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St. Louis Symphony Broadcast Program, May 11, 2013

St. Louis Symphony Broadcast Program, May 11, 2013

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The program insert for the performance of the St. Louis Symphony for May 9-12, 2013. This is meant to accompany the live broadcast of the Symphony on St. Louis Public Radio at 8 p.m. on May 11. Join us at 90.7 FM or online at stlpublicradio.org.
The program insert for the performance of the St. Louis Symphony for May 9-12, 2013. This is meant to accompany the live broadcast of the Symphony on St. Louis Public Radio at 8 p.m. on May 11. Join us at 90.7 FM or online at stlpublicradio.org.

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CONCERT PROGRAM

May 9-12, 2013
David Robertson, conductor Susanna Phillips, soprano Kelley O’Connor, mezzo-soprano Joseph Kaiser, tenor Corey McKern, baritone St. Louis Symphony Chorus Amy Kaiser, director

BRUCKNER (1824-1896)

Motet: “Christus factus est”— (1884)

St. Louis Symphony Chorus Amy Kaiser, director Performed without pause

BERG (1885-1935)

Act III from Wozzeck, op. 7 (1917-22)
Scene 1: Marie’s room— Scene 2: Forest path by a pool— Scene 3: A low tavern— Scene 4: Forest path by a pool— Scene 5: Street before Marie’s door

Corey McKern, baritone (Wozzeck) Susanna Phillips, soprano (Marie) Kelley O’Connor, mezzo-soprano (Margret) Keith Boyer, tenor (Hauptmann) Mark Freiman, bass (Doktor) St. Louis Symphony Chorus Amy Kaiser, director INTERMISSION

BEETHOVEN

(1770-1827)

Symphony No. 9 in D minor, op. 125 (1822-24)
Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Presto; Allegro assai

Susanna Phillips, soprano Kelley O’Connor, mezzo-soprano Joseph Kaiser, tenor Corey McKern, baritone St. Louis Symphony Chorus Amy Kaiser, director
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ACKNOWLEDGMENTS
David Robertson is the Beofor Music Director and Conductor. Amy Kaiser is the AT&T Foundation Chair. The concert of Thursday, May 9, is underwritten in part by a generous gift from Mr. and Mrs. Walter L. Hawkins, Jr. The concert of Friday, May 10, is made possible with support from Merrill Lynch. The concert of Friday, May 10, is underwritten in part by a generous gift from Karen and Bert Condie III. The concert of Saturday, May 11, is underwritten in part by a generous gift from Mr. and Mrs. Stuart A. Keck. The concert of Sunday, May 12, is underwritten in part by a generous gift from Mr. Richard G. Engelsmann. Pre-Concert Conversations are presented by Washington University Physicians. These concerts are presented by the Thomas A. Kooyumjian Family Foundation. These concerts are part of the Wells Fargo Advisors Series. Large print program notes are available through the generosity of Mosby Building Arts and are located at the Customer Service table in the foyer.

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VIENNA IN TWO CENTURIES
BY PA U L SC H I AVO

TIMELINKS 1822-24 BEETHOVEN Symphony No. 9 in D minor, op. 125 Romantic English poet Percy Shelley drowns in Italy 1884 BRUCKNER Motet: “Christus factus est” Edgar Degas begins series of paintings of dancers 1917-22 BERG Act III from Wozzeck, op. 7 Germany suffers defeat in World War I

