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December 7-9, 2012
Christopher Warren-Green, conductor Tamara Wilson, soprano Christopher Ainslie, countertenor Daniel Montenegro, tenor Matthew Treviño, bass St. Louis Symphony Chorus Amy Kaiser, director
PART I Symphony Comfort ye, comfort ye my people Ev’ry valley shall be exalted And the glory, the glory of the Lord Thus saith the Lord, the Lord of Hosts But who may abide the day of His coming And He shall purify Behold, a virgin shall conceive O thou that tellest good tidings to Zion For behold, darkness shall cover the earth The people that walked in darkness For unto us a Child is born Pifa There were shepherds abiding in the field And lo, the angel of the Lord came upon them And the angel said unto them And suddenly there was with the angel Glory to God in the highest Rejoice greatly, O daughter of Zion Then shall the eyes of the blind be open’d He shall feed His flock like a shepherd His yoke is easy, His burthen is light
PART II Behold the Lamb of God He was despised Surely, He hath borne our griefs and carried our sorrows And with His stripes we are healed All we like sheep have gone astray All they that see Him, laugh Him to scorn He trusted in God Thy rebuke hath broken His heart Behold, and see if there be any sorrow He was cut off out of the land of the living But Thou didst not leave His soul in hell Lift up your heads The Lord gave the word How beautiful are the feet of them Their sound is gone out into all lands Why do the nations so furiously rage together Let us break their bonds asunder He that dwelleth in heaven Thou shalt break them with a rod of iron Hallelujah PART III I know that my Redeemer liveth Since by man came death Behold, I tell you a mystery The trumpet shall sound, and the dead shall be rais’d Worthy is the Lamb that was slain
Tamara Wilson, soprano Christopher Ainslie, countertenor Daniel Montenegro, tenor Matthew Treviño, bass St. Louis Symphony Chorus Amy Kaiser, director
Christopher Warren-Green is the Felix and Eleanor Slatkin Guest Artist. The concert of Friday, December 7, is underwritten in part by a generous gift from Mr. Jack C. Taylor. The concert of Saturday, December 8, is underwritten in part by a generous gift from Mr. and Mrs. Warren G. Keinath, Jr. The concert of Sunday, December 10, is underwritten in part by a generous gift from the Edison Family Foundation. Martin Ott Continuo Organ courtesy of Concordia Seminary, St. Louis, Missouri. These concerts are presented by Mercy. Pre-Concert Conversations are presented by Washington University Physicians. 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.
BY PA U L SC H I AVO
GEORGE FRIDERIC HANDEL Messiah
1741 HANDEL Messiah Age of Scottish Enlightenment, which includes intellectuals such as Adam Smith and David Hume
A SHARED TREASURE Handel’s Messiah is, like no other piece of music, part of the public domain— not in the usual sense of being free from copyright restrictions, but in that it provides one of the most widely shared musical experiences in our culture. Each year the oratorio is sung by tens and perhaps hundreds of thousands of people in choral societies and sing-alongs. Its audiences at these performances, and through broadcasts and recordings, are incalculable. Handel’s music is, moreover, indelibly part of our shared musical consciousness, the “Hallelujah” chorus in particular eliciting a level of recognition and emotional response achieved only by the opening bars of Beethoven’s Fifth Symphony. No other composition is so generally familiar or so well loved. Although Messiah was conceived and executed in a remarkably short time, a full understanding of the circumstances that brought it into being requires a long view of Handel’s activities in England. From early in his career the composer was drawn to the theater, and his first trip to London, in 1710-11, was occasioned by the fact that opera, which at the time meant Italian opera, was becoming a popular entertainment among the English nobility. Handel, although German, had mastered the conventions of this genre over the course of a four year sojourn in Italy, and during his first English visit he scored a sensational success with his opera Rinaldo. Its enthusiastic reception—and profit at the box office, for Handel was as much an entrepreneur as an artist in the opera house—prompted him to return to London in 1712, this time, as it turned out, to stay more or less permanently. FROM OPERA TO ORATORIO Further operatic triumphs followed for Handel, as did some failures also, and for the next quarter of a century
