The Cleveland Orchestra April 7, 8, 9, 10 Concerts

T H E C L E V E L A N D O R C H E S T R AFranz Welser-Möst, Music Director

I N PA R T N E R S H I P W I T H

T H E J O F F R E Y B A L L E TAshley Wheater, Artistic Director

BARTóK ON STAGE:

DOUBLEBILL: BALLET AND OPERABY B é L A B A R Tó K

A PR I L 7, 8 , 9, 1OS E V E R A N C E H A L L C L E V E L A N D — O H I O

2015-16 SEASON

A quiet park comes to life

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2015-16 SEASON

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Program: April 7, 8, 9, 10

IN PARTNERSHIP WITH THE JOFFREY BALLET

BARTÓK ON STAGE — page 25 THE MIRACULOUS MANDARIN — page 26 DUKE BLUEBEARD’S CASTLE — page 27

PERSPECTIVES from the Executive Director — page 7

Mellon Foundation Challenge Grant — page 8

Ohio’s Health Insurance Choice Since 1934

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One of the world’s most respected musical ensembles is found right here

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Medical Mutual is honored to play a part in keeping the health of these

talented musicians in tune and to provide the support and applause they

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Medical Mutual is the official health insurer of The ClevelandOrchestra and everything you love.

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2015-16 SEASON

T A B L E O F C O N T E N T S

THIS WEEK T H E C L E V E L A N D O R C H E S T R A

Upfront From the Executive Director . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 11 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 Music Director: Franz Welser-Möst . . . . . . . . . . . . . 19 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

WEEK 16 BARTÓK ON STAGE Opera-Ballet Doublebill Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Program: April 7, 8, 9, 10 . . . . . . . . . . . . . . . . . . 25-27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 BARTÓK Synopsis: The Miraculous Mandarin . . . . . . . . . 32 BARTÓK Synopsis: Duke Bluebeard’s Castle . . . . . . . . . . . 34

Q&A with the Music Director . . . . . . . . . . . . . . . . . 37 About Béla Bartók . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 About The Miraculous Mandarin . . . . . . . . . . . . 47 About Duke Bluebeard’s Castle . . . . . . . . . . . . . . 49 Education: Visualizing Music . . . . . . . . . . . . . . . . 66

Guest Artists: Joff rey Ballet dancers . . . . . . . . . 56-57 Guest Artists: Petrenko / Dalayman . . . . . . . . . . . . 59 Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61 The Joff rey Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62-63 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . 28, 65 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 19

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 74

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . . . 8 Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 54 Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

WEEK 16

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This program is printed on paper that includes 50% recycled content.

All unused books are recycled as part of theOrchestra’s regular busi-ness recycling program.

These books are printed with EcoSmart certifi ed inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

50%

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association

Eric Sellen, Program Book Editor E-MAIL: [email protected]

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800

The Cleveland Orchestra is grateful to the following organizations for their ongoing

generous support of The Cleveland Orchestra: National Endowment for the Arts,

the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County

through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding

from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

4 The Cleveland OrchestraTable of Contents

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7Severance Hall 2015-16 7

March-April 2016

I have watched and enjoyed The Cleveland Orchestra from the outside for many years. I’ve listened to radio broadcasts since I was very young. I’ve experienced live performances since I was a student in New York City. Since joining the Orchestra as executive director in January, I have had an amazing vantage point from which to ask questions and witness the vast breadth of what is off ered each season.

The Cleveland Orchestra did not become great overnight. It started strong, and kept getting better because this community wanted more. As a result, Cleveland has rightly claimed, for many decades now, a premium spot among the uppermost echelons of the world’s best orchestras. Cleveland’s orchestra has long been synonymous with precision, revered as a well-oiled musical machine. That clarity of sound remains — but today, this Orchestra is also known for the warmth of its sound and an emotional depth and complexity that pairs exactitude with understanding to produce truly great musical experiences. Coming from the outside, what I see as most noteworthy today is the incredible partner-ship that the Orchestra’s musicians now have with Franz Welser-Möst. Fourteen years into this pairing, The Cleveland Orchestra is playing better than at any time in history. Together, Franz and the Orchestra have forged an artistic partnership that brings unique power to the music. Franz chooses repertoire not simply because he wants to perform a certain piece, or because he thinks you will enjoy hearing a particular work, or because he knows The Cleveland Orchestra will play it superbly. All that is very true, but the choices are also made to challenge the musicians onstage — conductor and players alike — to grow ever better together. This Orchestra is not satisfi ed simply to maintain the highest levels of artistic success. Instead, under Franz Welser-Möst’s leadership it has evolved toward ever greater accomplishment, with fl exible and daring artistry. I feel incredibly fortunate to have joined this Orchestra at this time. To be involved, in some small way, in shepherding this great orchestra forward into the future. All of us here in North-east Ohio have the great pleasure of experiencing more of this Orchestra than anyone else in the world. It is a privilege and a joy — and a responsibility. This spring, we have incredible opportunities to hear world premieres and U.S. premieres . . . opera, ballet, theater, and fi lm . . . standard repertoire and pieces lesser known. And such variety in programming is not un-usual for this orchestra. Such diversity is what we all have come to expect, and relish. Thank you so much for recognizing the treasure you possess. Thank you for cherishing and nurturing your Orchestra with your applause and your generosity. By attending concerts, you have a direct role in the musical action and interaction. By supporting the Orchestra through donations, thousands of you are playing a crucial role in making this orchestra The Cleveland Orchestra. And those who have stepped up to support special programming, including April’s Bartók doublebill of opera and ballet, are critical to allowing Franz and his remarkable orchestra to do what they do best. Excellence — the kind that defi nes and is defi ned by The Cleveland Orchestra — is possible only because of you.

Perspectives from the Executive Director

André Gremillet

Passion and drama, beauty and spectacle defi ne these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Ensuring the Orchestra continues presenting the best opera and ballet the world has to off er — right here at home — requires additional philanthropic support each season.

And now, every dollar you contri-bute counts twice . . .

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Ad-vancement Offi ce by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

Time is running out to double your support!

T H E C L E V E L A N D O R C H E S T R A

Ensuring world-class opera and ballet for Northeast Ohio and the future . . .

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Mr. and Mrs. Charles Abookire, Jr.Ms. Nancy A. AdamsDrs. Nathan A. and Sosamma J. BergerMr. William P. Blair IIIMrs. Barbara Ann DavisMr. and Mrs. Ralph DaugstrupDr. M. Meredith DobynsJack Harley and Judy ErnestAngela and Jeff rey GotthardtIris and Tom HarvieDr. Fred A. HeuplerElisabeth HughRobert and Linda JenkinsMr. and Mrs. Richard W. KlymTim and Linda KoelzMr. Clayton R. KoppesPannonius FoundationAnthony T. and Patricia A. LauriaMr. and Mrs.* Thomas A. Liederbach

Ms. Grace LimElizabeth F. McBrideMs. Nancy W. McCannMr. and Mrs. Stanley A. MeiselDeborah L. NealeDr. and Mrs. Paul T. OmelskyMr. J. William and Dr. Suzanne PalmerMs. MacGregor W. PeckPatricia J. SawvelHarry and Ilene ShapiroMs. Frances L. SharpMr. Marc StadiemMr. and Mrs. William W. TaftMs. Ginger Warner Mrs. Darlene K. Woodruff Anonymous

The Cleveland Orchestra applauds the generous donors listed here, who are making possible presenta ons of ar s cally

ambi ous programming of opera and ballet every year.

The Andrew W. Mellon FoundationGeorge* and Becky Dunn

Mrs. Emma S. Lincoln

With Extra Special Thanks . . .

Jim and Karen DakinMr. and Mrs. Dennis W. LaBarreJames and Virginia MeilMs. Beth E. MooneyDr. James and Lynne Rambasek

Blossom Friends of The Cleveland OrchestraJeanette Grasselli Brown and Glenn R. Brown

Judith and George W. DiehlT. K. and Faye A. Heston

Margaret Fulton-MuellerDonald and Alice Noble Foundation, Inc.

Rachel R. SchneiderAnonymous

Listing as of March 2016.

Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

9

Mr. Larry J. SantonDr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena SesslerWomen’s Committee of The Cleveland Orchestra Anonymous

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NON-RESIDENT TRUSTEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of Th e Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of Th e Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95Richard J. Bogomolny 1995-2002, 2008-09James D. Ireland III 2002-08

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. KramerTE

Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. OateyTE

Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. RatnerZoya ReyzisBarbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyHewitt B. Shaw Richard K. SmuckerJames C. SpiraR. Thomas StantonJoseph F. Toot, Jr.Daniel P. WalshThomas A. WaltermireGeraldine B. WarnerJeffery J. WeaverMeredith Smith WeilJeffrey M. WeissNorman E. WellsPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry PollockAlfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson

THE MUSICAL ARTS ASSOCIATION as of January 2016

operating Th e Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director André Gremillet, Executive Director

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Oliver F. Emerson* Allen H. Ford

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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A S I T N E A R S T H E C E N T E N N I A L O F its founding in 2018, The Cleveland Orch estra is undergoing a new trans-formation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orches-tras. With Welser-Möst, the ensemble’s musicians, board of directors, staff , volun-teers, and hometown are working togeth-er on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excel-lence, to renew its focus on fully serv-ing the communities where it performs through concerts, engagement, and music education, to develop the young-est audience of any orchestra, to build on its tradition of community support and fi nancial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devot-ed to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vien-na’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indi-ana University.

Musical Excellence. The Cleve-land Orchestra has long been commit-ted to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknow ledged among the best orchestra-conductor partnerships of to-day. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstand-ing championship of new composers and commissioning of new works helps audi-ences experience music as a living lan-guage that grows and evolves with each new generation. Recent performances with Baroque specialists, recording proj-ects of varying repertoire and in diff erent locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together en-able The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Pro-grams for students and community en-gagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are be-ing created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neigh-borhood residency program, designed to

13Severance Hall 2015-16 13About the Orchestra

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B Y T H E N U M B E R S

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

Seven music directors have led the Orchestra, including George Szell,Christoph von Dohnányi, and Franz Welser-Möst.

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The 2015-16 season will mark Franz Welser-Möst’s 14th

year as music director.

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Over 40,000 young people attend Cleveland Orch estra concerts each year via programs funded by the Center for Future Audiences, through student programs and

Under 18s Free ticketing — making up 20% of audiences.

