John Churchwell Piano

Lawrence Brownlee | Tenor John Churchwell | PianoThursday, July 22, 2021 | 7:30PM

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LAWRENCE BROWNLEE Tenor

JOHN CHURCHWELL Piano

Thursday, July 22, 2021 | 7:30pmHerbst Theatre

SONGS OF MY YOUTH

Selections from the 24 Italian Songs and Arias

A. SCARLATTI Già il sole dal Ganga

TORELLI Tu lo sai

CACCINI Amarilli, mia bella

LEGRENZI Che fiero costume

German Art Songs

SCHUBERT Der Jüngling an der Quelle

SCHUBERT Nacht und Träume

STRAUSS Heimliche Aufforderung

STRAUSS Cäcilie

French Art Songs

FAURÉ Après un rêve

POULENC Montparnasse

LISZT Oh! Quand je dors

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Spirituals

BURLEIGH Deep River

BURLEIGH Sometimes I Feel Like a Motherless Child

JOHNSON Walking

JOHNSON Ride on, King Jesus

This program is made possible in part by the generous support of Helen Berggruen for the Five Arts Foundation

Lawrence Brownlee is represented by IMG ArtistsPleiades House, 7 West 54th Street, New York, NY 10019 imgartists.com

Hamburg Steinway Model D, Pro Piano, San Francisco

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ARTIST PROFILES

San Francisco Performances presents Lawrence Brownlee for the second time; he made his SF Performances debut in March 2018. John Churchwell also returns for a second time; he appeared with mezzo-soprano Joyce DiDonato in November 2009.

Lawrence Brownlee is a leading figure in opera, both as a singer on the world’s top stages, and as a voice for activism and diversity in the industry. Captivating audiences and critics around the globe, he has been hailed as “an international star in the bel canto operatic repertory” (The New York Times), “one of the world’s leading bel canto stars” (The Guardian), and “one of the most in-demand opera singers in the world today” (NPR).

Amidst the challenges of COVID-19, Brownlee has emerged as a pivotal voice in classical music’s shift toward digital program-ming and the resurgence of conversations around racial justice.

Highlights of Brownlee’s 20–21 season include Don Ramiro in La Cenerentola at Palau de les Arts Reina Sofía, his role debut as Edgardo in Lucia di Lammermoor at New National Theatre Tokyo, Arturo in I Puritani with Teatro dell’Opera di Roma, and Tonio in La Fille du Regiment with Opéra Royal de Wallonie-Liège. In concert, Brownlee reprised Lawrence Brownlee and Friends at Lyric Opera of Chicago, Giving Voice at Houston Grand Opera, Lawrence Brownlee and Friends and Cy-cles of My Being with Opera Philadelphia, as well as a virtual recital with pianist Myra Huang for the Schubert Club Inter-national Artist Series, a virtual concert with the Tallahassee Symphony, the tenor solo in Beethoven’s 9th Symphony with the Tulsa Symphony, and a virtual recital with Music Worces-ter. In spring 2021, Brownlee joined The Juilliard School as a Distinguished Visiting Faculty Member.

Brownlee is the fourth of six children and first discovered music when he learned to play bass, drums, and piano at his family’s church in Hubbard, Ohio. He was awarded a Master of Music from Indiana University and went on to win a Grand Prize in the 2001 Metropolitan Opera National Council audi-tions. Brownlee is a winner of numerous awards and distinc-

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tions including “Male Singer of the Year” (2017 Internation-al Opera Awards), the Kennedy Center’s Marian Anderson Award, and the Opera News Award (2021). In October 2019, he had the distinct honor of singing at Jessye Norman’s funeral in her hometown of Augusta, Georgia.

One of the leading collaborative pianists of his generation, John Churchwell enjoys a career on the concert stage as well as in the nation’s leading opera houses.

In August 2011, Mr. Churchwell was named Head of Music for San Francisco Opera. Previously, Mr. Churchwell was an assistant conductor for both the Metropolitan Opera and the San Francisco Opera for 14 years. He has assisted on more than 100 productions and has collaborated with some of the world’s leading conductors including James Levine, Nello Santi, Nicola Luisotti, James Conlon, Donald Runnicles, Sir Charles Mackerras, Marco Armiliato, and Fabio Luisi.