opera remained the composer’s principal concern. But by the late 1720s the English aristocracy, which had provided the audience for opera, started to tire of the contrived plots and outlandish theatricality that characterized the genre at the time. As patronage dwindled through the middle of the next decade, Handel began to offer a new type of work, the oratorio. This was less costly than opera to present yet appealed to a broader audience drawn from the rising English middle class. Scored for solo voices, chorus, and orchestra, Handel’s oratorios recounted classical legends and Old Testament stories, the latter told either through extracts from the scriptures or in verses by contemporary poets. Although performed without staging, Handel’s oratorios were, in terms of their music, hardly less theatrical than his operas. Their texts called for different dramatis personae to be represented by the singers, and for historical scenes involving vivid musical depiction. Occasionally, Handel conveyed such scenes in so lavish and colorful manner—the famous “Entrance of the Queen of Sheeba” in Solomon is a notable example—that his more pious listeners took offense. Handel’s oratorio presentations grew increasingly frequent during the 1730s, though the composer also remained involved with the theater. But as attendance at his operas dwindled, so did his finances. In 1737 both the companies that had been presenting operas in London collapsed in bankruptcy. Handel spent the next four years trying with mixed success to establish a dependable audience for his oratorios, and with no success at all to revive the aristocracy’s appetite for opera. By 1741 the composer, who was by then practically an English institution, was rumored to be preparing to return to the continent. He may well have had this in mind, for he spent the summer writing vocal duets to light Italian verses, a type of composition that had no audience in England but which was popular in courts throughout Europe. But Handel’s departure, if it was indeed planned, was forestalled by a fortuitous development: an invitation to present a series of concerts in Dublin during the coming
Born February 23, 1685, Halle, Saxony Died April 14, 1759, London First Performance April 13, 1742, in Dublin, under the composer’s direction STL Symphony Premiere December 26, 1904, Alfred Ernst conducting, with Corinne Rider-Kelsey, soprano; Elise Gustafson, alto; Alfred Bertrand, tenor; R. P. Strine, bass; and the Saint Louis Choral-Symphony Society Chorus Most Recent STL Symphony Performance December 13, 2009, Nicholas McGegan conducting, with Dominique Labelle, soprano; Daniel Taylor, countertenor; James Gilchrist, tenor; Nathan Berg, bass-baritone; St. Louis Symphony Chorus, Amy Kaiser, director Scoring four solo voices chorus two oboes bassoon two trumpets timpani organ harpsichord theorbo strings Performance Time approximately 120 minutes
season. This was extended by several musical societies in the Irish capital— organizations which, in those days, existed for the dual purpose of maintaining the city’s concert life and raising funds for charitable purposes. Handel was already known for his generous support of several relief organizations, most famously the Foundling Hospital in London. It was understood that in Dublin he would donate his services for certain benefit concerts, while the proceeds of others would accrue to him. DIVINE RAPTURE This unexpected opportunity spurred Handel to composition, the subject of his efforts being a new oratorio text recently compiled for him by Charles Jennens. Jennens, who had already fashioned the librettos for two of Handel’s earlier oratorios, based the new text entirely on selections from the scriptures and the English Prayer Book. But Messiah, as he called the work, was unlike any of Handel’s other biblical oratorios. Among other novelties, its subject was nothing less than the story of Christ, a tale previously thought too sacred for a genre so close to the theater as oratorio. (The words theatrical and profane were then essentially synonymous in many quarters, a notion that later would cause Handel a good deal of difficulty when he tried to introduce Messiah to London.) After Handel’s death, a legend arose that he had been seized by a kind of divine rapture while setting the text. This story cannot, of course, be verified. But we can be sure of a high level of inspiration. Handel began his score on August 22, 1741, and finished it 24 days later, on September 12. Even knowing that he habitually composed rapidly, and allowing that he adapted certain passages from other works, mostly the Italian duets he had recently written, this is an astonishing achievement. In November Handel arrived in Dublin, the score of Messiah in his trunk. After presiding at a well-attended charity event, he quickly scheduled a set of six concerts of his own. These proved so successful that he booked another series in the early months of 1742. All the while he held his new oratorio in reserve. Finally in the spring, a Dublin newspaper announced:
For the relief of the prisoners in the several Gaols, and for the support of Mercer’s Hospital in Stephen’s Street, and of the Charitable Infirmary ... [there] will be performed at the Musick Hall in Fishamble Street, Mr. Handel’s new Grand Oratorio, call’d the MESSIAH... .