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Over half of The Cleveland Orchestra’s funding each year

comes from thousands of generous donors and spon-

sors, who together make possible our concert presenta-

tions, community programs, and education initiatives.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931

as the Orchestra’s permanent home.

each year

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, cham-pioned by Franz Welser-Möst in advocacy for the benefi ts of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music educa-tion programs, the Orchestra made national and international headlines through the creation of its Center for Future Audi-ences in 2010. Established with a signifi cant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orches-tra’s continuing work to develop interest in classical music among young people. The fl agship “Un-der 18s Free” program has seen unparalleled success in increas-ing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the fi rst American orchestras heard on a regular series of radio broadcasts, and its Sever-ance Hall home was one of the fi rst concert halls in the world built with recording and broadcasting capabilities. Today, Cleve-land Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), fi lm scores performed live by the Orchestra, collabora-

tions with pop and jazz singers, ballet and opera presentations, and standard reper-toire juxtaposed in meaningful contexts with new and older works. Franz Wels-er-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

An Enduring Tradition of Com-munity Support. The Cleveland Orches-tra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hun-dreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-

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15Severance Hall 2015-16 15About the Orchestra

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

ity of thousands each year that drives the Orchestra forward and sustains its extraor-dinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orch estra quickly grew from a fi ne regional organization to being one of the most admired sympho-ny orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko loff , 1918-33; Artur Rodzinski, 1933-43; Erich Leins dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Wels-er-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refi nements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its home-town, as well as providing an enviable and intimate acoustic environment in which to develop and refi ne the Orch estra’s artistry. Touring performances throughout the Unit-ed States and, beginning in 1957, to Europe and across the globe have confi rmed Cleve-land’s place among the world’s top orches-tras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facili-ties in the United States. Today, concert performances, com-munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constitu-ency around the world.

16 The Cleveland OrchestraAbout the Orchestra

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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distin-guished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partner-ship now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical co-hesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprecedented annual resi-dency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in build-ing up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include crit-ically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearanc-es at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavar-ian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concert-gebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the

Music Director

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Zurich Opera across a decade-long tenure, conducting more than forty new produc-tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Gram-my nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of fi ve of Bruck-ner’s symphonies and a recently-released multi-DVD set of major works by Brahms, fea-turing Yefi m Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the

Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.

AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and perform-ances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the fi nest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times

“Franz Welser-Möst has managed something radical with The Cleveland Orch-estra — making them play as one seamless unit. . . . The music fl ickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times

“There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of ex-pressive grandeur, which Welser-Möst paced with weight and fl uidity.”

—San Francisco Chronicle

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Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair

Kim GomezElizabeth and Leslie Kondorossy Chair

Chul-In ParkHarriet T. and David L.Simon Chair

Miho HashizumeTh eodore Rautenberg Chair

Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

This roster lists the fulltime mem-bers of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R Kelvin Smith Family Chair

T H E C L E V E L A N D

22 The Cleveland Orchestra

Orchestra Roster

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2 *

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairDr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair Sunshine ChairRobert Marcellus ChairGeorge Szell Memorial Chair

* Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal * on sabbatical leave

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


2015-16 SEASON


April 2016Dear Friends,

Welcome to this season’s opera presentation here at Severance Hall. This new production of two Bartók masterpieces advances The Cleveland Orchestra’s ongoing commitment to off ering dramatic stageworks not just as great musical ex-periences, but also as opportunities for dynamic creativity and innovation — and as creative collaborations with great guest artists, onstage and off .

For this weekend’s presentations, we have expanded our decade-long part-nership with Chicago’s renowned Joff rey Ballet, working together to create new stagings of these dark tales by Béla Bartók. This special doublebill, of a ballet and an opera, adds new dimension to Franz Welser-Möst’s ongoing series of staged op-era presentations with The Cleveland Orchestra. Working with choreographer Yuri Possokhov and the Joff rey, Bartók’s nightmarish and chilling stories are brought vibrantly to life, musically and visually — and through movement.

More than 70,000 people have experienced our performances with The Jof-frey Ballet here in Northeast Ohio over the past decade. Nearly 90,000 more have witnessed the Orchestra’s presentations of opera. Franz’s vision — of a cultural hub that shares not just the world’s best music, but the world’s best opera and ballet, with its residents and visitors — has proven a strong calling card, with op-era and ballet performances drawing packed-house crowds of afi cionados from our great city and beyond. These off erings have also elicited the attention of the press — bringing rave reviews and new attention to Cleveland and its hometown orchestra. Your attendance here is testament to the interest and enthusiasm of Northeast Ohio for creative presentations of dramatic musical stageworks.

Please join with me in extending special thanks to The Andrew W. Mellon Foun-dation, whose important and generous grant to the Orchestra — and its matching gift provision (concluding in June 2016) — is working to increase funding so that bal-let and opera can be an ongoing and integral part of each Cleveland Orchestra sea-son. Many thanks as well to the National Endowment for the Arts and the dozens of dedicated supporters whose philanthropy is helping to make possible these produc-tions of opera and ballet each year. (To join your name to the list of opera and ballet supporters, please see pages 8-9.)

André GremilletExecutive Director

Welcome

25Severance Hall 2015-16 Week 16 — Bartók On Stage

Thursday evening, April 7, 2016, at 7:30 p.m. Friday evening, April 8, 2016, at 8:00 p.m. Saturday evening, April 9, 2016, at 8:00 p.m. Sunday afternoon, April 10, 2016, at 3:00 p.m. Severance Hall — Cleveland, Ohio

THE CLEVELAND ORCHESTRAFranz Welser-Möst, Music Director

I N PA R T N E R S H I P W I T H

THE JOFFRE Y BALLETAshley Wheater, Artistic Director

BARTóK ON STAGE:

DOUBLEBILL: BALLET AND OPERABY B é L A B A R Tó K

choreography and stage direction by Yuri Possokhovset, lighting, and projection design by Alexander V. Nichols

costume design by Mark Zappone

with THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

Sunday’s concert is co-sponsored by Great Lakes Brewing Company.

This opera presentation is supported with funding from The Andrew W. Mellon Foundation in partnership with a group of generous Northeast Ohioans (see page 9)

and a grant from the National Endowment for the Arts.

Thursday’s performance is dedicated to Barbara S. Robinson in recognition of her extraordinary generosity in support

of The Cleveland Orchestra’s Annual Fund.

2015-16 SEASON

26 The Cleveland OrchestraWeek 16 — Miraculous Mandarin

[A C S O D Á L AT O S M A N D A R I N ] based on the story by Menyhért Lengyel

One-Act Pantomime Ballet — Opus 19, Sz.73 music by (1881-1945)

CASTYoung Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria JaianiMandarin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yoshihisa Arai Old Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miguel Angel BlancoShy Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Temur SuluashviliThree Thugs . . . . . . . . . . . . . . . . . . . . . Raúl Casasola, Paulo Rodrigues,

and Joan Sebastián Zamora

and members of the Cleveland Orchestra Chorus Robert Porco, director

SETTINGAn unsavory neighborhood of

a large city, at night.

The Joff rey Ballet thanks Orli and Bill Staley for generously supporting the creation of this production of The Miraculous Mandarin

featuring new choreography by Yuri Possokhov.

27Severance Hall 2015-16 Week 16 — Bluebeard’s Castle

[A K É K S Z A K Á L LÚ H E R C E G VÁ R A] based on the French literary tale

“La Barbe bleue” by Charles Perrault

Opera In One Act — Opus 11, Sz.48 music by (1881-1945)libretto by (1884-1949)

CASTThe Bard (Prologue) and Duke Bluebeard . . . . . Mikhail Petrenko, bassJudith, his new wife . . . . . . . . . . . . . . . . . . . . Katarina Dalayman, soprano Bluebeard’s Former Wives . . . . . . . . . . . . . . . . . . . . . . . Amanda Assucena, April Daly, and Victoria Jaiani

SETTINGThe main hall of Bluebeard’s Castle,

with seven locked doors.

Sung in Hungarian with projected English supertitles.

The evening is presented with one intermission, between the ballet and the opera, and will run about two hours in overall length.

Patrons are requested to turn off pagers, cellular phones, and signal watches during performances. The taking of photographs

and the use of recording devices are not allowed in the concert hall during the performance.


Members of the Cleveland Orchestra Chorus

Robert Porco, DirectorLisa Wong, Assistant DirectorJoela Jones, Principal Accompanist

Chorus: The Miraculous Mandarin

Tyler AllenChristopher D. AldrichEmily AustinGerry C. BurdickSean CahillSusan CucuzzaAnna K. DendyCarolyn L. DessinChristopher DewardJeff rey DuberRebecca S. HallCorey Hill *Kurtis B. Hoff manLisa HrusovskyShannon R. Jakubczak

Jason LevyShawn LopezTyler MasonDanielle S. McDonaldMegan MeyerDaniel ParsleyLenore M. PershingTed RodenbornAlanna M. ShadrakeThomas ShawMartha Cochran TrubyGina Ventre

*Shari Bierman Singer Fellow

Now in its seventh decade, the Cleveland Or ch-e stra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fi fty Cleveland-area communities and together contribute thousands of volunteer hours to the Orchestra’s music-making each year.

PRODUCTION

Franz Welser-Möst, conductor and music directorYuri Possokhov, choreographer and director

Alexander V. Nichols, set, lighting, and projection designMark Zappone, costume design

Katherine Selig, stage managerJoseph Short, orchestra stage manager

John S. Bukala, technical director

Mark A. Zappone & Co., costume constructionGregg Benkovich, wardrobe assistant

Milos Repicky, prompter, répétiteur, and rehearsal pianistBrett Mitchell, assistant conductorCharles Latshaw, supertitle operator

For The Joff rey Ballet: Ashley Wheater, Artistic Director Gerard Charles, Director of Artistic Operations and Ballet Master

For The Cleveland Orchestra: Mark Williams, Director of Artistic Planning Julie Kim, Director of Operations

The Miraculous MandarinandDuke Bluebeard’s Castleare presented by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

Production Personnel

ChamberFest Cleveland’s Season 5

will explore tales and legends as portrayed

in music. Musical inspiration appears

in many forms, often revolving around

stories from the profane to the divine.

From literary inspiration to the spinning

of dreams, ChamberFest Cleveland will

take you on journeys of the fantastical,

mystical, and obsessive.

SEASON 5

“TALES & LEGENDS” JUNE 15 - JULY 2 2016

For ticket information call 216.471.8887

Il trovatoreby Giuseppe Verdi

A quintessential part of the opera canon, the production will be fully staged, with soloists, chorus, orchestra, sets, and costumes. Presented in the original Italian with English translation projected above the stage, Il trovatore will once again reassert its place as a staple of operatic repertoire.