Vienna, whose musical legacy to the world is the focus of nine programs performed by the St. Louis Symphony this season, was home to some of the world’s great composers for more than 150 years. At no time during this period was the Austrian capital musically still. However, it was particularly important at three times. The first came during the decades around 1800, when Haydn, Mozart, Beethoven, and Schubert were active there. Toward the end of the 19th century, the presence of Brahms and Bruckner revived Vienna’s standing as a center of compositional creativity. Finally, the early decades of the 20th century saw the emergence of what became known as “the Second Viennese School,” whose notable members included Alban Berg. Our program includes work from each of these periods of Viennese musical efflorescence. Anton Bruckner’s motet “Christus factus est” is an intimate piece by a composer best known for his mighty symphonies. Alban Berg used the radically new harmonic language of the Second Viennese School to compose searing operas. His masterpiece is Wozzeck, and its third act marries a haunting scenario to ingenious musical invention. In contrast to both the orthodox piety of “Christus factus est” and the tragedy of Wozzeck, Beethoven’s Symphony No. 9 is a magnificent expression of humanist hope and aspiration. Beginning with intimations of struggle, the work moves inexorably toward its jubilant conclusion, where instruments alone no longer suffice to express Beethoven’s sense of joy.

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ANTON BRUCKNER Motet: “Christus factus est” OLD AND NEW Scored for unaccompanied chorus, this piece is remarkable for its fusion of old and new. On one hand, the melodic lines generally are redolent of ancient ecclesiastical chant, and the contrapuntal echoes between different voices are a venerable feature of church music. As a result, this work seems to belong not so much to the 19th century, with its Romantic currents, as to a timeless tradition of church composition. At the same time, some of Bruckner’s harmonic shifts, as well as the piercing climax to which the music briefly rises, sound surprisingly modern, a harbinger of the innovations of Berg and other 20th-century composers. ALBAN BERG Act III from Wozzeck, op. 7 A SOLDIER’S TALE Woyzeck, the fragmentary drama by Georg Büchner (1813-1837), was produced in Vienna for the first time in May 1914. Among those who saw the play at this time was Alban Berg, who found himself transfixed by the tale of a hapless soldier in a heartless world. Almost at once he began forming ideas for an opera based on the play. Using the same early edition of Büchner’s work that had been performed in Vienna (and preserving its misspelling of the title and title character), Berg adapted his own libretto for the opera. Service in the Austrian army during World War I delayed the project, and Wozzeck did not reach completion until 1922. The opera’s title character is a downtrodden Everyman. Poor and unsophisticated, Wozzeck is preyed upon by his regimental captain and doctor and betrayed by Marie, the unwed mother of his young child. He reacts to browbeating from his officer and physician with stoic passivity, but Marie’s flagrant dalliance with a handsome drum major pushes him to despair and smoldering rage. TRAGIC CONCLUSION As Act III opens, Marie is in her room, reading the biblical story of Mary Magdalene, whose position as a “fallen woman”
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Born September 4, 1824, Ansfelden, near Linz, Austria Died October 11, 1896, Vienna First Performance November 9, 1884, in Vienna STL Symphony Premiere This week Scoring Unaccompanied chorus Performance Time approximately 5 minutes