The first performance took place on April 13. The Dublin Journal reported that “the best Judges allowed it to be the most finished piece of Musick. Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience.” Despite its warm reception in Dublin, Handel was wary of presenting Messiah in London. When he first did so, in March of 1743, he even omitted the work’s title from the program, calling it only “A New Sacred Oratorio,” evidently for fear of incurring the wrath of more conservative elements of the community. This concern was not groundless, for strong protests were indeed lodged against the presentation of a sacred subject in the concert hall. For some time, these objections restrained both Handel’s willingness to offer the
work and the public’s acceptance of it. But the composer finally trumped his zealous critics. Beginning in 1750, he led annual performances of the oratorio for the benefit of the Foundling Hospital, of which he was now a trustee. This gesture won Handel general admiration and secured for Messiah some of the esteem and affection it enjoys to this day. MUSIC AND NARRATIVE Although it is a perennial fixture of the Christmas season, particularly in the United States, only six of some fifty numbers that comprise the score are devoted to the account of the Nativity related in the Gospel of Luke. The others concern the prophecy of Christ’s coming, death, and resurrection. Remarkably, all this is conveyed without the usual dramatic devices of oratorio. Neither Jesus nor any other character is actually depicted on stage, and consequently there is no actual dialogue. Instead, the text combines narration and contemplative passages in a brisk and effective, yet highly poetic, manner. The musical riches of Handel’s score are too numerous and familiar to discuss in detail here. Its overture is one of the composer’s finest. The arias, as has been frequently observed, are close in style to those of his operas. They evince a fine feel for the dramatic nuances of the text, Handel’s sympathetic treatment of the verses extending even to pictorial figuration depicting the flight of angels, the shaking of all nations, and more. But above all, it is the great choral movements that make Messiah so stirring. The famous story of how King George II rose to his feet in admiration during the “Hallelujah” chorus, prompting those present and generations since to do likewise, is one testament to their power. But majestic expression of praise is by no means their only function. Handel’s chorus proves equally adept at conveying sorrow (“Surely He hath borne our griefs”) and intimate joy (“For unto us a Child is born,” whose music, many listeners familiar with Messiah are surprised to learn, originated as a flirtatious Italian love duet). Messiah is neither a liturgical work nor a church composition, and it in no way disparages those venerable musical genres to say that the music’s wide appeal stems from the fact that it transcends their comparatively narrow aims. Handel’s intent was neither to preach nor to provide a vehicle for ritualized worship but, rather, to draw his listeners into a story whose rich spiritual, emotional, and poetic content lends it universal significance. An innately dramatic composer, he intuitively felt that by fusing music with drama, as Messiah does in a special way, he could reach the widest possible audience. That the oratorio continues to move and inspire so many listeners affirms his judgment.
Program notes © 2012 by Paul Schiavo
FELIX AND ELEANOR SLATKIN GUEST ARTIST
Christopher Warren-Green was conductor for the royal wedding of the Duke and Duchess of Cambridge (a.k.a. Will and Kate) at Westminster Abbey.
Music Director of the Charlotte Symphony and London Chamber orchestras, this season Christopher Warren-Green returns to the Royal Philharmonic Orchestra, and conducts the world premiere of Frank Corcoran’s Violin Concerto with the RTÉ National Symphony Orchestra Dublin. Following Warren-Green’s acclaimed debut with the Detroit Symphony Orchestra, in December 2011, he was immediately re-invited for the 2012-13 season. Other highlights this season include performances with the Orchestre National de Belgique and his Italian debut with Orchestra I Pomeriggi Musicali. Last season he debuted with the Milwaukee Symphony Orchestra and the Zürcher Kammerorchester, and returned to the Sapporo Symphony, Armenia Philharmonic, and London Philharmonic orchestras. Warren-Green has been personally invited to conduct on many occasions for the Royal Family in the last thirty years. In April 2011, Warren-Green conducted the London Chamber Orchestra during the marriage ceremony of HRH Prince William Duke of Cambridge and HRH Duchess of Cambridge at Westminster Abbey, which was televised to millions worldwide. Other notable occasions have included Her Majesty the Queen’s 80th-birthday celebrations at Kew Palace and HRH Prince of Wales’ 60th-birthday concert. Warren-Green also conducted the Philharmonia Orchestra for the Service of Dedication and Prayer (celebrating the marriage of HRH Prince of Wales and HRH Duchess of Cornwall) in 2005. Previous orchestral appointments have included Principal Conductor of the Camerata Resident Orchestra of the Megaron Athens, taking over from Sir Neville Marriner (200409), Chief Conductor of the Nordiska Kammar Orkestern (1998-2005), and Chief Conductor of the Jönköpings Sinfonietta (1998-2001). Christopher Warren-Green most recently conducted the St. Louis Symphony in January 2012.