A champion of American music, John was involved in the world premieres of John Harbison’s The Great Gatsby and Jake Heggie’s Dead Man Walking. In recent seasons, Mr. Churchwell has prepared the world premieres of Mark Adamo’s The Gospel of Mary Magdalene, Christopher Theofanidis’ Heart of a Soldier, as well as the Philip Glass opera Appomattox, the Stewart Wallace/Amy Tan collaboration The Bonesetter’s Daughter, Tobias Picker’s Dolores Claiborne, and the recent world premiere of Girls of the Golden West by John Adams, all for San Francisco Opera. From 2005–2008 Mr. Churchwell was the official accompanist for the Metropolitan Opera National Council auditions.

On the recital stage, Mr. Churchwell has partnered some of today’s most sought-after vocalists including Joyce DiDonato, Susan Graham, Diana Damrau, Larry Brownlee, Lisette Oro-pesa, Frederica von Stade, Leah Crocetto, Dawn Upshaw, Car-ol Vaness, David Pittsinger, Patricia Schuman and Jill Grove. In addition to song recitals, Mr. Churchwell is an active chamber musician and has appeared regularly with members of the Metropolitan and San Francisco’s Opera Orchestras.

A native of Knoxville, TN, Mr. Churchwell studied at the New England Conservatory of Music and Tufts University where he earned a Bachelor of Music in Piano and a Bache-

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lor of Arts in French, respectively. Mr. Churchwell continued his studies at the University of Minnesota where he earned a Master of Music and a Doctorate of Musical Arts in Accom-panying. Mr. Churchwell studied song literature at the Banff Centre for the Arts and remains the only pianist to be invited for three summers as a Tanglewood Fellow.

Mr. Churchwell has been a member of the faculty of Music Academy of the West since 2000.

PROGRAM NOTES


The works on this recital divide into four distinct groups, and the first offers music from 17th-century Italy. Listeners should be alert to the name of the first composer on this re-cital—it is not Domenico Scarlatti, remembered today for his many keyboard sonatas, but Domenico’s father Alessandro Scarlatti (1660–1725). Alessandro’s opera L’honestà negli amori was first produced in Rome in February 1680, when the com-poser was only 19. That opera has been largely forgotten, but one aria lives on in the concert hall: “Già il sole dal Ganga” tells of the sun rising over the Ganges, bringing light and dry-ing out the mists of night. This aria, bright and sparkling, has been recorded a number of times.

Giuseppe Torelli (1658–1709) made his living as a perform-er—he played both violin and viola—and he composed pri-marily for instrumental ensembles: sonatas, concerti grossi, concertos for individual instruments. “Tu lo sai,” however, is a vocal work: it is the final movement of his solo cantata Come potesta mai. “Tu lo sai” is a lament by one rejected in love, but rather than being full of fury, this is beautiful, painful music.

Giulio Caccini (1551–1618), who served in the Medici court, was known in his own day as a singer and teacher, though he did compose three operas, songs, and madrigals. His best-known work is the madrigal “Amarilli, mia bella,” a plaintive expression of love and longing.

Giovanni Legrenzi (1626–1690) was an organist and compos-

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er of opera who eventually became the music director of St. Mark’s in Venice. “Che fiero costume,” an aria from his opera Eteocle e Polinice, is a fiery rant against Cupid, full of the frus-trations of love.

German Art Songs

“Der Jüngling an der Quelle” (1821) by Franz Schubert (1797–1828) takes a stock situation and gives it a nice little twist: a youth seeks relief from the pain of lost love in the soft sound of the brook, only to have the brook repeat his love’s name; the stream murmurs right up to the final chord.

The piano prelude to Schubert’s “Nacht und Träume” (1822) sets the delicate, suspended mood of this song perfectly; the piano accompaniment looks ominously “black” on the page, but so restrained is the smoothly-rocking pattern of 16th notes that the vocal line seems to float above this glowing accompaniment. Matthäus von Collin’s magic evocation of night and the ineffable, unknowable world of dreams seems an almost pure statement of romantic sentiment. Half a cen-tury later, Gabriel Fauré would get at exactly this same sen-sation in a very different song, “Après un rêve,” heard later on this recital.

