Merola Opera Program to perform the Its highly acclaimed performances, which Matthew Passion (Colorado Symphony.) leading romantic role of Elisa in Mozart’s unite the concert orchestra with visual early masterpiece Il re pastore. theater, are consistently praised for A favorite with San Francisco imaginative and innovative content. audiences, Westley has performed with Magic Circle Mime Company performs Pocket Opera as Adele in Die Fledermaus, with nearly every major orchestra in for which she was critically hailed as North America and has performed on “vocally-comically sensational,” and with numerous occasions with the symphony Lamplighters Music Theatre as Yum-Yum orchestras of Atlanta, Detroit, Chicago, in The Mikado, Elsie in The Yeomen of the Montreal, St.Louis, Seattle, Toronto, Guard and Casilda in The Gondoliers.

PacificSymphony.org 40th Season | MAY 2019 19 Liv Redpath conducted by Michael Tilson Thomas, Opera, Le Mari in Les Mamelles de Tiresias The Fire, The Princess, The Nightingale and Bach’s Magnificat conducted by with Opera Parallele, Albert in Werther Liv Redpath’s 2018-19 Ragnar Bohlin all with the San Francisco with Minnesota Opera, Mercutio in Romeo season featured her Symphony. This season, she performs et Juliette with Opera Tampa and St. role debut as Gretel in in Little Women with Island City Opera, Petersburg Opera, Tommy in Brigadoon Hansel & Gretel with L’enfant et les Sortileges with Pacific with Gulfshore Opera, Silvio in Pagliacci LA Opera, alongside Symphony, and Serafina/Spirit Woman in with Opera Naples, Harold Hill in The Music Sasha Cooke and La Llorona with Opera Cultura. Man with Colorado Symphony, and Bob Susan Graham. On Baker in Wonderful Town with Skylark the concert stage she Opera to name a few. He has been praised joins the Los Angeles Benjamin Sieverding for having a “matinee idol’s charm and Master Chorale to open their season The Armchair, A Tree charisma,” “a beautiful, luscious baritone” with Mozart’s Requiem and Kirchner’s Bass Benjamin and “a compelling, commanding stage Songs of Ascent, the LA Philharmonic Sieverding has presence.” for Beethoven’s Choral Fantasy at the launched a promising Hollywood Bowl, and Pacific Symphony young career that in Ravel’s L’enfant et les sortilèges as Le touches upon over Brian Wallin feu, La princesse and Le rossignol. She three centuries’ worth The Teapot, The Little Old Man, The Frog will return to her hometown, Minneapolis, of repertoire. He has Hailed by the Dallas for a concert with the Bakken Trio and, gained notice for his Morning News as later, to sing Cunégonde in Candide with “resonant, expressive having a “finely focused VocalEssence and Theater Latté Da. bass” (StarTribune) and for a range and well-mannered” Other assignments for her third season of characterizations spanning from voice, Brian Wallin has as a Domingo-Colburn-Stein Young Artist “wickedly charming” (L’étoile Magazine) recently completed include Voce dal cielo in Don Carlo and to “genuinely threatening” (Phindie). In his second summer covering Servilia in La clemenza di Tito. the fall of 2018, Sieverding performed as a Young Artist with In summer 2019, Redpath will present a Bernstein’s Songfest with LOFTrecital, The Glimmerglass concert with Christophe Rousset at the Biblical Songs by