Follow the tragic love of the noble Leonora and the troubadour Manrico. Thwarted by the jealous Count di Luna, its course commingles with the shifting fortunes of

feudalism of a turbulent medieval Spain, the deeply-felt piety of its religious orders, and the sinister tales of the elderly Captain of the Guard, Ferrando. Verdi’s superb scoring and soaring melodies bring the story to an ultimate, dreadful cadence, but not without a stupefying plot twist orchestrated by the ancient Gypsy enchantress, Azucena.

Il trovatore will feature the Opera Circle Orchestra under the baton of Joel Smirnoff.

One Performance Only!Saturday, June 11, 2016 | 7:30pm | The Ohio Theatre | PlayhouseSquare

1511 Euclid Avenue | Cleveland OH 44115

216-241-6000 or online at PlayhouseSquare.org

20th Anniversary Season R Dorota Sobieska, Artistic Director

OPERA CIRCLE CLEVELAND

31Severance Hall 2015-16

T W O S T O R I E S T O L D I N M U S I C . This week’s staged presentations off er two diff ering methods of storytelling with music. One is a ballet, the other an opera, both written by the Hungarian composer Béla Bartók a century ago. Both were cutting-edge in their time, musically and in the philosophical nature of the storytelling. As Franz Welser-Möst says in talking about the two (see page 37), these are not stories with happy endings. Indeed, they are dark tales of love and obsession gone wrong, of animalistic greed and desire deep within human nature. In these brand-new made-for-Cleveland productions created for this doublebill, the world-renowned Joff rey Ballet does the storytelling for The Miraculous Mandarin while two world-class singers and dancers from the Jof-frey work together for Duke Bluebeard’s Castle — managed by a creative team headed by choreographer and director Yuri Possokhov. As you contemplate these works (see synopsis of each on pages 32-35), you can also read more about the composer (beginning on page 41) or about each piece (page 47 or 49), or about the creative people involved in bringing these grim but telling tales to vibrant, thrilling life. Enjoy the suspense, and the art of human interaction — riddles of love and lust, of light and dark.

—Eric Sellen

begins on page:Cast and Production Team . . . . . . . . . . . . . . . . . . . . . . . . 25-28Synopsis: The Miraculous Mandarin . . . . . . . . . . . . . . . . . . 32Synopsis: Duke Bluebeard’s Castle . . . . . . . . . . . . . . . . . . . 34Music Director’s Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 About the Composer: Béla Bartók . . . . . . . . . . . . . . . . . 41 About The Miraculous Mandarin . . . . . . . . . . . . . . . . . . . . 47 About Duke Bluebeard’s Castle . . . . . . . . . . . . . . . . . . . . . . 49Bios: About the Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-59Bios: Creative Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61About The Joff rey Ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . 62- 63Bio: Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19About The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13

I N T R O D U C I N G T H E C O N C E R T S

Dark Opera Murderous Ballet

&

Introducing the Performance


SYNOPSIS

Amidst the chaos of a big city, three Thugs search their room and pockets for money, but fi nd none. They entice a Young Woman to stand by the window to lure in passing men for them to rob. The Young Woman begins the “First Decoy Game.” Almost at once, an Old Man approaches. The Thugs hide. The Old Man enters, pitifully indicating his desire to make love to her. She searches his pockets for money, but he has none. The three Thugs leap out from their hid-ing places, seize the Old Man, and throw him out. They turn again to the Young Woman, and encourage her to return to the window for a “Second Decoy Game.” The Young Woman sees another man approaching. The Thugs hide. A Shy Man enters, confused and hesitant. The Young Woman touches him encourag-ingly, even though he has no money. She draws him towards her. She dances

for him, at fi rst shyly, then with more feeling. But the Thugs jump out, seize the Shy Man, and throw him out. The Young Woman returns to the window to fi nd somebody suitable, and she begins the “Third Decoy Game.” The Thugs hide, as a strange fi gure ap-proaches from the street. The Mandarin enters, with cold in-tensity. The Young Woman is intrigued, but stands away from her new guest. The Thugs urge her to begin the seduc-tion. She begins to dance for him, gath-ering strength as the dance builds into a seductive display. As she dances, the Mandarin walks away, with aloof inter-est. He returns to embrace her — and they begin to dance. He trembles in ex-citement. The Young Woman shudders and tears herself away. He chases her with growing urgency. Finally, he catch-es the Young Woman. As she re-

Miraculous Mandarin — Synopsis

SYNOPSIS

Th e Story


sists, the Thugs leap out, and tear him away from her. The Thugs decide they must kill the Mandarin. The Thugs attack him. He sways and begins to collapse, but reaches out with renewed passion for the Young Woman. The three Thugs restrain the Man-darin, and realize they must kill him yet again! They drag him forward and hang his body up, but the Mandarin will not die. He continues to stare at the Young Woman, who fi nally realizes that ap-peasing the Mandarin is the only way to end the turmoil. She releases him. The Mandarin falls on the fl oor and at once leaps at the Young Woman. She resists no longer. The Mandarin’s long-ing is stilled, and his wounds begin to bleed. His desire ends in her embrace, and he dies.

Bartók composed the pantomime-ballet The Miraculous Mandarin (the title in Hungar-ian is “A csodálatos mandarin”) in 1918-19, based on a magazine story by Men yhért Lengyel. He completed orchestrating the score in 1923-24, and revised it further in sub-sequent years. Bartók and composer-pianist György Kósa played a part of the score in a piano-duet version on Hungarian Radio on April 8, 1926. The fi rst performance of the complete stage work took place on Novem-ber 27, 1926, in Cologne under the direction of Eugen Szenkár. In 1927, Bartók extracted a concert suite from the ballet. The Miraculous Mandarin runs about 30 minutes in performance. Bartók scored it for 3 fl utes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets, bass clarinet, 4 bassoons (fourth doubling contra-bassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (large and small side drum, snare drum, bass drum, cymbals, triangle, tam-tam, xylophone), celesta, harp, piano, organ, strings, and optional chorus. The Cleveland Orchestra fi rst played music from The Miraculous Mandarin in December 1969, when István Kertész led per-formances of the Ballet Suite. Both the Suite and complete ballet music have been pro-grammed regularly in concert since that time, most recently led by Franz Welser-Möst in 2008. The Orchestra previously performed in a staged version of the work in August 1971, when they partnered with the touring Vienna State Opera Ballet at Blossom Music Center.

At a Glance

The Miraculous Mandarinmusic by Béla Bartókcomposed 1918-24

Miraculous Mandarin — Info


SYNOPSIS

Duke Bluebeard and his new wife, Ju-dith, have arrived at his castle. Despite dark and frightening rumors about Bluebeard, Judith believes that her love for him can bring the warmth of happi-ness into his life and the reassuring joy of light into his gloomy home. They en-ter the castle. Judith explores the dark room and damp walls, wet as if the castle itself is weeping. She sees seven doors, but all are locked. Professing her love, Judith asks that the doors be opened to let light into the castle. Bluebeard tells her that happiness is beyond his reach, and warns that opening the doors is fraught with danger. Judith calls on the strength of her love to calm her fears. She knocks on the First Door — and hears sighing. She insists on going further, and Bluebeard gives her the key. She opens the door and is horrifi ed to discover Bluebeard’s torture chamber. Claiming to be unafraid, Judith requests the key to the Second Door

— and opens it to reveal Bluebeard’s armory, the weapons shining bright, but also stained with blood. Judith wants to know more. Be-hind the Third Door, she sees Blue-beard’s treasury, fi lled with bright jewels and coins, but blood stains darken ev-erything. The Fourth Door opens out to a garden full of bloom and promise. But the fl owers seem to wither, watered with blood. Seeing that Judith’s insatiable curiosity is now transfi xed on learning more, regardless of the outcome, Blue-beard leads her onward. He demands that she unlock the Fifth Door. A grand vista is revealed, bathed in sunlight, looking out across the Duke’s vast king-dom. But blood-red clouds darken the scene, obscuring the sun and giving a ghastly pallor to everything. Bluebeard warns Judith that she does not want to know more, that her love for him can be enough and sug-gests that knowledge gained cannot be

Th e Story

Bluebeard’s Castle — Synopsis


55555

lost. But Judith does not want to stop — and insists that Bluebeard give her the key to the Sixth Door. Behind it is a lake of tears, surrounded by the sound of infi nite crying. Bluebeard refuses to give up the seventh and fi nal key, but he under-stands that he must answer for his past, must yield to what fate reveals. Judith asks to know about the women Blue-beard has loved before her. When he will not answer, she comes to under-stand that the answer is behind the last door. Finally, Bluebeard gives her the key to the Seventh Door. Opening it, Judith fi nds Bluebeard’s former wives, where fate has locked them in. She is overwhelmed by their beauty. Blue-beard tells her that these are the brides of his life’s morning, noon, and evening — and that Judith will now be the dark bride of his night, the most beautiful . . . and silent like the rest. The door closes, leaving Bluebeard alone in his castle, in the darkness of his life.

Bartók began composing his one-act opera Duke Bluebeard’s Castle (the title in Hungar-ian is “A kékszakállú herceg vára”) in 1911, using a libretto by Béla Balázs based on an old French tale fi rst written down by Charles Perrault. Bartók completed most of the opera the next year, then revised it with a new end-ing in 1917. The opera’s premiere took place at the Royal Hungarian Opera, Budapest, on May 24, 1918, with Egisto Tango conducting and with Olga Haselbeck and Oszkár Kálmán as the two singers. Bartók’s opera runs about an hour in per-formance. It calls for two singers: Bluebeard (bass) and Judith (soprano), plus an orchestra of 4 fl utes (third and fourth doubling piccolo), 2 oboes, english horn, 3 clarinets (fi rst and sec-ond doubling piccolo clarinet in E-fl at, third doubling bass clarinet), 4 bassoons (fourth doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, bass tuba, timpani, percussion (bass drum, snare drum, tam-tam, cymbals, suspended cymbal, xylophone, triangle), 2 harps, celesta, organ, and strings. In addition, four trumpets and four trombones are added off stage for the scene of the fi fth door. The Cleveland Orchestra fi rst performed Bartók’s opera in April 1961, in a concert pre-sentation conducted by Louis Lane. It has been presented in concert three additional times, in March 1972 led by Pierre Boulez, in April 1999 conducted by Christoph von Dohnányi, and in February 2008 with Boulez.