Richard Strauss (1864–1949) wrote the four songs of his Opus 27 in 1894 and presented them as a wedding present to the soprano Pauline de Ahna, shortly before the two were mar-ried on September 10 of that year. “Heimliche Aufforderung,” the second of the four songs, is on a text by the Scottish-born John Henry Mackay. That text is perfect for a wedding song, for it details the private emotion of two lovers in the midst of revelry swirling around them. Strauss catches this happy tur-moil with the piano’s rolling accompaniment, above which the singer has the lyric text (the title means “Secret Invita-tion”). The music grows more subdued as the speaker invites his love into their private world of love, rushes ahead with ex-citement, and closes quietly.

The passionate “Cäcilie,” the second song of Opus 27, was in fact written the day before the composer’s wedding. It sets a

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love poem by Heinrich Hart (Cäcilie was the name of the poet’s wife)—beginning quietly, it rises to a passionate climax.

French Art Songs

One of the best-known songs of Gabriel Fauré (1845–1924), “Après un rêve” sets an ancient Tuscan text that had been adapted by the poet Romain Bussine. This beautiful song (1878) catches a universal human experience—waking from a dream and then longing painfully for that evanescent world—and Fauré’s setting rises to a moment of despair on the climactic “Helas!” So haunting is this music that it has been arranged for a number of different instruments.

The poetry of Guillaume Apollinaire (1880–1918) takes us into a strange urban setting, where reality and fantasy exist in equal parts: it was Apollinaire who coined the term “surre-alism.” Francis Poulenc (1899–1963) met Apollinaire when the composer was still a very young man, and he set Apollinaire’s poetry to music across his entire life. Composing “Montpar-nasse” proved a challenge for Poulenc, who said, “I took four years to write ‘Montparnasse.’ I do not regret the care I lav-ished on it because it is probably one of my best songs.” Pou-lenc marks it “Very calm,” and the piano’s quiet syncopated accompaniment beneath the singer’s steady rhythms seems soothing at first, though the piano then rounds the song off with an unexpectedly stern postlude.

Franz Liszt (1811–1886) may have been born in Hungary, but he spent many years in France, and he was fluent in French. Early in his years in Paris, Liszt became acquainted with Vic-tor Hugo and set a number of Hugo’s poems. “Oh! Quand je dors” was first composed in 1842, then revised seven years later. Taking as its starting point Petrarch’s hopeless longing for Laura, Hugo’s poem creates that same sense of dreamlike yearning for blissful fulfillment. Beginning very delicately (Liszt’s marking is dolce), the song rises to a heartfelt intensi-ty, then trails off into silence.

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Spirituals

The final section of this program offers four great spiritu-als in arrangements for solo voice and piano by two men who devoted much of their careers to bringing spirituals to a wide audience. The grandson of slaves, H.T. Burleigh (1866–1949) was born in Pennsylvania the year after the Civil War ended, and the boy quickly showed musical talent. He studied piano, composition, and singing and was admitted to the National Conservatory of Music in 1892, when Dvořák was serving as the conservatory’s director. Burleigh helped pay his tuition by cleaning the conservatory’s hallways, and Dvořák heard him singing spirituals as he worked. He had the young man sing spirituals to him, and these had a profound influence on his own music—Dvořák came to feel that any American classical music would need to make use of these songs, and they influenced his own “New World” Symphony. Dvořák en-couraged Burleigh to edit and present these songs for general audiences, and the young man did just that—his arrange-ment of “Deep River” (1917) made that song world-famous, and Burleigh himself performed it before President Theodore Roosevelt and before King Edward VII of England.

Hall Johnson (1888–1970) trained originally as a violinist and studied at the University of Pennsylvania, Juilliard, and USC. He performed professionally as a violinist, but was soon drawn to choral conducting, and he created choirs in both Los Angeles and New York. Choirs led by Johnson were heard in more than thirty Hollywood films, and he toured with choirs in Europe. Though Johnson composed vocal works, he is remembered today for his editing and publishing spiritu-als. This program concludes with two of his arrangements, “Walking” and the powerful “Ride on, King Jesus.”

Program notes by Eric Bromberger

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SONG TEXTS & TRANSLATIONS

Please hold your applause until the end of each set.


ALESSANDRO SCARLATTI

Già il sole dal GangeGià il sole dal GangePiù chiaro sfavilla,E terge ogni stillaDell’alba che piange.