In the 2012-13 season, Tamara Wilson returns to the Canadian Opera Company as Rosalinde in a new Christopher Alden production of Die Fledermaus conducted by Johannes Debus; Théâtre du Capitole as Lady Billows in a new production of Albert Herring; and Houston Grand Opera as Leonora in Il trovatore. She also makes a company debut and role debut at Opera de la ABAO in Bilbao as Hélène in Les Vêpres siciliennes. In concert, she will be seen with Helmuth Rilling in Verdi’s Requiem on tour with Internationale Bachakademie Stuttgart. Future seasons will see her in operas by Verdi, Bellini, Mozart, and Strauss at the Oper Frankfurt, Washington National Opera, Théâtre du Capitole, Teatro Real de Madrid, Gran Teatre del Liceu, Los Angeles Opera, and Houston Grand Opera. Wilson began the 2011-12 season as the title role in Aida at Teatro Municipal de Santiago in Chile. She also sang Elisabeth de Valois in the five-act French version of Verdi’s Don Carlos at Houston Grand Opera and debuted at Théâtre du Capitole in Toulouse as Leonora in a new production of Il trovatore, as well as in Palma de Mallorca. She also debuted at the Ravinia Festival as Elettra in Idomeneo with James Conlon and the Chicago Symphony Orchestra. An alumna of the Houston Grand Opera Studio, Wilson’s awards include the George London Award from the George London Foundation, as well as both a career grant in 2011 and study grant in 2008 from the Richard Tucker Music Foundation. Other notable awards include first place in the 2005 Eleanor McCollum Competition for Young Singers in Houston and finalist in the 2004 Metropolitan Opera National Council Auditions, among others. Tamara Wilson debuts with the St. Louis Symphony this week.
Tamara Wilson is an alumna of the Houston Grand Opera Studio.
Christopher Ainslie started his singing career as a chorister in Cape Town, his home city. In 2005 he moved to London to study at the Royal College of Music, where he graduated with distinction. Ainslie has rapidly established himself as a leading interpreter of the countertenor repertoire, and is also active in exploring repertoire not usually associated with the voice-type. He has appeared twice at the Royal Opera House, Covent Garden (Harrison Birtwistle’s The Minotaur and the title role in Arne’s Artaxerxes), at Glyndebourne (Ottone in Monteverdi’s L’incoronazione di Poppea and Eustazio in Handel’s Rinaldo), Opera de Lyon (Voice of Apollo in Britten’s Death in Venice), Drottningholm (Ottone in Poppea), Göttingen Handel Festival (the title role in Handel’s Tamerlano) and Central City Opera (the title role in Handel’s Amadigi). In 2011 Ainslie won the Gianni Bergamo Countertenor Competition in Switzerland; in 2008 he was the first countertenor to win the Richard Tauber Competition at Wigmore Hall, and in 2007 he was awarded the Michael Oliver Prize in the London Handel Festival Singing Competition. Engagements this season and beyond include performances of Messiah with the Bournemouth Orchestra, the title role in Cavalli’s Eliogablo with Gotham Chamber Orchestra, Oberon in Britten’s A Midummer Night’s Dream and Voice of Apollo in Death in Venice for Opera North, Antonio in André Tchaikowsky’s The Merchant of Venice for Bregenzer Festspiele, a return to the Wigmore Hall in a concert with Classical Opera Company, and performances of music by Handel and Scarlatti with Les Arts Florissants. Christopher Ainslie makes his St. Louis Symphony debut with Messiah.
Christopher Ainslie also sings Messiah with the Bournemouth Orchestra this season.
A young artist recognized for a flexible and distinctive tenor voice, Daniel Montenegro is a graduate of San Francisco’s prestigious Merola Opera Program and offers a varied repertoire of bel canto and verismo through to contemporary roles. In recent seasons Montenegro has made several significant debuts including Mario in Daniel Catán’s Il Postino at Paris’s Théâtre du Châtelet alongside Plácido Domingo (marking his European opera debut), Roderigo in Otello with San Francisco Opera under Nicola Luisotti, Alfredo in La traviata with Minnesota Opera as well as Pang in Turandot at the Hollywood Bowl, conducted by Gustavo Dudamel. As a San Francisco Opera Adler Fellow, Montenegro appeared as Nemorino in L’Elisir d’amore, Liverotto and Rustighello in Lucrezia Borgia, Pong in Turandot and Remendado in Carmen. Other recent roles include Steuermann in The Flying Dutchman with both Portland and Arizona Operas and the Shepherd in Stravinsky’s Oedipus Rex under Joana Carneiro, directed by Peter Sellars at the Sydney Festival. As a former Resident Artist of the Minnesota Opera, Montenegro sang Tamino in The Magic Flute, Nick in Poul Ruders’ The Handmaid’s Tale, Flavio in Norma, Liverotto in Lucrezia Borgia, and an ongoing collaboration with the LA Opera has brought appearances in several productions, including the world premiere of Lee Holdridge’s Concierto para Mendez, La traviata (released on DVD), Carmen, Torroba’s Luisa Fernanda, and Puccini’s Il tabarro. Projects in the 2012-13 season include Rigoletto with the San Francisco Opera, conducted by Nicola Luisotti, Estévez’s La Cantata criolla with the Phoenix Symphony under Michael Christie, and Pong in Allen Charles Klein’s production of Turandot for Dallas Opera under Marco Zambelli. Daniel Montenegro makes his St. Louis Symphony debut this week.