Born February 9, 1885, Vienna Died December 24, 1935, Vienna

parallels her own. The scene shifts to a path near a pond, where Marie and Wozzeck walk together. As Wozzeck recalls their past together, Marie grows increasingly uneasy. She tries to flee, but Wozzeck draws a knife and kills her. In a tavern, Wozzeck tries to drown his guilt in drink. A folk song he sings only reminds him of Marie, as does a song by Margret, Marie’s neighbor. Margret notices blood on Wozzeck’s hand, impelling him to flee. Wozzeck returns to the pond, hoping to retrieve his knife. There he stumbles against Marie’s corpse. Imagining himself covered with blood, he wades into the pond and drowns. After the captain and doctor pass by, the scene returns to the quiet of nature. The opera concludes outside Marie’s house, where her son is playing. Another child brings news that his mother is dead. Uncomprehending, he continues playing a hopping game. MUSIC AND DRAMA By the time he composed Wozzeck, Berg had largely abandoned traditional harmony. The loss of that musical element compelled the composer to seek new ways of organizing his music, and in Wozzeck he did this with remarkable ingenuity. Each scene in the opera is based on some well-established compositional procedure: sonata, rondo, fugue, etc. In Act III, the scene in Marie’s room is musically constructed as a theme with variations. The scene of her death is built around a single pitch reiterated—by different instruments in the orchestra’s high, low, and middle registers— from start to finish. The scene of Wozzeck’s drowning unfolds through continual variation of a complex chord. Berg acknowledged these devices but downplayed their importance. The essential thing, he insisted, is the music’s role in bringing the drama to life. “From the moment the curtain rises until it falls for the last time,” Berg wrote, “there must be no one in the audience who notices all these diverse fugues and inventions, suites and sonatas, variations and passacaglias— no one who is aware of anything but this opera’s idea, which transcends the fate of Wozzeck.”
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First Performance December 14, 1925, in Berlin, Erich Kleiber conducted members of the Berlin Staatsoper STL Symphony Premiere January 7, 1949, Vladimir Golschmann conducted scenes from the opera, with soprano Judith Doniger Most Recent STL Symphony Performance November 17, 1967, Eleazar De Carvalho conducted a concert version of the full opera, featuring soprano Evelyn Lear (Marie), mezzosoprano Natasha Kimmel (Margret), and baritone John Shirley-Quirk (Wozzeck) Scoring Wozzeck: baritone Marie: soprano Margret: mezzo-soprano Hauptmann: tenor Doktor: bass chorus 4 flutes 4 piccolos 4 oboes English horn 4 clarinets E-flat clarinet bass clarinet 3 bassoons contrabassoon 4 horns 4 trumpets 4 trombones tuba timpani percussion harp upright piano celesta strings Performance Time approximately 25 minutes

LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, op. 125 THE SYMPHONIST SILENT Between 1800 and 1812, Beethoven transformed the symphony as no other composer had or has done. His first two works of this kind, written in 1800 and 1802, summarized the Classical-period symphony, which had been his inheritance from Mozart and Haydn, the great symphonists of the late 18th century. With his Symphony No. 3, the epochal Sinfonia eroica of 1804, Beethoven expanded both the musical and emotional scope of the genre, imparting to it the heroic spirit that would become a hallmark of 19th-century Romanticism. The works that followed proved Beethoven’s symphonic style capable of expressing all that he found in nature, both the nature of the Vienna woods and human nature, in others and in his tempestuous self. Then, beginning in 1813, no symphony came from Beethoven’s pen for more than a decade. Much of this period saw a marked decrease in the composer’s output and his progressive withdrawal from most social contact. He was, during this time, embroiled in emotional and legal turmoil engendered by the custody of his troubled nephew. Moreover, he was now almost completely deaf and bereft of intimate companionship. These difficult personal circumstances might alone have explained the relative silence of the recently so prolific composer. But the work of Beethoven’s final years suggests that he was passing through a creative crisis as well, for when the flow of compositions at last resumed, the music was distinct from anything their author had done before. INNOVATION AND CONTINUITY In his late compositions, Beethoven seems to be reaching in opposite directions at once. His tone is more intimate, more personal, yet the scale on which his ideas take form has once again expanded. There is a greater feeling of maturity in his musical utterances, but his melodies often have the simplicity of folk tunes. And although he clearly is formulating new concepts of musical
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Born December 16, 1770, Bonn Died March 26, 1827, Vienna First Performance May 7, 1824, in Vienna. Beethoven, who was by this time almost completely deaf, was nominally the conductor; the orchestra and chorus followed Michael Umlauf, music director of the Austrian imperial theater. STL Symphony Premiere December 21, 1928, with soprano Helen Traubel, contralto Viola Silva, tenor Laurance Wolfe, baritone Jerome Swinford, ApolloMorning Choral Clubs, Emil Oberhoffer conducting Most Recent STL Symphony Performance May 10, 2009, with soprano Heidi Grant Murphy, mezzosoprano Jennifer Dudley, tenor Brandon Jovanovich, bass-baritone Jonathan Lemalu, St. Louis Symphony Chorus under the direction of Amy Kaiser, David Robertson conducting