Col raggio doratoIngemma ogni stelo,E gli astri del cieloDipinge nel prato.

Text: Anonymous

Already, from over the Ganges, the sunAlready, from over the Ganges, the sunSparkles more brightlyAnd dries every drop of the dawn, which weeps.

With the gilded rayIt adorns each blade of grass;And the stars of the skyIt paints in the field.

Translation copyright © by Emily Ezust, from the LiederNet Archive https://www.lieder.net

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GIUSEPPE TORELLI

Tu lo sai Tu lo sai quanto t’amai,Tu lo sai, lo sai crudel!Io non bramo altra mercè,Ma ricordati di me,E poi sprezza un infedel.

Text: Anonymous

You Know NowYou now know how I loved you,You now know, my cruel love !Other loves I don’t desire,just remember your old loverbringing scorn to the unfaithful.

Translation copyright © by Mario Giuseppe Genesi

GIULIO CACCINI

Amarilli, mia bella Amarilli, mia bella,Non credi, o del mio cor dolce desio,D’esser tu l’amor mio?Credilo pur: e se timor t’assale,Dubitar non ti vale.Aprimi il petto e vedrai scritto in core:Amarilli, Amarilli, Amarilliè il mio amore.

Text: attributed to Giovanni Battista Guarini (1538–1612)

Amaryllis, my lovely oneAmaryllis, my lovely one,do you not believe, o my heart’s sweet desire,That you are my love?

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Believe it thus: and if fear assails you,Doubt not its truth.Open my breast and see written on my heart:Amaryllis, Amaryllis, Amaryllis,Is my beloved.

Translation: copyright © by Katherine McGuire

GIOVANNI LEGRENZI

Che fiero costume Che fiero costumeD’aligero nume,Che a forza di pene si faccia adorar!E pur nell’ ardoreIl dio traditoreUn vago sembiante mi fe’ idolatrar.

Che crudo destinoChe un cieco bambinoCon bocca di latte si faccia stimar!Ma questo tirannoCon barbaro inganno,Entrando per gli occhi, mi fe’ sospirar!

Text: Anonymous

What fierce powerWhat fierce power[Has] this winged god,Who by force of punishments, should make himself adored!And nevertheless in [my] ardorThe traitorous godMade me idolize a lovely face.

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What a cruel destiny,That a blind child [still]With a mouth of [mother’s] milk, should make himself esteemed!But this tyrantWith barbarous deception,Entering through [my] eyes, made me sigh!

Translation: copyright © 2016 by Laura Prichard

German Art Songs

FRANZ SCHUBERT

Der Jüngling an der QuelleLeise, rieselnder Quell, ihr wallenden, flispernden Pappeln,Euer Schlummergeräusch wecket die Liebe nur auf.Linderung sucht’ ich bei euch, und sie zu vergessen, die Spröde;Ach! und Blätter und Bach seufzen: Luise dir nach!

Text: Johann Gaudenz Freiherr von Salis-Seewis (1762 - 1834)

The youth by the springSoftly, trickling spring! Ye churning, rustling poplars!The sounds of slumber you make will only awaken my love.Balm was I seeking from you and to forget her indifference.Ah, the brook and each tree sigh for my loved one, for thee.

Translation: copyright © 1995 by Walter Meyer

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Nacht und TräumeHeil’ge Nacht, du sinkest nieder;Nieder wallen auch die Träume,Wie dein Mondlicht durch die Räume,Durch der Menschen stille Brust;Die belauschen sie mit Lust,Rufen, wenn der Tag erwacht:Kehre wieder holde Nacht,Holde Träume kehret wieder.Heimliche Aufforderung

Text by Matthäus Kasimir von Collin (1779–1824)

Holy night, you sink downHoly night, you sink down; Dreams, too, drift downLike your moonlight through space, Through the quiet hearts of men;They listen with delight Calling out when day awakens:Return, holy night! Fair dreams, return!

Translation: copyright © by David Gordon

RICHARD STRAUSS

Heimliche AufforderungAuf, hebe die funkelnde Schale empor zum Mund,Und trinke beim Freudenmahle dein Herz gesund.Und wenn du sie hebst, so winke mir heimlich zu,Dann lächle ich und dann trinke ich still wie du...