Antonín Dvořák with Festival, making appearances in West Da Camera Society, reprise Zerbinetta in faculty and other alumni at the University Side Story, The Cunning Little Vixen and Ariadne auf Naxos for Cincinnati Opera, of Michigan and a solo recital with Lara Kevin Puts’ Silent Night. The upcoming and cover Bess in Breaking the Waves at Bolton under the auspices of Opera season includes appearing in West the Edinburgh International Festival. South Dakota. In 2019, Sieverding will Side Story with Lyric Opera of Kansas In her 2017-18 season, Redpath had reprise the role of Alfred Austrian in the City and Atlanta Opera. Wallin will then her role and house debut as Zerbinetta world premiere of The Fix with Minnesota return to Palm Beach Opera as a second in Ariadne auf Naxos at Santa Fe Opera. Opera, makes his debut with Fort Worth year Benenson Young Artist performing As a second year Domingo-Colburn- Opera as the Dough’s Mate in Rachel Gastone in La traviata and covering Don Stein Young Artist at LA Opera, she Peters’ Companionship, and makes a Ottavio in Don Giovanni. Wallin will appear sang Amour in John Neumeier’s new company debut with Pacific Symphony in the world premiere of The Fix with production of Orphée et Eurydice and performing The Armchair and A Tree in Minnesota Opera and as the tenor soloist Frasquita in Carmen, both under maestro L’enfant et les sortilèges. in St. Matthew Passion with Shreveport James Conlon. Symphony. Gabriel Preisser Leandra Ramm The Black Cat, The Grandfather Clock ROBERT ISTAD A Shepherd, The White Cat, The Squirrel A 2016 League of artistic director Leandra Ramm is a American Orchestras Dr. Robert Istad remarkably versatile Emerging Artist, became the artistic mezzo-soprano Gabriel Preisser director of Pacific and actress with an has been praised by Chorale in the 2017-18 “extraordinary voice” Opera News for his 50th Season, after (Anderson Cooper), “handsome voice, serving as assistant whose “beautiful charismatic energy and conductor since 2004. and quite moving” timbral allure,” and The He has conducted (Nordstjernan) New York Times called his performance Pacific Chorale and performances have graced prestigious as Lt. Gordon “wonderful.” His resume Pacific Symphony in performance, and venues including Carnegie Hall, Lincoln includes over 40 operatic and musical has prepared choruses for a number Center, The United Nations and Symphony theater roles including Danilo in The of America’s finest conductors and Space. Ramm made her debut as a soloist Merry Widow with Utah Festival Opera, orchestras, including: Gustavo Dudamel in Kurt Weill’s The Endless Road with The Billy Bigelow in Carousel with Minnesota and the Los Angeles Philharmonic, American Symphony Orchestra at Avery Orchestra, Figaro in Il barbiere di Siviglia Carl St.Clair and Pacific Symphony, Fisher Hall. Recently, she performed with St. Petersburg Opera, Dandini in Esa–Pekka Salonen and the Los Angeles the title role in La Cenerentola with San Cenerentola with Opera Tampa, Escamillo Philharmonic, Nicholas McGegan and Francisco Opera Guild, performed as a in Carmen with Lyric Opera of the North, the Philharmonia Baroque Orchestra soloist in Bernstein’s Chichester Psalms Belcore in L’elisir d’amore with Shreveport and Keith Lockhart and the Boston Pops