design and harmonic syntax, he takes pains to incorporate such anachronisms as fugal textures in his compositions. Nowhere are the contradictions that informed Beethoven’s late music more evident than in his Symphony No. 9, completed in 1824. And nowhere, in either his own earlier symphonies or those of other composers, are there precedents for the grandeur and fervor of this work, or for the extraordinary conception of the symphony’s choral finale. But while the Symphony No. 9 seems in many ways sui generis, it also represents an extension and culmination of various artistic concerns that had preoccupied Beethoven throughout his career. The triumph of the spirit, the psychological progression from pathos to joy that had been the theme of the Third and Fifth Symphonies, the opera Fidelio and the Egmont Overture, found its greatest expression in Beethoven’s final symphonic essay. Even the use of Friedrich Schiller’s ode An die Freude, the “Ode to Joy,” as the basis of the finale stems from Beethoven’s youth. As a young man he had sketched a setting of these verses, and the idea of completing it never left him. Thus, the Ninth Symphony was as much fulfillment as breakthrough, a work that crowned Beethoven’s efforts to articulate in music the 19th century’s great humanist vision, even while it opened new vistas in the field of symphonic composition.

Scoring 2 flutes piccolo 2 oboes 2 clarinets 2 bassoons contrabassoon 4 horns 2 trumpets 3 trombones timpani percussion strings solo soprano, alto, tenor and bass voices chorus Performance Time approximately 65 minutes

Program notes © 2013 by Paul Schiavo

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DAVID ROBERTSON
BEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson and the St. Louis Symphony return to Carnegie Hall with a concert performance of Britten’s Peter Grimes in November 2013.

David Robertson has established himself as one of today’s most sought-after American conductors, and has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. In fall 2012, Robertson launched his eighth season as Music Director of the 133-yearold St. Louis Symphony. In January 2014, while continuing as St. Louis Symphony music director, Robertson also will assume the post of Chief Conductor and Artistic Director of the Sydney Symphony in Australia. In September 2012, the St. Louis Symphony and Robertson embarked on a European tour, which included appearances at London’s BBC Proms, at the Berlin and Lucerne festivals, and culminated at Paris’s Salle Pleyel. In March 2013 Robertson and his orchestra returned to California for their second tour of the season, which included an intensive three-day residency at the University of California-Davis and performance at the Mondavi Center for the Performing Arts, with violinist James Ehnes as soloist. The orchestra also performed at venues in Costa Mesa, Palm Desert, and Santa Barbara, with St. Louis Symphony Principal Flute, Mark Sparks, as soloist. In addition to his current position with the St. Louis Symphony, Robertson is a frequent guest conductor with major orchestras and opera houses around the world. During the 2012-13 season he appears with prestigious U.S. orchestras such as the New York Philharmonic, Los Angeles Philharmonic, and San Francisco Symphony, as well as internationally with the Royal Concertgebouw Orchestra, Vienna Radio Symphony Orchestra, Israel Philharmonic, and Ensemble Intercontemporain. Born in Santa Monica, California, David Robertson was educated at London’s Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting.