Und still gleich mir betrachte um uns das HeerDer trunknen Schwätzer -- verachte sie nicht zu sehr.Nein, hebe die blinkende Schale, gefüllt mit Wein,Und laß beim lärmenden Mahle sie glücklich sein.

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Doch hast du das Mahl genossen, den Durst gestillt,Dann verlasse der lauten Genossen festfreudiges Bild,Und wandle hinaus in den Garten zum Rosenstrauch,Dort will ich dich dann erwarten nach altem Brauch,

Und will an die Brust dir sinken, eh du’s erhofft,Und deine Küsse trinken, wie ehmals oft,Und flechten in deine Haare der Rose Pracht.O komme, du wunderbare, ersehnte Nacht!

Text: John Henry Mackay (1864–1933)

Secret invitation

Up, raise the sparkling cup to your lips,And drink your heart’s fill at the joyous feast.And when you raise it, so wink secretly at me,Then I’ll smile and drink quietly, as you...

And quietly as I look around at the crowdOf drunken revelers – don’t think too ill of them.No, lift the twinkling cup, filled with wine,And let them be happy at the noisy meal.

But when you’ve savored the meal, your thirst quenched,Then quit the loud gathering’s joyful fest,And wander out into the garden, to the rosebush,There shall I await you, as often of old.

And ere you know it shall I sink upon your breast,And drink your kisses, as so often before,And twine the rose’s splendour into your hair.Oh, come, you wondrous, longed-for night!

Translation: copyright © by Lawrence Snyder and Rebecca Plack

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CäcilieWenn du es wüßtest,Was träumen heißt von brennenden Küssen,Von Wandern und Ruhen mit der Geliebten,Aug in Auge,Und kosend und plaudernd,Wenn du es wüßtest,Du neigtest dein Herz!

Wenn du es wüßtest,Was bangen heißt in einsamen Nächten,Umschauert vom Sturm, da niemand tröstetMilden Mundes die kampfmüde Seele,Wenn du es wüßtest,Du kämest zu mir.

Wenn du es wüßtest,Was leben heißt, umhaucht von der GottheitWeltschaffendem Atem,Zu schweben empor, lichtgetragen,Zu seligen Höhn,Wenn du es wüßtest,Du lebtest mit mir!

Text: Heinrich Hart (1855–1906)

CecilyIf you only knewwhat it’s like to dream of burning kisses,of wandering and resting with one’s beloved,eye turned to eye,and cuddling and chatting –if you only knew,you would incline your heart to me!

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If you only knewwhat it’s like to feel dread on lonely nights,surrounded by a raging storm, while no one comfortswith a mild voice your struggle-weary soul –if you only knew,you would come to me.

If you only knewwhat it’s like to live, surrounded by God’sworld-creating breath,to float up, carried by the light,to blessed heights –if you only knew,then you would live with me!


French Art Songs

GABRIEL FAURÉ

Après un rêveDans un sommeil que charmait ton image Je rêvais le bonheur, ardent mirage,Tes yeux étaient plus doux, ta voix pure et sonore,Tu rayonnais comme un ciel éclairé par l’aurore;

Tu m’appelais et je quittais la terrePour m’enfuir avec toi vers la lumière,Les cieux pour nous entr’ouvraient leurs nues,Splendeurs inconnues, lueurs divines entrevues,

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Hélas! Hélas! triste réveil des songesJe t’appelle, ô nuit, rends moi tes mensonges,Reviens, reviens radieuse,Reviens ô nuit mystérieuse!

Text: Romain Bussine (1830–1899) based on an Anonymous text in Italian

After a dreamIn a slumber which held your image spellboundI dreamt of happiness, passionate mirage,Your eyes were softer, your voice pure and sonorous,You shone like a sky lit up by the dawn;

You called me and I left the earthTo run away with you towards the light,The skies opened their clouds for us,Unknown splendors, divine flashes glimpsed,

Alas! Alas! sad awakening from dreamsI call you, O night, give me back your lies,Return, return radiant,Return, O mysterious night.