20 MAY 2019 | 40th Season PacificSymphony.org Esplanade Orchestra, as well as conductors Chance Theater. Campbell is an active California State University, Vasilly Sinaisky, Sir Andrew Davis, Bramwell member in the theater community of Fullerton’s University Tovey, Thomas Wilkins, John Williams, Orange County. She is a founding member Singers Eugene Kohn, Steven Mercurio, Richard and Managing Director for The Wayward CSUF University Singers, directed by Dr. Kaufman, Eric Whitacre, William Lacey, Artist, a theatre company in Santa Ana, Robert Istad, rank among the nation’s Giancarlo Guerrero, Marin Alsop, George and the current Vice President of the premiere collegiate choral ensembles. Fenton, Case Scaglione, Robert Moody, Orange County Theatre Guild. The University Singers have performed John Alexander, William Dehning and David throughout the world on its own and Lockington. regularly perform with a variety of Kathy Pryzgoda professional orchestras, such as the Los lighting designer Angeles Philharmonic, Pacific Symphony, MATT SCARPINO Kathy Pryzgoda has been a lighting the Hollywood Bowl Orchestra and the scenic design designer for the past 25 years. Her diverse Boston Pops Esplanade Orchestra. They Design credits include: Hairspray at background includes lighting design have earned praise for their work with Palos Verdes Performing Arts Center, for large commercial lighting projects, conductors Carl St.Clair, John Mauceri, If All The Sky Was Paper and the 2018 architectural lighting, residential, theater, John Williams, Eugene Kohn, Sir Neville Chapman Celebrates Annual Gala at event and TV lighting design. Pryzgoda Marriner, James Conlon and Keith Musco Center for the Performing Arts, received a bachelor of arts degree in Lockhart. Internationally acclaimed In The Heights at the Valley Performing theatre from the University of California, for their exquisite musicianship, Arts Center, Carmen and The Radio Hour Los Angeles. She has designed lighting they have been invited to perform at at Segerstrom Concert Hall for Pacific for such companies as Long Beach Opera, conferences organized by the American Chorale, Orange County, Next to Normal Los Angeles Classical Ballet and the Jazz Choral Directors Association, National for San Diego Musical Theatre, Spamalot Tap Ensemble. Pryzgoda has received Collegiate Choral Organization and the and The Full Monty, for Performance several awards in lighting design including Music Educators National Conference. Riverside, Chicago for Torrance Theatre a Dramalogue Award for outstanding Recently, the CSUF University Singers Company. In 2014 he started Go Button achievement in theatre. In addition to performed with the Los Angeles Productions offering production services theatre, Pryzgoda has experience with Philharmonic, Pacific Symphony for the New Media, Theatre and Live lighting designs for television. She was Orchestra, Andrea Bocelli, Kathleen Event Industries. Scarpino holds a lighting designer/lighting director for Battle, recorded an album with composer Master of Fine Arts in Scenic Design and Channel One News between 1992 and John Williams and Sony Classical, and Technical Direction from California State, 2002. During that time, Pryzgoda received toured Scandinavia, the Baltic States Fullerton. three Broadcast Design International Gold and Russia.They released a commercial Awards for her lighting design at Channel recording with Yarlung Records for One News. international wide release in November Hannah welter 2017 entitled Nostos: The Homecoming director of production - of Music. go button productions Alethia R. Moore-Del Monaco Hannah Welter is an Orange County based costume designer costume and scenic designer for theatre, Monaco is a West coast-based free-lance film and live events. Select credits include: costume designer/stylist designed for Antigone, She Stoops To Conquer, Hamlet theatre, film, dance and opera, as well (Concordia University Irvine), Urinetown as theme park entertainment. She has (Coeurage Theatre Company), The Three also worked internationally in Singapore Penny Opera (California State University, on a pre-Broadway run musical. She has Fullerton), Aida (Pacific Symphony), worked for five seasons at the Oregon Spamalot (Performance Riverside). Welter Shakespeare Festival. She has recently also serves as Art Director for several live finished working on two award-winning shows at San Diego Comic Con and the short-feature films. She is currently Electronic Expo in Los Angeles. the Wardrobe Supervisor for Kaiser Permanente’s Southern California Regions Educational Theatre Program. KRISTEN CAMPBELL Monaco manages all the costumes for associate scenic design all five touring children programs and Kristin Campbell is a scenic and video the three-adult touring adult workshop designer based in Orange County, California. programs. In 2015, She received her Masters of Fine She received her Bachelor of Arts Arts in Scenic Design and Video design from Southern Oregon University with a at California State University, Fullerton. degree in Costume Design and a minor Recently, her work has included the set in Shakespeare Studies. She received designs for The Magic Flute at CSUF her Masters of Fine Art in Theatre with and Lizzie at Chance Theater. She was Emphasis in Costume Design from also the video designer for Rosencrantz University of California, Irvine. and Guildenstern are Dead and The Glass Menagerie at A Noise Within, and Emma at