Daniel Montenegro sings Rigoletto with the San Francisco Opera this season.
A former member of the San Francisco Opera’s prestigious Merola Program, and recent recipient of the Best Singer Award by the 2011 Austin Critics’ Table for his performance in Michael Nyman’s The Man Who Mistook His Wife for a Hat, Matthew Treviño is proving to be one of today’s most sought-after young basses. Highlights for the current season include appearances as Leporello (Don Giovanni) for Opera Colorado and a debut with the London Chamber Orchestra (Mozart’s Mass in C minor). Last season he appeared as Timur (Turandot) at Austin Lyric Opera, the King (Aida) for Arizona Opera, Baron Douphol (La traviata) at Nashville Opera, Sarastro (The Magic Flute) with the Opera Theatre Company in Ireland, and he made his role debut as Don Giovanni with Opera Naples. Highly regarded for his acting and in particular for his comedic Gilbert and Sullivan performances, Treviño has appeared as Dick Deadeye (H.M.S. Pinafore) at Lyric Opera of Kansas City and at Opera Carolina, and the Sergeant of Police (The Pirates of Penzance) at the Fresno Grand Opera. Treviño is a graduate of Baylor University in Waco, Texas and was a finalist in the Loren L. Zachary Foundation Competition, Dallas Opera Guild Competition, Fort Worth Opera’s McCammon Voice Competition, Shreveport Opera’s Singer of the Year Competition, and the recipient of the Thomas Stewart Award for Vocal Excellence at Baylor University. Matthew Treviño also makes his St. Louis Symphony debut with Messiah.
Matthew Treviño received the Best Singer Award by the 2011 Austin Critics’ Table.
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 Pre-Concert Conversations at Powell Hall. Amy Kaiser has prepared choruses for the New York Philharmonic, the Ravinia Festival, the 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.
Amy Kaiser next directs the Men of the St. Louis Symphony Chorus for The Pirates of the Caribbean: The Curse of the Black Pearl, December 28-30.
ST. LOUIS SYMPHONY CHORUS 2012-2013
Amy Kaiser Director Leon Burke, III Assistant Director Gail Hintz Accompanist Susan Patterson Manager Nancy Davenport Allison Rev. Fr. Stephan Baljian Stephanie A. Ball Paula N. Bittle Michael Bouman Richard F. Boyd Keith Boyer Pamela A. Branson Marella Briones Daniel Brodsky Leon Burke, III Cherstin Byers Maureen A. Carlson Victoria Carmichael Mark Cereghino Rhonda Collins Coates Timothy A. Cole Derek Dahlke Laurel Ellison Dantas Ladd Faszold Jasmine Fazzari Heather Fehl Robin Fish, Jr. Alan Freed Mark Freiman Karen S. Gottschalk Cliff Hardy Nancy Helmich Ellen Henschen Jeffrey Heyl Madeline Kaufman Paul V. Kunnath Debby Lennon Gregory C. Lundberg Gina Malone Jamie Lynn Marble Kellen Markovich Dan Mayo Rachael McCreery Elizabeth Casey McKinney Brian Mulder Johanna Nordhorn Duane L. Olson Heather McKenzie Patterson Susan Patterson Matt Pentecost Brian Pezza Sarah Price Kate Reimann Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson Terree Rowbottom Patricia A. Scanlon Mark V. Scharff Samantha Nicole Schmid Janice Simmons-Johnson John William Simon Charles G. Smith Shirley Bynum Smith Joshua Stanton Adam Stefo Samuel Stengler David Stephens Benna D. Stokes Denise M. Stookesberry Greg Storkan Michelle D. Taylor Justin Thomas Pamela M. Triplett Robert Valentine Kevin Vondrak Samantha Wagner Keith Wehmeier Nicole Weiss Paul A. Williams Dennis Willhoit Mary Wissinger
BOX OFFICE HOURS
Monday-Saturday, 10am-6pm; Weekday and Saturday concert evenings through intermission; Sunday concert days 12:30pm through intermission.
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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