Translation: copyright © by David K. Smythe

FRANCIS POULENC

MontparnasseÔ porte de l’hôtel avec deux plantes vertesVertes qui jamaisNe porteront de fleursOù sont mes fruits? Où me planté-je?Ô porte de l’hôtel un ange est devant toiDistribuant des prospectusOn n’a jamais si bien défendu la vertuDonnez-moi pour toujours une chambre à la semaineAnge barbu vous êtes en réalité

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Un poète lyrique d’AllemagneQui voulez connaître ParisVous connaissez de son pavéCes raies sur lesquelles il ne faut pas que l’on marcheEt vous rêvezD’aller passer votre Dimanche à Garches

Il fait un peu lourd et vos cheveux sont longsÔ bon petit poète un peu bête et trop blondVos yeux ressemblent tant à ces deux grands ballonsQui s’en vont dans l’air purÀ l’aventure

Text: Guillaume Apollinaire (1880–1918)

MontparnasseOh hotel door, with your two green plantswhich will neverbear any flowers,say: Where are my fruits? Where am I planting myself?Hotel door, an angel stands outside youhanding out leaflets(virtue has never been so well defended!).Give me in perpetuity a room at the weekly rate.Oh bearded angel, you are reallya lyric poet from Germanywho wants to get acquainted with Paris.You know that between its paving-stonesthere are lines which one must not step on.And you dreamof spending Sunday at a mansion out of town.

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The weather is a bit oppressive and your hair is long;oh good little poet, you’re rather stupid and too blond.Your eyes look so much like those two big balloonsfloating off in the pure airwherever chance takes them...

Translation: copyright © 2001 by Peter Low

FRANZ LISZT

Oh! Quand je dorsOh! quand je dors, viens auprès de ma couche, comme à Pétrarque apparaissait Laura,Et qu’en passant ton haleine me touche... Soudain ma boucheS’entrouvrira!

Sur mon front morne où peut-être s’achèveUn songe noir qui trop longtemps dura,Que ton regard comme un astre se lève...Soudain mon rêveRayonnera!

Puis sur ma lèvre où voltige une flamme,Éclair d’amour que Dieu même épura,Pose un baiser, et d’ange deviens femme...Soudain mon âmeS’éveillera!

Text: Victor Marie Hugo (1802–1885)

Oh! when I sleepOh, when I sleep, approach my bed,as Laura appeared to Petrarch;and as you pass, touch me with your breath...at once my lipswill part!

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On my glum face, where perhaps a dark dream has rested for too long a time,let your gaze lift it like a star...at once my dreamwill be radiant!

Then on my lips, where there flits a brilliance,a flash of love that God has kept pure,place a kiss, and transform from angel into woman...at once my soulwill awaken!


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All of us at San Francisco Performances extend our deep appreciation to our many patrons who have helped keep us going during the pandemic by donating to our Bridge to the Future Campaign. Your generous support has ensured that we will gather again and share many more transformative performances together for years to come. Thank you!

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Ms. Verne S. DoxeyDraper Family TrustMs. Peggy DulyMr. Richard EinsteinMr. Dan EisensteinMr. Alan EisnerMargareta Ekblad and Vojtech LickoRobert J. Eldred and Elizabeth J. FolgerDrs. Peter M. Elias and Mary L. WilliamsJ. Edwin EngDana EngelJulia Erickson and Arthur RothsteinDr. Anne FabinyMr. and Mrs. Roland FellerMr. Benjamin FisherMr. Roger FisherMs. Doris E. FlahertyMs. Callie FloorMs. Jo FloydJoann E. FongWilliam and Anna FosheeDr. Daniel J. Fourrier Jr.Eugene and Anneke GaenslenCharles GamizMartin Gellen and Connie MansellMs. Sherry GendelmanThe Eva and Nell Gardner Education FoundationFred Gertler, in honor of Evelyn GertlerMs. Patricia GittinsMr. David GladsteinMr. Maarten GoltermanRobert Goodman and John BankstonPat and Marvin GordonMs. Sharon GottliebMs. Laura GradMs. Elizabeth M. GrantMr. Dennis C. GravesElizabeth Greenberg and James PapanuMs. Claire GutierrezDrs. Keith and Lauren HallDavid Halligan and Simone HolckMr. David Hammer and Ms. Katie DanforthMs. Caroline L. HancockMicheline and Barry HandonJudith E. HardingPeggy HarringtonHunter P. HarrisPamela and Ron HarrisonMs. Jennifer HartzellGary Hazel and James LindenJames Heagy, in memory of Janey HeagyWilliam J. HeapMr. Stephen R. HemenwayMr. Daniel HershMs. Marady HillMr. Michael John HillKathy and Chip HokeMr. Neil C. HolmesLorraine and Victor Honig Fund for Social ChangeMs. Greer HopkinsMr. James C. Hormel and Mr. Michael P. N. HormelMichael HostetlerMs. Janet HouserWen HsiehMs. Grace HuenemannMs. Ann HughesMr. Francisco ImaiMs. Mary R. JackmanMrs. Rosemary W. JenckesMaureen N. Jensen and George J. ElbaumMr. Edward Jeong Jr.Christian A. Jessen, in memory of Victoria BaumannMs. Jennifer C. JonesMr. Brian F. JosephMs. Victoria KahnJoan Kahr