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SUSANNA PHILLIPS Alabama-born soprano Susanna Phillips, recipient of the Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists. In the 201213 season Phillips took the stage of the Met for her fifth consecutive season, this time to perform Donna Anna in Mozart’s Don Giovanni, conducted by Edward Gardner. Her opera season in New York City continued with her return to the Perlman stage at Carnegie Hall for a special concert performance, portraying Stella in André Previn’s A Streetcar Named Desire opposite Renée Fleming—a role which she will then perform at Lyric Opera of Chicago. Phillips also made her solo recital debut at Carnegie Hall this season, presenting a program with accompanist Myra Huang in Weill Recital Hall. Other 2012–13 operatic highlights include Phillips’s return to Santa Fe Opera as the Countess in The Marriage of Figaro, and a concert production of Idomeneo at the Ravinia Festival under the direction of James Conlon. Symphonic appearances include Mozart’s Requiem with the Baltimore Symphony Orchestra, the Lord Nelson Mass with Music of the Baroque in Chicago, Knoxville: Summer of 1915 with Alabama Symphony, performances with Musica Sacra led by Kent Tritle at Alice Tully Hall, and Paul Moravec’s Blizzard Voices with the Oratorio Society of New York at Carnegie Hall. Born in Birmingham, Alabama and raised in Huntsville, Susanna Phillips is grateful for the ongoing support of her community in her career. She sang Strauss’s Four Last Songs and gave her first concert performances in the title role of Lucia di Lammermoor with the Huntsville Symphony. Susanna Phillips most recently performed with the St. Louis Symphony in April 2012.

Susanna Phillips sings the role of Ellen Orford in St. Louis Symphony performances of Peter Grimes at Powell and Carnegie halls in November 2013.

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KELLEY O’CONNOR Possessing a voice of uncommon allure, musical sophistication far beyond her years, and intuitive and innate dramatic artistry, the Grammy Awardwinning mezzo-soprano Kelley O’Connor has emerged as one of the most compelling performers of her generation. During the 2012-13 season, the California native’s impressive calendar included John Adams’s The Gospel According to the Other Mary in a world premiere staging by Peter Sellars performed in America and Europe with the Los Angeles Philharmonic under Gustavo Dudamel’s baton, and a role debut as Suzuki in Madama Butterfly in a new production by Lillian Groag at Boston Lyric Opera. Concert appearances of the season included Peter Lieberson’s Neruda Songs both with Christoph Eschenbach and the National Symphony Orchestra and with Robert Spano and the Toronto Symphony Orchestra, Debussy’s La Damoiselle élue and the Duruflé Requiem with Donald Runnicles and the Atlanta Symphony Orchestra, Beethoven’s Symphony No. 9 with Manfred Honeck and the Pittsburgh Symphony, Louis Langrée and the Cincinnati Symphony, and with Leonard Slatkin and the Detroit Symphony, as well as Lieberson’s The World in Flower with Grant Gershon and the Los Angeles Master Chorale. The artist is pleased both to return to the City of Birmingham Symphony Orchestra with Edward Gardner conducting a program of Elgar’s Sea Pictures and Britten’s Spring Symphony and to debut with the Netherlands Radio Philharmonic Orchestra with Adams’s The Gospel According to the Other Mary led by Markus Stenz. Last season, O’Connor brought “her smoky sound and riveting stage presence” (The New York Times) to performances as Ursule in Berlioz’s Béatrice et Bénédict with Opera Boston, and to her signature role as Federico García Lorca in a Peter Sellars staging of Golijov’s Ainadamar at Teatro Real in Madrid. Kelley O’Connor most recently performed with the St. Louis Symphony in September 2011.

Zachary Maxwell Stertz

Kelley O’Connor opened the St. Louis Symphony’s 2011-12 season performing Stravinsky’s Les Noces.