PacificSymphony.org 40th Season | MAY 2019 21 Pacific Chorale

Founded in 1968, the Pacific Chorale and expanding the traditional concepts of Baroque Orchestra and Musica Angelica is internationally recognized for its choral repertoire and performance. The Baroque Orchestra. Other collaborations exceptional artistic expression, Pacific Chorale comprises 140 within the Southern California community stimulating, American-focused professional and volunteer singers. In include performances with the Hollywood programming and influential education addition to its longstanding partnership Bowl Orchestra and the Long Beach, programs. The chorale presents a season with Pacific Symphony, the Chorale Pasadena and Riverside symphonies. at Segerstrom Center for the Arts and has performed with such renowned The Chorale has toured extensively in performs regularly with the nation’s American ensembles as the Los Angeles Europe, South America and Asia, and has leading symphonies. It has infused an Old Philharmonic, Boston Symphony collaborated with the London Symphony World art form with California’s innovation Orchestra, National Symphony Orchestra, Orchestra, Munich Symphony Orchestra, and cultural independence, developing San Diego Symphony, Los Angeles Orchestre Lamoureux and Orchestre de innovative new concepts in programming Chamber Orchestra, Philharmonia Saint-Louis-en-l’Île.

Robert Istad John Alexander Nate Widelitz Andrew Brown Thomas A. Artistic Director & Artistic Director Assistant Conductor President & CEO Pridonoff Conductor Emeritus & Chorusmaster Board Chair

Sections listed alphabetically under principal

SOPRANO ALTO TENOR BASS Rachel Blair Lindsay Patterson Abdou Brenton Ranney Almond Aram Barsamian Anastasia Glasheen Rebecca Bishop Michael Ben-Yehuda Mac Bright Brooke L. Jackson Tina Chen Samuel A. Capella Louis Ferland Barbara Kingsbury Mindy Chu Cameron Barrett Johnson Randall Gremillion Rita Major Memorial Chair Jessica-Elisabeth Craig S Kistler Tom Henley Susan Hsia Lew Mary Galloway Thomas Mooney Jonathan Krauss Sarah Lonsert Kathryn Gibson Jeff Morris Elliot Z. Levine Jenny Mancini Kathleen Gremillion Jesse Newby Jeong Sang Lyu Kala Maxym Sandy Grim Carl W. Porter Martin J. Minnich Shannon A. Miller Anne Henley Singers Memorial Chair Emmanuel Miranda Melanie Pedro Andrea P. Hilliard Daniel Ramon Ryan Ratcliff Clarissa Shan Sabina M. Lucke Gabriel Ratinoff George Reiss Rosaleigh Taylor Pat Newton Emilio Sandoval Singers Memorial Chair Sarah Thompson Diana Woolner Zack Singerman Paul E. Sobosky Ruthanne Walker Kenneth Tom Josh Stansfield Tanner Wilson

22 MAY 2019 | 40th Season PacificSymphony.org CALIFORNIA STATE UNIVERSITY, FULLERTON UNIVERSITY SINGERS

SOPRANO ALTO TENOR BASS Alex Burdick Frank Espinosa Anthony Apodaca Steven Amie Kendall Harb Erin Girard Kibsaim Escarcega Ramon Cardenas Mikki Pagdonsolan Jacob Hall Andrew Hernandez Michael Fagerstedt Diana Pinto Rebecca Hernandez Herman Hope Alex Jacobson Jasmine Powel Meghan Riopelle Cameron McKay Emilio Lopez Felix Danielle Pribyl Crystal Santisteban Ming Wang Jesse Rivera Amy Spencer Ashley Wisniewski Christiaan Westerkamp Tim Schubert Vanessa Yearsley Yngwie Zamarippa

Robert Istad Grant Rohr Director OF REHEARSAL CHORALE STUDIES PIANIST

Thomas A. Pridonoff Board Chair SOUTHERN CALIFORNIA CHILDREN’S CHORUS

The Southern California Children’s Chorus come from a wide geographic area of for their work in the television program (SCCC), Orange County’s only chorus Southern California, sometimes traveling E:60 with Steven Tyler honoring the dedicated exclusively to meeting the over an hour to attend weekly rehearsals. Boston Marathon victims. educational and performance needs of Choristers perform locally throughout Lori Loftus, our founding director, children, seeks to do more than introduce the year at private and public concerts is a dynamic and familiar figure in youth to music and singing. It strives to as well as participating in choral the music world. Having received her enrich the lives of its members through invitationals. SCCC also presents Spring education at California State University, programs stressing musical aptitude, and Holiday Concerts. The SCCC has Fullerton, she has conducted and teamwork, discipline, self-confidence provided singers for Touchstone films, worked under some of the most noted and personal growth. MGM films, music videos, commercials, batons in the world. She is a familiar Currently there are more than 250 symphony concerts, operas, television figure in the music world and has young singers affiliated with SCCC, specials, exclusive Disney performances, performed on keyboard instruments ranging from 5 to 18 years of age, and the Academy Awards and many musical with Pacific Symphony and Pacific encompassing seven levels of sequential productions. The SCCC has received Chorale. vocal and choral instruction. The children many awards including their third Emmy