Dick and Susan KaplanMr. and Mrs. Jim KautzMr. Leonid KhamishonMr. Edward KimakToni D. KingMr. Howard KirschHoward and Wendy KlecknerPatricia KlineMr. Eddie KohlerMarian Kohlstedt, in memory of Gary SmithMr. and Mrs. John P. KolkhorstMr. Michael KorbholzMr. Laurence KornfieldMs. Mirna KoscecMr. George KosterJane S. KuminDuff Kurland and Carol Nusinow KurlandMarianne LaCrosseRichard A. LadenMr. Michael LammMr. Leslie LamportMs. Maria M. Lang-GavidiaDelphine LangilleDrs. Ann and Richard LanzerottiJames and Kathleen LeakStephen Ledbetter and Keiko ItoDavid and Robin LeeMr. and Mrs. William LeeMs. Barbara LeepMs. Catherine LelandLeslie Hsu and Richard LenonSue LeSeureFred M. Levin, The Shenson FoundationDr. Jack LevinGertrude E. Levy and Michael GutmanMs. Janice LevyMr. and Mrs. Frank LewisDr. F. Chaney LiMr. David L. LilienSukey Lilienthal and David RoeMr. Steve LipsonMs. Karen LongRobert G. LopezBruce and Carolyn LowenthalMs. Emma P. LundbergWolfgang and Patricia LusseMr. Barry LynchDr. and Mrs. Laurence R. LyonsMs. Suzanne MacahiligMs. Ruth MacKayRuth MacNaughton and Harold SpencerKathleen Maher and Jon PeddieMrs. Leila MarcusMs. Ana Maria MartelMs. Yasuko MasakiMs. Lorna L. MaslenikovLin Max and Sean Gaskie, M.D.Ms. Delle MaxwellAlice and Fraser McAlpinePatrick McCabeJanis Mercer and James M. McManusJames R. MeehanMs. Susan R. MendelsohnMr. and Mrs. Thomas MeyerRoger D. Miles and Satomi Fukuda MilesMs. Francine J. MillerMs. Hye Yeong Min and Mr. Thomas E. McDonaldMs. Sharon L. ModrickMrs. Diane M. MolterMs. Nyla Puccinelli MooreMr. Gregory MorrisJerome MoskowitzMr. Walter MosleyMs. Donna NeffMr. Russell NelsonJeanne Newman