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JOSEPH KAISER Starring as Tamino in the Kenneth Branagh film adaptation of The Magic Flute, conducted by James Conlon and released in 2007, Joseph Kaiser is recognized by audiences for his beauty of tone, intelligence of programming, and innate sense of style and elegance. He is internationally acclaimed as one of the most gifted artists of his generation and enjoys success in opera, oratorio, and concert throughout North America and Europe. Kaiser’s 2012-13 season began with performances as Flamand in Strauss’s Capriccio at the Opéra National de Paris in a production by Robert Carsen and conducted by Philippe Jordan. Operatic engagements also included Houston Grand Opera’s mounting of the Francesca Zambello production of Showboat as the leading man Gaylord Ravenal, Dominick Argento’s The Aspern Papers at the Dallas Opera, Tamino in Robert Carsen’s production of The Magic Flute with Sir Simon Rattle conducting the Berlin Philharmonic at Teatro Real in Madrid, semi-staged performances of Capriccio at the Royal Opera House, Covent Garden led by Sir Andrew Davis, and Christof Loy’s production of Gluck’s Alceste at the Vienna State Opera in the role of Admète. Concert engagements included Beethoven’s Symphony No. 9 with the Toronto Symphony conducted by Jiří Bělohlávek. His concert schedule has included performances of the Berlioz Requiem under Marek Janowski with the combined forces of the Tonhalle-Orchester Zürich and the Orchestre de la Suisse Romande as well as with Donald Runnicles, both with the Atlanta Symphony Orchestra and the Berliner Philharmoniker; Beethoven’s Symphony No. 9 with Christoph von Dohnányi and the Boston Symphony Orchestra, with Ivor Bolton and the Wiener Symphoniker, and with Christoph Eschenbach and the Chicago Symphony Orchestra; Stravinsky’s Pulcinella with Roberto Abbado and the Saint Paul Chamber Orchestra; and Mendelssohn’s Elijah with Yannick Nézet-Séguin and the Orchestre Métropolitain du Grand Montréal.
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Dario Acosta

Joseph Kaiser makes his St. Louis Symphony debut with these performances.

COREY MCKERN Award-winning baritone Corey McKern continuously earns critical acclaim and accolades in every appearance he makes. This season, engagements included his debut with Austin Lyric Opera as Silvio in I Pagliacci, his role debut as Dandini in La Cenerentola with Nashville Opera, the Count in The Marriage of Figaro with Syracuse Opera, Anthony in Sweeney Todd with Pensacola Opera, King Henry II in Becket with Long Island Masterworks, and Papageno in The Magic Flute with Opera Omaha and Opera Birmingham. With the Santa Fe Opera he has performed Marcello in La bohéme, Masetto in Don Giovanni, Pallante in Agrippina, The Shoes for the Santo Nino, and the First Shepherd in Daphne. As house favorite at Opera Birmingham he has performed as Enrico in Lucia di Lammermoor, Escamillo in Carmen, Ping in Turandot, Figaro in The Barber of Seville, and the Count in The Marriage of Figaro. An active concert performer, McKern made his Carnegie Hall debut in the Fauré Requiem, and recently returned to the prestigious concert hall for John Rutter’s Mass of the Children and Mozart’s Requiem. Other recent concert engagements include Mahler’s Rückert-Lieder with the Missoula Symphony, and performances with the New Choral Society in Handel’s Messiah, Brahms’s Ein deutsches Requiem, and Orff’s Carmina burana, which he also performed with the Yakima Symphony Orchestra and with the San Juan Symphony in Colorado. His oratorio credits include Vaughan Williams’s Dona Nobis Pacem and a concert of operetta highlights with the Indianapolis Symphony. McKern is a former grant recipient from the Sullivan Foundation, as well as the first place winner of Opera Birmingham, Shreveport Opera, and Mobile Opera competitions. He holds a Master of Music degree from Indiana University, and Bachelor of Music Education from Mississippi State University. He is also a graduate of the Seattle Opera Young Artist Program.

Corey McKern makes his St. Louis Symphony debut this week.

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AMY KAISER
AT&T FOUNDATION CHAIR