At a Glance

Duke Bluebeard’s Castlemusic by Béla Bartóklibretto by Béla Balázs composed 1911-17

Bluebeard’s Castle — Info

In Rehearsal

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I


Q: How did the idea to partner with The Joff rey Ballet for these new productions in Bartók on Stage come about? Franz: “I’ve wanted to do Bluebeard’s Castle for a long time, but it is only half an evening. So the question is always what to pair with it? The extraordinary part-nership that we have developed with The Joff rey Ballet, and its artistic director, Ashley Wheater, over the past decade helped give us the answer — to present an-other masterpiece that Bartók had written for the stage, The Miraculous Mandarin. For this special Bartók doublebill, opera and ballet are brought together to create a full program, with collaboration between dancers, singers, and musicians. The story of Mandarin is told completely through movement and ballet. Bluebeard’s Castle, meanwhile, calls for just two singers, but our idea was to add dancers for this production, to tell more of the inside story, to develop Bluebeard’s former wives through movement. Creating such new productions helps to engage the imaginations of everyone involved.” Q: Please talk about the music that Bartók wrote for this ballet and this opera. Are they connected in any way? Franz: “When talking about Bartók’s music, it is important to understand where his style came from. After some early works, he was looking for new ways to write, new sources of inspiration. And he and his colleague Zoltán Kodály went out and collected folksongs. They recorded in many villages. And then they studied this living history of Hungarian folk music. You can hear this infl uence and evolution in Miraculous Mandarin and in Bluebeard’s Castle. The source of energy of both pieces is deeply rooted in the sounds of this folk music. But because these are thrilling stories and cruel, too, Bartók took this underlying basis and distorted and twisted it. The musicians of the Orch estra and I have to work to bring out the rustic, danc-ing, folk elements in the music, but we must also understand how Bartók twisted and distorted things to feel diff erent — so that the distorted quality comes across. This is music painted in strong and unexpected colors. There is nothing gentle or easy-going beneath this, there is always something threatening, something fear-ful. And it has to be that way, to move the action along and to bring these charac-ters, who are becoming more and more frightened, to the end of each story.”

Q: What should audiences expect from these two stageworks? Franz: “I think that when you go to this presentation, you should be prepared for something thrilling. Not just because it is being staged in an interesting way, but

Q&A

Franz Welser-Möst talks aboutopera and ballet, thrillers and art

Q&A: About Bluebeard and Mandarin


because these two stories are thrillers. Literally. These are not nice stories, they involve deception and murder. They help us to understand that there may be a dark side, or something unknown, within each of us. This opera and this bal-let, in the stage directions that Bartók wrote, do not tell us everything. Each new production of these works may emphasize certain aspects, but it is also for each audience member to think about and to consider what these stories tell us. There are recurring or repeated actions in each work, and the music refl ects this, but with a diff erence each time. In The Miraculous Mandarin, the Young Woman dances her “Decoy Game” three times, for three diff erent men, and with diff er-ent outcomes. Part of the thrill is waiting, on the edge of your seat, to see what happens each time. In Bluebeard’s Castle, Judith opens one locked door after another, discovering more and more about her husband’s past. Eventually she asks about his former wives, and we feel anxiety and fear for Judith, and what may happen to her. This is the drama of these stories. I hope that people al-ways leave Severance Hall having had an emotional experience with our music. Sometimes it may be full of joy, or it may be sadness, or intense contemplation of what you have seen and heard. In opera, certainly, not everything ends hap-pily. And that’s part of learning about life — and it is refl ected in great art, it is something that art helps us to understand.”

Q&A

continued

While he was in Cleveland to perform as soloist in his Second Piano Concerto in December 1940, composer Béla Bartók sat for a series of studio

shots by photographer Geoff rey Landesman.

(Photograph courtesy of The Cleveland Orchestra Archives)

Q&A: About Bluebeard and Mandarin

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WORLD PREMIERE IN CLEVELAND

A Centennial Exhibition

Through June 12Experience Royal Life

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art.

The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation.

Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576). Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015. Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

Marcel DuchampApr 5 – Jul 3

Titian Through Apr 3

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Karl Schmidt-Rottluff Aug 25 – Dec 18

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W I T H M A N Y C O M P O S E R S , one can look back and find the roots of their youthful style in the works of just one or two predecessors. Béla Bartók is diff erent. All his life he composed amid a cloud of infl uences. Like his early idol Debussy, he was a sponge for musical idioms, eagerly soaking up the new and the old, the local and the exotic, the simple and the arcane, integrating them with his musical personality and following them to the limits of his imagination. In this sense, Bartók was a “derivative” composer — just as Shakespeare was a “derivative” playwright. Their voices derived from everything around them. They worked with the world they saw (and heard) and refashioned it into something of their own. Bartók’s musical voice is fi lled with detailings that musicians can ad-mire, even when many of us can’t understand the labels put on the meth-ods. Thanks to his study of linear structure in Baroque music, Bartók’s works abound with enough canons, inversions, retrogrades, and fl ip-fl opped tet-

Béla Bartók — New Sounds


rachords to satisfy any note-picking analyst. Yet even a non-musician (who may have no understanding of what those terms mean) can revel in the ever-changing colors with which Bartók paints his often enigmatic sound pictures. Chords, po-lyphony, drones, and melodic fragments; wide or tight spac-ing of musical lines; busy rhythms or interstellar calm; every kind of tone a given instrument can produce — all this and more make Bartók’s works an aural feast unsurpassed in the repertory. (Don’t fret about those musical defi nitions, terms, and types. Just listen! It’s how they work within the music that matters, much more than “what” they are.)

B É L A V I K T O R J Á N O S B A R T Ó K was born in Nagyszent-miklos, Hungary, in 1881, and died sixty-some years later, in 1945, in New York City, of leukemia. The world changed

across those years, as it does across any life. The musical world in particular changed — although, at the time, it was anyone’s guess as to which direction things might skew. In hindsight, from more than a centu-ry later, the direction that “new” music took seems almost comfortable and obvious, but in the divergent pushings forward, of Mahler and Sibelius, Schoenberg and Stravinsky, De-bussy and Ravel, Bartók and Janáček . . . noth-ing was pre-ordained. Living through and making history as you go is quite diff erent from studying it, or listening to it . . . decades later. To begin with, the musical world of Bartók’s youth was not exactly seething with innovation. At the turn of the century, of the

19th into the 20th century, Johannes Brahms remained the dominant fi gure in classical music throughout much of cen-tral Europe, including Hungary. Ernö Dohnányi (1877-1960), the young Hungarian composer then thought “most likely to succeed,” would remain an unrepentant Brahmsian all his life. Mahler was best-known as a conductor; his symphonies . . . simply odd and diff erent. For every Hungarian name on a music faculty, there seemed to be two German ones. New-music enthusiasts eagerly awaited works by the Germanic Richard Strauss but knew little of the new-French sounds of

Béla Bartók — His Musical Style

Throughout his life,

Bartók composed amid a

cloud of infl uences. He

was a sponge for musical

idioms, eagerly soaking

up the new and the old,

the local and the exotic,

the simple and the arcane,

integrating them with his

musical personality and

following them to the

limits of his imagination.


Claude Debussy. Even Bartók’s early symphonic poem, Kossuth from 1903, with its nationalistic program, was modeled on Strauss and spoke in the kind of parlor “Hungarianisms” popularized for half a century by Liszt and Brahms. This was classical mu-sic dressed up in Hungarian costume, rather than Hungarian music with depth and passion. Characteristically, the success of Kossuth only sharpened Bartók’s contempt for “Hungar-ian music” of the time. Indeed, it was not until 1905, when he and fellow composer Zoltán Kodály began collecting peasant songs in the fi eld, that he found the true national idiom he was looking for — and ingredients to make what he thought might be real Hungarian music and not just Brahms with an accent. More new sounds reached Bartók in 1907, this time from France. Bartók recognized in the music of Debussy and Ravel, for all its exoticism and seeming haziness, a profound sense of musi-cal structure. Clearly, he felt, the European clas-sical tradition wasn’t exhausted yet; it could still point the way to uncharted musical territory! Before the year was out, Bartók was already well into that territory. His Fourteen Bagatelles for piano caused the pianist-composer Ferruccio Busoni to comment, “Endlich etwas wirklich neues” [“At last, something really new”]. And Bartók’s First String Quartet, completed the following year, shows the young composer waging a sometimes losing battle to get his music’s French, German, and Hungarian godparents to sit down at the same table, while still producing music of notable origi-nality and vitality — and diffi culty for his contem-poraries to comprehend. In the decade that followed, we can trace the emergence of a unifi ed Bartók style from work to work. In particular, the pentatonic folk-style melodies (built on scales of fi ve notes instead of the seven “normal” notes of Western music) of Duke Bluebeard’s Castle (1911) no longer sound like transcriptions from Bartók-the-ethnomusicologist’s Edison cylinder collection, but seem quite at home in their

1 8 8 1 -1 9 4 5

Bartók was sickly as a child. His father, head of the local Agricultural School, died when was Béla was just seven. His mother noted Béla’s musical abili-ties early, and he gave his fi rst public recital at age 11. He studied piano with István Thomán, a former student of Franz Liszt, at the Royal Academy of Music in Budapest. In 1909, he mar-ried Márta Ziegler, and together they had a son, Béla III. They were divorced in 1923 — and two months later Bartók married Ditta Pásztory, one of his own piano students. They named their son, born in 1924, Peter.

Béla Bartók — His Life

44 The Cleveland OrchestraBéla Bartók — His Musical Style

Béla Bartók and his second wife, the pianist Ditta Pásztory, circa late 1930s.

operatic context. Meanwhile, new infl uences continued to pile up. Bartók’s folk music research took him farther afi eld, to Romania, Slovakia, even North Africa. And in 1912, a student returning from Vienna brought Bartók a copy of Schoenberg’s Three Piano Pieces, Opus 12; the teacher discovered, he said later, “new possibilities of technique and expression resulting from the suspension of the principle of tonality.” The key word there is “suspension.” Bartók never completely abandoned tonality — the styling of keys and harmonies that we might narrowly, in the Western musical tradition, call melodic — in

favor of other organizing principles. In fact, his language required tonality to continue, how-ever deeply submerged, as a reference point, a family farm for the prodigal son (the music itself) to come home to. Even the ballet The Miraculous Mandarin (1918-19), with its lurid narrative and determinedly “modern” disso-nances, has a home key it longs for — a sense of right and wrong, so to speak, however far the characters (and the music) may stray. Of course, the censor in Budapest didn’t get that, and The Miraculous Mandarin was banned in Hungary for decades for its immorality — even if its musical longing for tonality gives off a whiff of something more “normal.” And, indeed, even setting aside the

ballet’s scandalous subject matter, the Bartók musical style can be challenging to penetrate. But the attentive listener is rewarded not only with an impressive display of musical craft, but with the kind of encounter with gritty integrity that is rare in life or art. In 1920, Bartók wrote of Stravinsky: “Under the infl uence of Schoenberg he did not lose his individuality; on the contrary, in this way he unfolded, as it were, even more freely; the direction indicated by Schoenberg led him in a similar direction, but further, and on a diff er-ent path.” Those words would do very well for a self-portrait of this great Hungarian musician, who was and became even more clearly himself, but was greatly infl uenced by the times and sounds he lived in. —David Wright © 2016

David Wright served as program annotator for the New York Philharmonic, and is now a writer about music for orchestras and festivals in North America and Europe.