Lori Loftus Director

SCCC CHORISTERS Jacob Beddome Gracie Finley Kevin Lai Annie Qu Lily Benjamin Melody Hancock Ellie Lan Joshua Shen Anna Boatman Laura Harney Cailey Lockitch Ruth Thibault Isabella Cope Jeannette Hunker Elissa Matthew Arianna Torres Sophia Devling Kaushik Kasturi Emma McDowell Emma Turner Katie Di Peppino Hannah Kim Joseph Meinstein Shayna Vinikoor Maggie Di Peppino Evelyn Kuei Logan Nangin Quintessa Wedell Anja Erickson Nishtha Kumar Emma Pinza Ysabel Wilhoit

PacificSymphony.org 40th Season | MAY 2019 23 PACIFIC SYMPHONY Carl St.Clair, Music Director William J. Gillespie Music Director Chair Richard Kaufman, Principal Pops Conductor Hal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair Roger Kalia, Associate Conductor Mary E. Moore Family Assistant Conductor Chair

Sections listed alphabetically under principal

FIRST VIOLIN VIOLA PICCOLO BASS TROMBONE Dennis Kim Meredith Crawford* Cynthia Ellis Kyle Mendiguchia Concertmaster; Eleanor and Catherine and James Emmi Michael Gordon Chair Chair OBOE TUBA Paul Manaster Joshua Newburger** James Self* Associate Concertmaster Carolyn Riley Jessica Pearlman Fields* Suzanne R. Chonette Chair Jeanne Skrocki John Acevedo Ted Sugata TIMPANI Assistant Concertmaster; Adam Neeley Arlene and Seymour Grubman Todd Miller* Chair Julia Staudhammer ENGLISH HORN Joseph Wen‑Xiang Zhang Nancy Coade Eldridge Lelie Resnick PERCUSSION Cheryl Gates Christine Frank Robert A. Slack* Kimiyo Takeya Margaret Henken CLARINET Ayako Sugaya Joseph Morris* HARP CELLO Ann Shiau Tenney The Hanson Family Foundation Mindy Ball* Timothy Landauer* Chair Ai Nihira Michelle Temple Robert Schumitzky Catherine and James Emmi David Chang Chair Agnes Gottschewski Kevin Plunkett** PIANO•CELESTE Dana Freeman BASS CLARINET John Acosta Sandra Matthews* Angel Liu Joshua Ranz Robert Vos László Mezö PERSONNEL MANAGER SECOND VIOLIN BASSOON Ian McKinnell Paul Zibits Bridget Dolkas* Rose Corrigan* M. Andrew Honea Elizabeth and John Stahr Chair Elliott Moreau Waldemar de Almeida LIBRARIANS Jennise Hwang** Andrew Klein Jennifer Goss Russell Dicey Yen Ping Lai Allen Savedoff Rudolph Stein Brent Anderson Yu‑Tong Sharp Ako Kojian CONTRABASSOON BASS PRODUCTION & STAGE MANAGER Ovsep Ketendjian Allen Savedoff Linda Owen Steven Edelman* Will Hunter Sooah Kim Douglas Basye** FRENCH HORN STAGE MANAGER & CONCERT VIDEO MarlaJoy Weisshaar Christian Kollgaard Keith Popejoy* TECHNICIAN David Parmeter Alice Miller‑Wrate Adedeji Ogunfolu Paul Zibits William Pruett Shelly Shi Kaylet Torrez** David Black Andrew Bumatay DIRECTOR OF IMAGE MAGNIFICATION TRUMPET Constance Deeter Jeffery Sells Barry Perkins* Susie and Steve Perry Chair POPS AND OPERA LIGHTING DIRECTOR FLUTE Tony Ellis * Principal Kathy Pryzgoda ** Assistant Principal Benjamin Smolen* David Wailes † On Leave Valerie and Hans Imhof Chair Celebrating or years Sharon O’Connor with Pacific Symphony this TROMBONE Cynthia Ellis season. Michael Hoffman* The musicians of Pacific Symphony David Stetson are members of the American Federation of Musicians, Local 7.

24 MAY 2019 | 40th Season PacificSymphony.org