One of the country’s leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handel’s Messiah, Schubert’s Mass in E-flat, Vivaldi’s Gloria, and sacred works by Haydn and Mozart as well as Young People’s Concerts. She has made eight appearances as guest conductor for the Berkshire Choral Festival in Sheffield, Massachusetts, Santa Fe, and at Canterbury Cathedral. As Music Director of the Dessoff Choirs in New York for 12 seasons, she conducted many performances of major works at Lincoln Center. Other conducting engagements include concerts at Chicago’s Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony’s School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Y’s acclaimed Schubertiade. She has conducted over twenty-five operas, including eight contemporary premieres. A frequent collaborator with Professor Peter Schickele on his annual PDQ Bach concerts at Carnegie Hall, Kaiser made her Carnegie Hall debut conducting PDQ’s Consort of Choral Christmas Carols. She also led the Professor in PDQ Bach’s Canine Cantata “Wachet Arf” with the New Jersey Symphony. Kaiser has led master classes in choral conducting at Indiana University Jacobs School of Music, served as faculty for a Chorus America conducting workshop, and as a panelist for the National Endowment for the Arts. An active guest speaker, Kaiser teaches monthly classes for adults in symphonic and operatic repertoire and presents “Illuminating Opera” for four weeks in April at Opera Theatre of St. Louis. Amy Kaiser has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. She also served as faculty conductor and vocal coach at Manhattan School of Music and the Mannes College of Music. An alumna of Smith College, she was awarded the Smith College Medal for outstanding professional achievement.
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Amy Kaiser directs the St. Louis Symphony Chorus in Britten’s Peter Grimes, Bach’s Christmas Oratorio, Verdi’s Requiem, and Orff’s Carmina burana in the 2013-14 season.

ST. LOUIS SYMPHONY CHORUS 2012-2013
Amy Kaiser Director Leon Burke, III Assistant Director Robin D. Fish, Jr. Alan Freed Mark Freiman Amy Garcés Amy Gatschenberger Lara Gerassi Gail Hintz Megan E. Glass Accompanist Susan Goris Karen S. Gottschalk Susan Patterson Jacqueline Gross Manager Susan H. Hagen Clifton D. Hardy Nancy Davenport Allison Nancy J. Helmich Rev. Fr. Stephan Baljian Ellen Henschen Stephanie A. Ball Jeffrey E. Heyl Nick Beary Lori Hoffman Rudi J. Bertrand Matthew S. Holt Annemarie Bethel-Pelton Allison Hoppe Paula N. Bittle Heather Humphrey Jerry Bolain Kerry H. Jenkins Michael Bouman Madeline Kaufman Richard F. Boyd Jennifer Klauder Keith Boyer Elena Korpalski Pamela A. Branson Paul V. Kunnath Bonnie Brayshaw Kendra Lee Marella Briones Debby Lennon Daniel P. Brodsky Gregory C. Lundberg Buron F. Buffkin, Jr. Gina Malone Leon Burke, III Jamie Lynn Marble Cherstin Byers Jan Marra Leslie Caplan Lee Martin Maureen A. Carlson Alicia Matkovich Victoria Carmichael Daniel Mayo Mark P. Cereghino Rachael McCreery Jessica Klingler Cissell Elizabeth Casey McKinney Rhonda Collins Coates Scott Meidroth Timothy A. Cole Claire Minnis Derek Dahlke Brian Mulder Laurel Ellison Dantas Johanna Nordhorn Deborah Dawson Duane L. Olson Zachary Devin Nicole Orr Mary C. Donald Heather McKenzie Stephanie M. Engelmeyer Patterson Ladd Faszold Susan Patterson Jasmine J. Fazzari Matt Pentecost Heather Fehl Brian Pezza
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Shelly Ragan Pickard Sarah Price Valerie Reichert Kate Reimann David Ressler Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson Terree Rowbottom Paul N. Runnion Jennifer Ryrie Susan Sampson Patricia Scanlon Mark V. Scharff Samantha Nicole Schmid Paula K. Schweitzer Lisa Sienkiewicz Janice Simmons-Johnson John William Simon Charles G. Smith Shirley Bynum Smith Joshua Stanton Adam Stefo David Stephens Benna D. Stokes Greg Storkan Maureen Taylor Michelle D. Taylor Justin Thomas Natanja Tomich Pamela M. Triplett David R. Truman Greg Upchurch Robert Valentine Kevin Vondrak Samantha Wagner Nancy Maxwell Walther Keith Wehmeier Nicole C. Weiss Dennis Willhoit Paul A. Williams Mary Wissinger Susan Donahue Yates Carl S. Zimmerman

AUDIENCE INFORMATION
BOX OFFICE HOURS
Monday-Saturday, 10am-6pm; Weekday and Saturday concert evenings through intermission; Sunday concert days 12:30pm through intermission.