“ W H O K N O W S W H E N my pantomime, The Miraculous Mandarin, will achieve performance?” wrote Bartók to a friend. The answer, in Budapest at least, was not for more than a quarter of a century after the work was com-pleted in 1919, a performance Bartók did not live to see. The fi rst miracle of The Miraculous Mandarin was that it was composed at all. During a period of intense political upheaval in Hungary, the conditions hardly favored any new theatrical production, much less one as controversial as this piece. Bartók hoped for a repetition of the success in previous seasons of The Wooden Prince (1917) and Duke Bluebeard’s Castle (1918), but his choice of a lurid, ultra-violent libretto by Menyhért Lengyel proved unacceptable to the government censors. The Miraculous Mandarin had to wait seven years for its fi rst performance, in Cologne in 1926. The composer’s concert suite of ex-cerpts from the pantomime — still the form in which this music is best known — was introduced, without stage action, in Budapest in 1928. The action is still enough to give any presenter pause. A character known only as the Girl (or Young Woman) lures men with a sexy come-on into her room, where her three male accomplices beat and rob them. Two men, an old roué and a callow youth, get this treatment, only to be thrown out be-cause they have no money. The third, an enigmatic Mandarin, seems impas-sive at fi rst, but becomes aroused by the Girl’s attentions. Frightened by his glowing eyes, she tries to fl ee, and he pursues her. In the ensuing struggle, the robbers intervene and take the Mandarin’s money. They try to smother

About: Miraculous Mandarin

“. . . an Old Man, a Shy Man, and a Mandarin walk into a ballet . . .”

music by Béla Bartókcomposed 1918-24

THE


Design for a post-World War II production of The Miraculous Mandarin at La Scala, Milan.

About: Miraculous Mandarin

him and to stab him to death, but instead of dying, he con-tinues to pursue the Girl. They hang him from a chandelier, which comes crashing down, and then, according to the stage directions in the score, the only light in the room is a strange green glow coming from the Mandarin. The Girl takes pity on him and embraces him, freeing the Mandarin at last to bleed and die. As in Bluebeard, Bartók and his librettist were working with ancient archetypes of Woman as temptress and destroy-er, and ultimately rescuer, of Man. The primordial force with which Bartók expressed this idea musically is similar to, and no doubt informed on some level by, Stravinsky’s The Rite of Spring, composed (and premiered amid a famous audience

riot) six years earlier. However, the resourceful use of just a few characteristic chords and scales, and their transformation into clear characterizations of the diff erent persons in the drama, are vintage Bartók, and a sign of how he might have enriched the opera and ballet repertories, had these works received the welcome they deserved — which could have encouraged him to write more stage works. In-stead, Bartók turned for the rest of his life to songs, piano music, folk music transcriptions, and concertos

for his concert tours, composing large orchestral works only on commission, and no more for the stage at all. Neverthe-less, the mark he left on those other genres — and on the imaginations of composers who came after him — has se-cured his reputation as one of the twentieth century’s great-est masters. —David Wright © 2016


A LT H O U G H H E I S R E V E R E D T O D AY as the composer who put the real Hungary on the musical map, Béla Bartók was a prophet without honor in his own country in 1911, when he undertook his fi rst (and, it turned out, his last) opera, a setting of Béla Balázs’s symbolist drama, Duke Bluebeard’s Castle. As in centuries past, it was still true at that time that the road to public recognition for many composers led through the opera house. And so we fi nd Bartók writ-ing to the English composer Frederick Delius in March of that year that he had begun “a diffi cult job — that is to say a one-acter.” That laconic reference stood for a host of diffi culties, beginning with the ambitious goal, as Balázs put it, to “delineate modern souls with the plain primi-tive colors of folksongs.” Bartók had spent countless hours in the villages of Hungary and neighboring countries capturing the songs of country people on paper and with a wax-cylinder recording machine, both for musicological pur-poses and to enliven his own composing style. The diffi culty with that was that neither the public nor the musical au-thorities of Budapest had shown much interest either in the latest musical ideas from abroad or the ancient musical heritage of the Hungarian people. Bartók, with his profound devotion to both, could only hope that the occasion-

About: Bluebeard’s Castle

Man & Wife . . .Darkness & Light . . .

music by Béla Bartóklibretto by Béla Balázs composed 1911-17

DU

KE

Illustration of the tale of Bluebeard, by Gustave Doré, 1862


al success of a work such as his First String Quartet (1909) in a western European capital would echo in his uncomprehending home city. With the additional burdens of his son Béla’s birth and the seri-ous illnesses of his wife Márta and himself, Bartók depended more than ever on his teaching job at the Budapest Academy of Music to hold his life together. His technique at the piano suff ered, temporarily closing off another avenue of musical activity. (Fortunately, he later rekindled his playing and went on to be one of the most admired pianists of his time — including performances with The Cleveland Orchestra here at Severance Hall.) Continuing with Bluebeard, he persevered with the “diffi cult job” and completed the opera later that year before submitting it to a compe-tition for a Hungarian opera. The jury, however, whose conception of op-era was apparently shaped by the foreign works in translation that were then virtually the entire operatic diet of Budapest, failed to recognize just

how very Hungarian this new “one-acter” by Bartók was, and rejected it. (Ironically, a sort of mirror-image diffi cul-ty has impeded this opera’s progress abroad. Bartók’s musical setting is so imbued with the characteristic stresses of the Hungarian language — especially the “trochaic foot,” or persistent emphasis on the fi rst syllable of every word — that translations of its libretto into other European languages tend to sound forced and monotonous. Happily, most often anymore performances are in the original Hungarian.) Duke Bluebeard’s Castle sat unproduced for seven years, until at last the musically-pro-gressive conductor Egisto Tango, having had success in Budapest with Bartók’s fairy-tale

ballet The Wooden Prince in 1917, performed the opera to almost equal ac-claim the following year. The composer revised the score for that produc-tion and returned to it for touch-ups in 1921, producing the version now heard at most performances. The Bluebeard story, in which an innocent young woman enters the world of a mysterious older man and only gradually learns of his history of imprisoning and/or murdering women, is a psychological archetype that runs through innumerable folk traditions and fairytale collections, including Charles Perrault’s Tales of Mother Goose. Grétry, Off enbach, and Dukas are a few of the composers who had composed

The Bluebeard story,

in which an innocent

young woman enters

the world of a mysterious

older man and only gradu-

ally learns of his history

of imprisoning and/or

murdering women, is a

psychological archetype

that runs through innu-

merable folk traditions

and fairytale collections.


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Béla Balázs, who wrote the libretto for the opera Duke Bluebeard’s Castle.

Hungarian postage stamp commemo-rating Duke Blue-beard’s Castle.


operas on it before Bartók did so. Assuming the audience’s familiarity with the story’s basic outline, Balázs (and conse-quently Bartók) felt free to play with their expec-tations, so that what the curious woman fi nds behind the seven locked doors in Bluebeard’s castle is not the corpses of his previous wives but scenes that illuminate the barrenness of his — and, the poet strongly implies, the audience’s — existence. The poet also gave the woman the name of another archetyp-al fi gure, the biblical Judith, who saved her people from destruction by the Assyrian general Holofernes by giving herself to him, then slaying him by decapitation, a kind of symbolic castration. (In fact, in some versions of the folktale, Bluebeard suff ers the same fate.) And in fact, Balázs’s and Bartók’s Judith is very much the active fi gure in this two-character drama, overcoming the Duke’s reluctance with her determination to bring light into the dark corners of his life, embodying the concept of the civilizing Eternal Feminine then much in vogue in the plays of George Bernard Shaw and others. Debussy, particularly in his only opera Pelléas and Mélisande1 (1902), is the godfather to Bluebeard’s fl oating harmonies, which re-fuse to resolve into major or minor tonality — and to the work’s focus on psychological states evoked in the listener rather than on charac-ter and action onstage. In addition, Bartók’s immersion in Hungarian language and folkways imbues the score with ancient modal harmo-nies, as well as two characteristic melodic patterns from folk music: parlando rubato, meaning speech-like and rhythmically free; and tempo giusto (“exact tempo”), a sort of suit of rhythmic clothes for the free parlando, in which phrases of irregular length are driven by a regular beat. This interplay of surprise with regularity is built into the opera’s simple, ballad-style “stanza” structure, in which the seven doors are unlocked one by one, musically refl ected by the recurring “blood motif” in various guises and tonalities. Bartók builds the arc of the drama to a point of almost unbearable tension leading up to the opening of the seventh door. Just as artfully, he shifts the focus of the drama from Judith’s uncertain fate at the beginning, to the tragedy of Bluebeard himself by the end. —David Wright © 2016

1The Cleveland Orchestra and Franz Welser-Möst present Debussy’s Pelléas and Mélisande next spring as the Orchestra’s annual opera production during the 2016-17 season.


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have em-barked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the

Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Offi ce at 216-231-7558. Listing as of March 10, 2016.