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Ms. Diana NicholsJudith L. Nichols and Michael BergMs. Sherri NordwallNeil O’Donnell and Chris MotleyDr. and Mrs. Hans I. OrupMr. David OwMr. Norman PackardMs. Mitzi S. PalmerMs. Amy PanitzMr. James Parsons and Ms. Andrea HongMs. Barbara PaschkeMr. Victor PenicoMr. Alan R PerlmanMs. Patricia E. Perry and Mr. Stephen J. McPheeMark Phillips and Roberta SeifertRita PiagneriMs. Dorothy A. PraegerSusan K. PratherMr. Philip PurcelloMartin and Maria QuinnMs. Fran QuittelMs. Virginia ReamesMr. Glenn ReidMs. Becky RichardsonMr. and Mrs. John RichmondPenny Righthand, in memory of Richard I. Levine, M.D.Mr. Robert Ripps and Mr. Steven SpectorAnmarie B. RoacheMr. William RobertsMr. James RobinsonMr. Ernest RoblesArthur and Toni Rembe RockHoracio and Angela RodriguezMichael and Janet RodriguezMr. Michael RodriguezJane P. Rogers and Michael L. FischerMr. Ronald RognessHeli Roiha and Terry McKelveyMs. Elsa Rosenberg and Mr. David ZuckermanMs. Bettina RosenbladtMs. Lisa RosenthalMs. Carol RossiMako U. RovaWilliam D. RadiakMs. Julie RulyakMs. Abby RumseyBob and Terri RyanSack Family FundMs. Judith SahagenBill Saphir and Melissa Saphir, in memory of Florence SaphirFred Saunders and Charles KredensorThomas A. Savignano and Peter A. BensonPatricia Unterman and Tim SavinarCarl SchaperMr. Dan Scharlin and Ms. Sara KatzMr. and Mrs. Dietar SchererStefan Hastrup and Gary SchillingJ.P. SchlegelmilchMr. Justus J. SchlichtingDavid Gast and Elena SchmidMr. Jim Schwarz and Mr. Jim ZayacMr. and Mrs. Dana S. ScottPamela W. SebastianMr. Terry SenneMs. Linda ShafferJames and Connie ShapiroStephen R. Shapiro

Ms. Karen SharpMr. William M. SharpWylie and Judy SheldonMr. Daniel ShinMr. and Mrs. Nathan ShoehalterEmilya ShtivelmanMr. Matthew ShusterStephen SiegelmanLaVerne C. and Alan Silverman, in memory of Mary Huff and Hannah SilvermanMr. Dean A. SilversMs. Anne B. SimonsHerbert and Glenda SmithMelanie Smith and Bill PineJennifer SobolMs. Cherrill SpencerMr. Paul SteckelMrs. Gussie StewartFrançoise StoneMr. and Mrs. Thomas H. StoneMr. Benedikt Strebel and Ms. Kathy KlausnerVictoria SungMr. David SwainToby SymingtonNobuyuki TanakaMr. Stanley TanakaAlan TempletonMr. Richard Terdiman and Ms. Linda FoyThe Laney and Pasha Thornton FoundationChris and Naomi ThorpeMs. Jill TolfaMs. Katherine TriestMs. Susan TuohyMr. Paul UphamLaura VaccoMs. Jacqueline S. Valentine and Mr. Robert J. SpjutMs. Linda ValleeMs. Jill Van GeeMr. Leon Van SteenMs. Lucia VarelaMr. Douglas VaughanMr. Patrick VazMr. Eduardo VergaraWalter Chalmers Smith Family FundWilliam WelchMrs. Anne Wellner de VeerMr. Eric WellsPeter Weltner and Atticus CarrJulienne WestonMr. Mark D. Whatley and Ms. Danuta M. ZarodaMr. Doug WilcoxenS.B. Hadley WilsonMs. Jennifer WinchJerri WittKeeman WongDr. Maylene WongMs. Betty WooDr. and Mrs. Roger WuPaul and Pien YarbroughMr. Norman YoungMr. Philip YoungCarolyn ZaroffFrank and Nora ZepedaMichael A. ZimmermanCarl and Betty ZlatchinAnonymous, in memory of Peter F. Ostwald, M.D.Anonymous (14)

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SAN FRANCISCO WAR MEMORIAL AND PERFORMING ARTS CENTER: HERBST THEATRE Owned and operated by the City and County of San Francisco through the Board of Trustees of the War Memorial of San FranciscoThe Honorable London N. Breed, Mayor

TRUSTEESThomas E. Horn, PresidentCharlotte Mailliard Shultz, Vice PresidentNancy H. BechtleStanlee Ray GattiLt. Col. Wallace I. Levin CSMR (Ret.)Gorretti Lo LuiMrs. George R. MosconeMaj. Gen J. Michael Myatt, USMC (Ret.)Paul F. PelosiDiane B. Wilsey Brenda Wright

John Caldon, Managing DirectorJennifer E. Norris, Assistant Managing Director

Elizabeth Murray, Managing Director Emerita

HERBST THEATRE EXIT MAPSIn an emergency, follow any lighted exit sign to the street. Do not use elevator. Walk, don’t run.

2021–2022S E A S O N

A Jo

yful

Ret

urn!

https://sfperformances.org/img/performances/2122/2021-22SeasonBrochure.pdf

Documents

John Churchwell Piano