POLICIES
You may store your personal belongings in lockers located on the Orchestra and Grand Tier Levels at a cost of 25 cents. Infrared listening headsets are available at Customer Service. Cameras and recording devices are distracting for the performers and audience members. Audio and video recording and photography are strictly prohibited during the concert. Patrons are welcome to take photos before the concert, during intermission, and after the concert. Please turn off all watch alarms, cell phones, pagers, and other electronic devices before the start of the concert. All those arriving after the start of the concert will be seated at the discretion of the House Manager. Age for admission to STL Symphony and Live at Powell Hall concerts vary, however, for most events the recommended age is five or older. All patrons, regardless of age, must have their own tickets and be seated for all concerts. All children must be seated with an adult. Admission to concerts is at the discretion of the House Manager. Outside food and drink are not permitted in Powell Hall. No food or drink is allowed inside the auditorium, except for select concerts.

TO PURCHASE TICKETS
Box Office: 314-534-1700 Toll Free: 1-800-232-1880 Online: stlsymphony.org Fax: 314-286-4111 A service charge is added to all telephone and online orders.

SEASON TICKET EXCHANGE POLICIES
If you can’t use your season tickets, simply exchange them for another Wells Fargo Advisors subscription concert up to one hour prior to your concert date. To exchange your tickets, please call the Box Office at 314-5341700 and be sure to have your tickets with you when calling.

GROUP AND DISCOUNT TICKETS
314-286-4155 or 1-800-232-1880 Any group of 20 is eligible for a discount on tickets for select Orchestral, Holiday, or Live at Powell Hall concerts. Call for pricing. Special discount ticket programs are available for students, seniors, and police and public-safety employees. Visit stlsymphony.org for more information.

Powell Hall is not responsible for the loss or theft of personal property. To inquire about lost items, call 314-286-4166. POWELL HALL RENTALS
Select elegant Powell Hall for your next special occasion. Visit stlsymphony.org/rentals for more information.
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POWELL HALL
(TERRACE CIRCLE, GRAND CIRCLE)

BALCONY LEVEL

WHEELCHAIR LIFT
(TERRACE CIRCLE, GRAND CIRCLE)

BALCONY LEVEL

WHEELCHAIR LIFT

(DRESS CIRCLE, DRESS CIRCLE BOXES, GRAND TIER BOXES & LOGE)

GRAND TIER LEVEL

(DRESS CIRCLE, DRESS CIRCLE BOXES, GRAND TIER BOXES & LOGE)

GRAND TIER LEVEL

MET BAR

TAXI PICK UP DELMAR

MET BAR

TAXI PICK UP DELMAR

(PARQUET, ORCHESTRA RIGHT & LEFT)
BO UT IQ UE

ORCHESTRA LEVEL

(PARQUET, ORCHESTRA RIGHT & LEFT)

ORCHESTRA LEVEL

BO

UT

IQ

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WIGHTMAN GRAND WIGHTMAN FOYER GRAND
FOYER CUSTOMER
SERVICE
CUSTOMER SERVICE

TICKET LOBBY
TICKET LOBBY

KEY

KEY
LOCKERS

LOCKERS WOMEN’S RESTROOM

BAR SERVICES

BAR SERVICES HANDICAPPED-ACCESSIBLE

WOMEN’S RESTROOM

HANDICAPPED-ACCESSIBLE

MEN’S RESTROOM MEN’S RESTROOM ELEVATOR ELEVATOR

RESTROOM FAMILYFAMILY RESTROOM

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