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger Clapp*EatonFirstEnergy FoundationForest City The George Gund FoundationMr. and Mrs. Michael J. HorvitzHyster-Yale Materials Handling NACCO Industries, Inc. Jones DayThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol CorporationThe Andrew W. Mellon Foundation

Ms. Beth E. MooneySally S.* and John C. MorleyJohn P. Murphy FoundationDavid and Inez Myers FoundationThe Eric & Jane Nord Family FundOhio Arts CouncilThe Honorable and Mrs. John Doyle OngThe Payne FundPNC BankJulia and Larry PollockMr. and Mrs. Alfred M. Rankin, Jr.James and Donna ReidBarbara S. RobinsonThe Leighton A. Rosenthal Family Foundation The Sage Cleveland FoundationThe Ralph and Luci Schey FoundationThe Kelvin and Eleanor Smith FoundationMr. and Mrs. Richard K. SmuckerThe J. M. Smucker CompanyJoe and Marlene TootAnonymous (3)

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. CutlerCuyahoga County residents through Cuyahoga Arts and CultureNancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family FoundationMrs. Alfred M. Rankin, Sr.Mr. and Mrs. Albert B. RatnerAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund


Gay Cull AddicottAmerican Greetings CorporationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* ConradDr. and Mrs. Hiroyuki Fujita GAR FoundationRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMr. and Mrs. Douglas A. KernJames and Gay* Kitson

Virginia M. and Jon A. LindsethMs. Nancy W. McCannMedical Mutual of OhioNordson Corporation FoundationParker Hannifi n FoundationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (4)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationMr. and Mrs. George N. AronoffJack L. BarnhartFred G. and Mary W. BehmMadeline & Dennis Block Trust FundBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMr. and Mrs. David J. CarpenterMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlErnst & Young LLPMr. Allen H. FordFrantz Ward LLPDr. Saul GenuthThe Giant Eagle FoundationJoAnn and Robert GlickHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyThe Hershey FoundationMr. Daniel R. HighMr. and Mrs. Donald M. Jack, Jr.Bernie and Nancy Karr

Mr. and Mrs.* S. Lee KohrmanKenneth M. Lapine and Rose E. MillsDr. David and Janice LeshnerLitigation Management, Inc.Jeffrey LitwillerLinda and Saul LudwigDr. and Mrs. Sanford E. MarovitzMr. Thomas F. McKeeThe Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernThe Margaret Clark Morgan FoundationThe Nord Family FoundationOlympic Steel, Inc.Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger FoundationAmy and Ken RogatAudra and George RoseRPM International Inc.Mr. Larry J. SantonRaymond T. and Katherine S. Sawyer

Mrs. David SeidenfeldDavid ShankNaomi G. and Edwin Z. SingerDrs. Charles Kent Smith and Patricia Moore SmithSandra and Richey SmithGeorge R. and Mary B. StarkMs. Lorraine S. SzaboVirginia and Bruce TaylorTucker EllisDorothy Ann TurickThe Denise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteThe Edward and Ruth Wilkof FoundationKatie and Donald WoodcockWilliam Wendling and Lynne WoodmanAnonymous (3)

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. EvansThe William Bingham FoundationBlossom Friends of The Cleveland OrchestraMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesThe George W. Codrington Charitable FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationMr. and Mrs. Matthew V. CrawfordWilliam and Anna Jean CushwaNancy and Richard DotsonGeorge* and Becky Dunn Patricia Esposito

Sidney E. Frank FoundationAlbert I. and Norma C. GellerThe Gerhard FoundationMary Jane HartwellDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland III*Trevor and Jennie JonesElizabeth B. JulianoMr. Clarence E. Klaus, Jr.Giuliana C. and John D. KochDr. Vilma L. Kohn*Mrs. Emma S. LincolnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. MorrisonMargaret Fulton-MuellerNational Endowment for the ArtsRoseanne and Gary OateyWilliam J. and Katherine T. O’NeillQuality Electrodynamics (QED)Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationRichard and Nancy SneedR. Thomas and Meg Harris StantonMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign


Victoria Jaiani as YOUNG WOMAN (Mandarin) and FORMER WIFE (Bluebeard)

Victoria Jaiani joined The Joff rey Ballet in August 2003. Born and raised in Tbilisi, in the Republic of Georgia, Ms. Jaiani began her training at the age of ten at V. Cha-bukiani Ballet School. She continued her studies in New York and in June 2003 was awarded a Bronze Medal at the New York International Ballet Competition. Since joining the Joff rey, she has danced leading roles in many ballets, including Christopher Wheeldon’s Swan Lake (Odette-Odile), Stanton Welch’s La Bayadère (Nikia, Gamzati), Frederick Ashton’s Cinderella (Cinderella), Giselle (Giselle), John Cranko’s Romeo and Juliet (Juliet), Yuri Possokhov’s Don Quixote (Kitri), Ronald Hynd’s The Merry Widow (Henna Glawari), Lar Lubovitch’s Othello (Desdemona), and the Sugar Plum Fairy in Robert Joff rey’s The Nutcracker. Ms. Jaiani has originated the lead pas de deux in a number of acclaimed new ballets. Her honors include being named by Today’s Chicago Woman as one of Chica-go’s top women in the arts, and as “best dancer” by Chicago Magazine in 2013. Ms. Jaiani is married to Joff rey danc-er Temur Suluashvili.

Yoshihisa Arai as THE MANDARIN

Born in Yamaguchi, Japan, Yoshihisa Arai joined The Joff rey Ballet in 2012. He be-gan his ballet training at age ten with the International Ballet Academy under Mika Tamaru. In 2005, he went on to train with the Royal Ballet School in London, where he danced roles in Coppélia, Le Corsaire, La Sylphide, Gallantries by David Bintley, and Unwritten by Natalie Wei. He gradu-ated with honors and received the school’s Achievement Award, and performed with the Royal Ballet for The Rite of Spring and Balanchine’s Jewels, among other roles. In 2008, Mr. Arai joined Northern Ballet under the direction of David Nixon. During his time there, he danced in many acclaimed roles in ballets including The Nutcracker, Peter Pan, Dracula, A Midsum-mer Night’s Dream, Swan Lake, Romeo and Juliet, and Cleopatra. Mr. Arai was a demi-soloist with Tulsa Ballet 2011-12. Yoshihisa Arai’s honors include plac-ing second in the Kobe International Bal-let Competition in 2002, and third at the Fukouoka Ballet Competition in 2004. He was a Prix de Lausanne fi nalist in 2007. Mr. Arai also performs in Japan as a guest dancer and teaches at Japanese bal-let schools as a guest teacher.

Joffrey Dancers Onstage

57Severance Hall 2015-16 Joffrey Dancers Onstage

Miguel Angel Blancoas OLD MAN (Mandarin)

Born: Havana, CubaWith Joff rey: since 2009

Raúl Casasolaas THUG (Mandarin)

Born: Madrid, SpainWith Joff rey: since 2008

Temur Suluashvilias SHY MAN (Mandarin)

Born: Tbilisi, Republic of GeorgiaWith Joff rey: since 2003

Paulo Rodriguesas THUG (Mandarin)

Born: São Paulo, BrazilWith Joff rey: since 2015

Joan Sebastián Zamora

as THUG (Mandarin)

Born: Cali, ColumbiaWith Joff rey: since 2015

Amanda Assucenaas FORMER WIFE (Bluebeard)

Born: Rio de Janerio, BrazilWith Joff rey: since 2013

April Dalyas FORMER WIFE (Bluebeard)

Born: Rockford, IllinoisWith Joff rey: since 2003

For additional biographical information, please visit www.joff rey.org/1516dancers

ABRAHAMVERGHESE

Author, Teacher,Medical Advocate

Monday,April 18, 2016

Topic: Delivering HumanisticCare in the Era of Lean

F. Joseph Callahan Distinguished Lecture

Reserve tickets online by calling 216.368.6062 or going to

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Maltz Performing Arts Center1855 Ansel Road

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The Cleveland Chapter of the American Guild of Organists

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Christian Lane Grand Prize winner, Canadian International Organ Competition

performing at Plymouth Church, UCC 2860 Coventry Rd, Shaker Heights

Tuesday, April 12 at 7:30 p.m. • 216-921-3510



Mikhail Petrenko as DUKE BLUEBEARD

Russian bass Mikhail Petrenko is among the most sought-after singers in the world to-day, appearing at Europe’s most prestigious opera houses and festivals. He is making his Cleveland Orchestra debut with this weekend’s performances. Born in St. Petersburg, Mikhail Pet-renko graduated from the St. Petersburg State Rimsky-Korsakov Conservatory. He was awarded diplomas at the III Interna-tional Rimsky-Korsakov Competition in 1998 and the fi rst Elena Obraztsova Com-petition for Young Opera Singers. In 2000, he was a fi nalist and diploma-winner at the Maria Callas New Verdi Voices Competition. Recent seasons have included creat-ing the title roles in two new productions with New York’s Metropolitan Opera, in Bartók’s Bluebeard’s Castle and Borodin’s Prince Igor. Mr. Petrenko just completed a run at the Met as the Count in Mozart’s The Marriage of Figaro, and was also re-cently featured in Gounod’s Faust with the Netherlands Opera and as the Grand In-quisitor in Verdi’s Don Carlo for the Verbier Festival. Upcoming engagements include Berlioz’s The Damnation of Faust in Tokyo and Shostakovich’s Symphony No. 13 with the Berlin Philharmonic.

Katarina Dalayman as JUDITH

Swedish soprano Katarina Dalayman is re-nowned for her dramatically intense stage performances in premier opera houses and acclaimed festivals across Europe and in the United States. She is making her Cleveland Orchestra debut with this weekend’s performances. Born in Stockholm, Katarina Dalay-man studied at the Stockholm Opera Conservatory. She made her professional debut in 1991 at Royal Opera Stockholm. In the years since, she has become known for her intense portrayals of operatic hero-ines including Marie in Berg’s Wozzeck, the title role in Richard Strauss’s Elektra, Katarina in Shostakovich’s Lady Macbeth of Mtsensk, and Lisa in Tchaikovsky’s Queen of Spades, as well as the Wagnerian roles of Brünnhilde in Wagner’s Ring of the Nibe-lung, Brangäne in Tristan and Isolde, Ortrud in Lohengrin, and Kundry in Parsifal. Ms. Dalayman has performed with all the great opera houses of Europe, including Berlin, Paris, London, Munich, Barcelona, Dresden, Milan, and Vienna, and at the Salzburg and Tanglewood Fes-tivals. Also in demand as a concert artist, she has appeared with major orchestras across Europe.

Guest Artists — Bluebeard’s Castle


Yuri Possokhov CHOREOGRAPHY / STAGE DIRECTION

Russian-born Yuri Possokhov is among the most active and imaginative chore-ographers working in ballet today. After receiving his early training at the Moscow Ballet School, he danced with the Bolshoi Ballet for ten years, working primarily with ballet master Yuri Grigorovich. During that decade, he was promoted through the ranks to principal dancer. In 1992, he joined the Royal Danish Ballet as a prin-cipal dancer, at the invitation of ballet master Frank Andersen. The following De-cember, Mr. Possokhov was cast as Prince Desiré in Helgi Tomasson’s The Sleeping Beauty and, after being invited to perform in San Francisco Ballet’s opening night gala, he decided to move west. In 1994, Yuri Possokhov joined San Francisco Ballet as a principal dancer, and spent the next twelve years as a dancer with the Company. In 1999, he organized and performed in a Russian tour entitled “Ballet Beyond Borders,” with sixteen dancers from San Francisco Ballet per-forming on the tour, which traveled to fi ve cities throughout Russia. Following his retirement as a principal dancer from

San Francisco Ballet, Mr. Possokhov was named choreographer-in-residence in May 2006. His fi nal engagement with the Company as a principal dancer took place in tour performances at New York’s Lin-coln Center Festival in summer 2006. As a choreographer, Yuri Possok-hov’s early credits include Songs of Spain, choreographed in 1997 for dancer Muriel Maff re; A Duet for Two, created the same year for Joanna Berman; and Impromptu Scriabin, for Felipe Diaz. In 2000, he com-pleted a new work for a dancer at the Mariinsky Ballet, as well as 5 Mazurkas for the Marin Dance Theatre. Possokhov’s Magrittomania was commissioned for San Francisco Ballet’s Discovery Program in 2000, receiving an Isadora Duncan Dance Award for Out-standing choreography for this work the following year. Works for the San Francisco Ballet include: Damned, Don Quixote, Study in Motion, Refl ections, Ballet Mori, Firebird, Fu-sion, Diving into the Lilacs, Classical Sym-phony, RAkU, Francesca da Rimini, The Rite of Spring, and Swimmer. Mr. Possokhov has also created works for Oregon Ballet Theatre and the Bolshoi Ballet, and his work has also been presented by the Georgia State Ballet, in Ukraine and on tour in the United States For The Joff rey Ballet, Yuri Possok-hov has choreographed Bells, Adagio, and Don Quixote. For more information, please visitwww.yuripossokhov.com.

Production Team


Alexander V. Nichols SET, LIGHTING, AND PROJECTION DESIGN

California native Alexander Nichols’s de-sign work extends from lighting, video, projections, scenery, and costumes — and spans artforms from dance and theater to opera, concert presentations, and architec-tural lighting. His Broadway theater credits include Wishful Drinking, Hugh Jackman – Back On Broadway, and Nice Work If You Can Get It. Off -Broadway productions have included In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge and Tun-nel, Taking Over, Through the Night, and In the Wake. He has worked extensively in scenery and lighting for ballet, includ-ing productions for Pennsylvania Ballet, Hartford Ballet, American Repertory Ballet, San Francisco Ballet, Alvin Ailey Ameri-can Dance Theatre, Hubbard Street Dance Chicago, Hong Kong Ballet, and the Royal Winnepeg Ballet, among other companies. Recent projects include the museum installation Circle of Memory, a collabora-tion with Eleanor Coppola, recently pre-sented in Stockholm, and video and visual design for Life: A Journey Through Time, a collaboration with photographer Frans Lanting and composer Philip Glass, pre-sented at Amseterdam’s Concertgebouw.

Mark Zappone COSTUME DESIGN

Mark Zappone served Pacifi c Northwest Ballet (PNB) for fi ve seasons as costume designer, shop supervisor, and wardrobe master (1983-1988). He then moved to Monte Carlo, where he managed cos-tume shops for Les Ballets de Monte-Car-lo and Le Cabaret de Monte-Carlo, and subsquently continued on to Switzerland and Amsterdam with Holiday on Ice, and then back to Seattle to work with a vari-ety of companies, including PNB. Mr. Zappone has collaborated with many well-known choreographers and designers, including Lucinda Childs, Mau-rice Sendak, Christopher Wheeldon, Kent Stowell, Twyla Tharp, George Balanchine Trust, Helgi Tomasson, Molissa Fenley, Dominique Dumais, Kevin O’Day, Martin Pakledinez, Christopher Stowell, Yuri Pos-sokhov, Paul Tazewell, Paul Gibson, and Nuno Corte-Real, among others. In addi-tion to his many designs for PNB, he has designed for San Francisco Ballet, New York City Ballet, Pennsylvania Ballet, Les Ballets de Monte-Carlo, Pittsburgh Ballet Theatre, Oregon Ballet Theatre, Spectrum Dance Theatre, Peter Boal Solos, and Wear Moi Dancewear of London.

Production Team


T H E J O F F R E Y B A L L E T celebrates its 60th company anniversary with the 2015-16 season. Classically-trained to the highest standards, The Joff rey Ballet expresses a unique, inclusive perspective on dance, proudly refl ecting the diver-sity of America with its company, audiences, and repertoire, which includes ma-jor story ballets, reconstructions of masterpieces, and contemporary works. The Company’s commitment to accessibility is met through an extensive touring schedule, an innovative and highly-eff ective education program includ-ing the much-lauded Academy of Dance: Offi cial School of The Joff rey Ballet, community engagement programs, and collaborations with many other visual and performing arts organizations. Founded by visionary teacher Robert Joff rey in 1956 and guided by cel-ebrated choreographer Gerald Arpino 1988-2007, The Joff rey Ballet continues to thrive under internationally-renowned artistic director Ashley Wheater and executive director Greg Cameron.

A S H L E Y W H E AT E R was appointed artistic director of The Joff rey Ballet in 2007. New work is the life blood of a company, and he has introduced many premieres to the repertoire. Born in Scotland and raised in England, Mr. Wheater was trained at the Royal Ballet School in Lon-don. Mr. Wheater began his professional career with the Royal Ballet, and danced at the London Festival Ballet, Australian Ballet, The Joff rey Ballet, and San Francisco Ballet. In 1997, he became ballet master at San Francisco Ballet, and in 2002, assistant to the artistic director.

Since coming to The Joff rey Ballet, Mr. Wheater’s artistic and cultural dedi-cation has been recognized through a series of awards. In 2008, the Boeing Cor-poration recognized his commitment to community engagement and diversity in the world of dance, presenting Mr. Wheater the “Game-Changer” award. In 2010, Mr. Wheater, representing The Joff rey Ballet, was named Lincoln Acad-emy Laureate, the highest honor presented by the State of Illinois. The Chicago Tribune selected him as 2013 “Chicagoan of the Year” for his contributions to dance. In 2014, Mr. Wheater accepted the Chicago Spirit of Innovation Award for The Joff rey Ballet. He received the University of Chicago Rosenberger Medal for Outstanding Achievement in the Creative and Performing Arts in 2015.

The Joffrey Ballet


ASHLEY WHEATERArtistic Director

GREG CAMERONExecutive Director

ROBERT JOFFREY GERALD ARPINO Founder Founder

Artists of The CompanyMatthew Adamczyk Derrick Agnoletti Yoshihisa Arai Amanda Assucena Artur Babajanyan Edson Barbosa Miguel Angel Blanco Anais Bueno Fabrice Calmels

Raúl Casasola Valeriia Chaykina Nicole CiapponiApril Daly Fernando Duarte Camila Ferrera Cara Marie Gary

Anna Gerberich Stefan Goncalvez Luis Eduardo Gonzalez Dylan Gutierrez Rory Hohenstein Anastacia Holden Dara Holmes Victoria JaianiHansol Jeong Gayeon Jung Brooke Linford Graham Maverick

Caitlin Meighan Jeraldine Mendoza Jacqueline MoscickeAmber Neumann Christine Rocas Paulo Rodrigues Lucas Segovia

Temur Suluashvili Elivelton Tomazi Alberto Velazquez Mahallia Ward Joanna Wozniak Joan Sebastián Zamora

GERARD CHARLESDirector of Artistic Operations | Ballet Master

NICOLAS BLANCPrincipal Coach | Ballet Master

SUZANNE LOPEABallet Master

SCOTT SPECKMusic Director

The Joffrey Ballet

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If you wish to discuss planned giving or other tax-friendly donation opportunities, please call Gretchen Jones, JD at 216.383.3736.

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The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians.

For a complete schedule of events, visit cim.edu/events

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS



Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleve-land Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orches-tra’s annual series of Christmas concerts at Severance Hall

and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of signifi cant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana Univer-sity 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and infl uenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orch estra Chorus and Blossom Festival Chorus for per-formances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orch estra Youth Chorus. In addition to her duties at

Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in cho-ral conducting from Indiana University.

Cleveland Orchestra Chorus

66 The Cleveland OrchestraIllustrating Bluebeard’s Castle

VISUALIZING W H AT D O E S M U S I C L O O K L I K E ? That was the question The Cleveland Orchestra’s education director Joan Katz Napoli posed to students at the Cleveland Institute of Art (CIA), in connection with The Cleveland Orch estra’s presentation of Bartók’s Bluebeard’s Castle. Students in Jeff Harter’s illustration class took up the challenge. As part of a course assign-ment, they were tasked with designing illustrations for this dark and enigmatic opera to give them a sense of how their CIA studies have application in the real world. Over the past several weeks, the students researched and immersed them-

selves in the music and story of Blue-beard’s Castle, and attended a rehearsal in Severance Hall (some had never been inside Severance Hall). In addition, Dave Szekeres, the Orchestra’s publications manager, and Mark Williams, director of artistic planning, met with the CIA Illustra-tions class on consecutive weeks, offering them insights into: 1.) the use and devel-opment of illustration in a wide variety of promotional and collateral materials for operas and concerts, and 2.) the compli-cated artistic and creative challenge of weaving together aspects of the musical, dance, and visual elements that were be-

Illustration by Melissa LuddyIllustration by Emily Linville

67Severance Hall 2015-16 Illustrating Bluebeard’s Castle

MUSICing created for this week’s performances.

Nine of the resulting student illustra-tions are being displayed at Severance Hall this week, in the Founder’s Gallery over-looking the Bogomolny-Kozerefski Grand Foyer. Five of those are reproduced here. Taking the project a step further, Cleve-land Orchestra staff members have taken two of these and applied text to them on the following two pages to create what a potential poster might look like.

This collaborative education project was supported in part by a grant to The Cleveland Orchestra from the National Endowment for the Arts.

Copyright © by the individual artists.Illustration by Megan McCollum

Illustration by Junce LuIllustration by Marissa Krekeler

See pages 66-67

69Severance Hall 2015-16 69Severance Hall 2015-16

DukeBluebeard’sBluebeard’sCastleCastle A One-act tragic opera A One-act tragic opera by by B BÉÉla Bartla BartÓÓkk

April 7-10April 7-10Severance HallSeverance Hall

the cleveland orchestrathe cleveland orchestra presents presents

See pages 66-67

Helen Theatre, Playhouse Square Friday, April 29, 7:30 p.m.Saturday, April 30, 5:00 and 8:30 p.m.Sunday, May 1, 7:00 p.m.

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THE THEORY OF RELATIVITY is a seemingly unrelated collection of songs, scenes and monologues, seen through a compelling array of characters.

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*Members of the Baldwin Wallace University Music Theatre Faculty

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Endowed Funds

Th e generous donors listed here have made endowment gift s to support specifi c artistic initiatives, education and community programming and performances, facilities main-tenance costs, touring and residencies, and more. (Additional endowment funds are recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds can be established with new gift s of $250,000 or more. For information about making your own endowment gift to Th e Clevelamd Orchestra, please call 216-231-7558.

Endowed Funds funds established as of November 2015

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationJoseph P. and Nancy F. Keithley

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

Radio BroadcastsRobert and Jean ConradDr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family

Guest Artists FundEleanore T. and Joseph E. AdamsMrs. Warren H. CorningThe Gerhard Foundation, Inc.Margaret R. Griffi ths TrustVirginia M. and Newman T. HalvorsonThe Hershey FoundationThe Humel Hovorka FundKulas FoundationThe Payne FundElizabeth Dorothy RobsonDr. and Mrs. Sam I. SatoThe Julia Severance Millikin FundThe Sherwick FundMr. and Mrs. Michael SherwinSterling A. and Verdabelle SpauldingMr. and Mrs. James P. StorerMrs. Paul D. Wurzburger

Concert PreviewsDorothy Humel Hovorka

International TouringFrances Elizabeth Wilkinson

UnrestrictedArt of Beauty Company, Inc.William P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansNancy McCannMargaret Fulton-Mueller Virginia M. and Jon A. Lindseth

CENTER FOR FUTURE AUDIENCES — Th e Cleveland Orchestra’s Center for Future Audiences, created with a lead gift from the Maltz Family Foundation, is working to develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler

Endowed Funds listing continues



Endowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments and the facilities of the Orchestra’s concert home, Severance Hall.

Keyboard MaintenanceWilliam R. DewThe Frederick W. and Janet P. Dorn FoundationMr. and Mrs. Richard A. ManuelVincent K. and Edith H. Smith Memorial Trust

OrganD. Robert and Kathleen L. BarberArlene and Arthur HoldenKulas FoundationDescendants of D.Z. NortonOglebay Norton Foundation

Severance Hall PreservationSeverance family and friends

EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-nections to symphonic music at every age and stage of life, including training, performances, and classroom resources for thousands of students and adults each year.

Education ProgramsAnonymous, in memory of Georg SoltiHope and Stanley I. AdelsteinKathleen L. BarberIsabelle and Ronald BrownDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownAlice H. Cull MemorialFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraMr. and Mrs. David T. MorgenthalerJohn and Sally MorleyThe Eric & Jane Nord Family FundThe William N. Skirball Endowment

Education Concerts WeekThe Max Ratner Education Fund, given by the Ratner, Miller, and Shafran

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund FoundationChristine Gitlin Miles, in honor of Jahja LingJules and Ruth Vinney Touring Fund

Musical RainbowsPysht Fund

Community ProgrammingAlex and Carol Machaskee

Endowed Funds continued from previous page

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the Orchestra’s summer performances and maintenance of Blossom Music Center.

Blossom Festival Guest ArtistDr. and Mrs. Murray M. BettThe Hershey FoundationThe Payne FundMr. and Mrs. William C. Zekan

Blossom Festival Family ConcertsDavid E. and Jane J. Griffi ths

Landscaping and MaintenanceThe Bingham FoundationEmily Blossom family members and friendsThe GAR FoundationJohn S. and James L. Knight Foundation




A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fund-raising eff ort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing fi nancial strength for the Orchestra’s second century. The campaign is building the Orch estra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

You too can play a cri cal part in securing The Cleveland Or ch estra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

clevelandorchestra.com/100campaign


orchestra news T H E C L E V E L A N D O R C H E S T R A

Cleveland Orchestra News

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February

The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, fi rst in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The follow-ing excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also off ered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great or-chestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.”

—New York Times, January 18, 2016

“Both works require utmost precision and high-level solo contributions, abun-dantly provided by the magnifi cent Clevelanders.”

—Wall Street Journal, January 19, 2016

“The mighty Clevelanders turned their formidable attention to the often gro-tesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.” —Financial Times, January 19, 2016

“Less than a month after bringing an astonishing, hair-trigger program to Carn-egie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely diff erent . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the low-er strings off er subtle depth to the higher ones.”

—New York Times, February 16, 2016




. W . E . L . C . O . M . E .New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who began playing as a member of the Orch estra for the subscription con-certs on March 3-6. Johansen was cellist with the Escher String Quartet for five years, during which he and his colleagues were BBC Radio 3 New Generation Artists, and also recipients of an Avery Fisher Career Grant and the Martin Segal Award from Lincoln Center. He has performed as a soloist and chamber musician around the world. He made his Lincoln Center debut in a perfor-mance of Elliott Carter’s Cello Concerto under the direction of James Levine in celebration of the composer’s centennial. He made his Carn-egie Hall debut as first winner of the Juilliard Leo Ruiz Memorial Award. For many years, Dane has dedicated much energy and time exploring Johann Sebastian Bach’s Six Suites for Solo Cello. He performed them at New York’s Alice Tully Hall in 2010 and also throughout his 580-mile pilgrimage on the “Walk to Fistera” along the Camino de Santiago in Northern Spain in 2014 — the story of his adventure on the Camino with Bach is being made into a documentary film and ac-companying recording, scheduled for release in 2016. A native of Fairbanks, Alaska, Johansen studied at the Cleveland Institute of Music, Conservatoire National Supérieur de Paris, and at the Juilliard School, where he earned his art-ist diploma. He studied privately with Bernard Greenhouse.

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

The Cleveland Orchestra’s “At the Movies” series announced for 2016-17

The Cleveland Orchestra has announced a three-concert “At the Movies” series sponsored by PNC Bank for the 2016-17 season. Building on the popularity of film screenings with live music presented over the past five seasons, the Orchestra continues the tradition with Nosferatu in October, It’s a Wonderful Life in December, and Breakfast at Tiffany’s on Valentine’s Day. All three movies will be projected on a giant screen above the Sever-ance Hall stage, with music performed live.

“At the Movies” series subscriptions are avail-able now through the Severance Hall Ticket Of-fice, online at clevelandorchestra.com, or by calling 216-231-1111.

Series subscribers will also be given an op-portunity to purchase tickets to a fourth movie, West Side Story, at a discounted price, before tickets go on sale to the general public. The film score to West Side Story will be performed live by The Cleveland Orchestra in June 2017 as part of the regular weekly classical subscription concerts.

The 2016-17 “At the Movies” series features: On Tuesday, October 25, the classic 1922

silent horror film Nosferatu will be presented. This film is acclaimed as an influential cinematic master-piece, starring Max Schreck as the vampire Count Orlok. Organist Todd Wilson will accompany the

film with improvised live music on Sever-ance Hall’s Norton Memorial Organ. On Thursday, December 8, Frank Capra’s holiday clas-sic It’s a Wonderful Life starring James Stewart and Donna Reed will be shown

with the music of the soundtrack performed live by The Cleveland Orchestra and the Cleveland Or-chestra Youth Chorus, conducted by Brett Mitchell.

To close the series, on Valentine’s Day, Tues-day, February 14, guest conductor Justin Freer will lead The Cleveland Orchestra in the live musi-cal score to the romantic comedy Breakfast at Tiffany’s, starring Audrey Hepburn.

listing as of February 2016


FIRST VIOLINKeiko Furiyoshi 2005 — 34 yearsAlvaro de Granda 2 2006 — 40 yearsErich Eichhorn 2008 — 41 yearsBoris Chusid 2008 — 34 yearsGary Tishkoff 2009 — 43 yearsLev Polyakin 2 2012 — 31 years SECOND VIOLINRichard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 yearsStephen Warner 2016 — 37 years VIOLALucien Joel 2000 — 31 yearsYarden Faden 2006 — 40 years CELLOMartin Simon 1995 — 48 years Diane Mather 2 2001 — 38 yearsStephen Geber * 2003 — 30 yearsHarvey Wolfe 2004 — 37 yearsCatharina Meints 2006 — 35 yearsThomas Mansbacher 2014 — 37 years BASSLawrence Angell * 1995 — 40 yearsHarry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 yearsMartin Flowerman 2011 — 44 years HARPLisa Wellbaum * 2007 — 33 years FLUTE/PICCOLOWilliam Hebert 1988 — 41 yearsJohn Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOERobert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONRonald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORNMyron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNETBernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONEEdwin Anderson 1985 — 21 yearsAllen Kofsky 2000 — 39 yearsJames De Sano * 2003 — 33 years PERCUSSIONJoseph Adato 2006 — 44 yearsRichard Weiner * 2011 — 48 years LIBRARIANRonald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal

Appreciation

R E T I R E D M U S I C I A N S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

Listed by instrument section and within each by retirement year, followed by years of service.


Musicians Emeritus of


New DVD Brahms cyclereleased and available at Severance HallFollowing their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orch estra have released an all-Brahms DVD box set. The set features all four symphonies, Piano Concer-tos Nos. 1 and 2 with Yefi m Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and is now in general release worldwide. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein. The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

Silence is golden As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to dis-engage electronic watch alarms prior to each concert.

Committed to AccessibilitySeverance Hall is committed to making

performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonHans ClebschPatrick ConnollyRalph CurryMarc DamoulakisAlan DeMattiaVladimir DeninzonScott DixonElayna DuitmanBryan DummMark Dumm Tanya EllMary Kay FinkKim GomezWei-Fang GuScott HaighDavid Alan HarrellMiho HashizumeMark JackobsJoela JonesRichard KingAlicia KoelzStanley KonopkaMark KosowerPaul KushiousMassimo La RosaJung-Min Amy LeeYun-Ting LeeTakako MasameEli MatthewsJesse McCormick

Michael MillerSonja Braaten MolloyIoana MissitsEliesha NelsonPeter OttoChul-In ParkJoanna Patterson ZakanyHenry PeyrebruneAlexandra PreucilLynne RamseyJeff rey RathbunJeanne Preucil RoseStephen RoseFrank RosenweinMichael SachsMarisela SagerJonathan SherwinSae ShiragamiEmma ShookJoshua SmithThomas SperlBarrick SteesRichard StoutJack SutteKevin SwitalskiBrian ThorntonIsabel TrautweinRobert VernonCarolyn Gadiel WarnerScott WeberRichard WeissBeth WoodsideRobert WoolfreyDerek ZadinskyJeff rey Zehngut

M.U.S . I .C . I .A .N S .A .L .U .T .E

The Musical Arts Association gratefully acknow ledges the artistry and dedication of all the musicians of The Cleveland Orch-estra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of commun-ity engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons.




March was “Music In Our Schools” Month — but The Cleveland Orchestra is teaching and help-ing with learning all year ’round. For nearly a century, education has remained a central part of the Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach. Among many offerings both at Sever-ance Hall and beyond, Learning Through Music is The Cleveland Orchestra’s K-5 program that brings core curriculum to life through classical music. Currently in its 19th season, LTM works with teachers in Cleveland and East Cleveland classrooms to help them integrate music into daily instructional time. Individual Orchestra musicians teach lessons linking music to math, science, social studies, and language arts — and even lead students in composing and perform-ing their own original pieces. Year after year, LTM continues to be a classroom favorite. As one 4th grader commented, “I had so much fun. I even got to play an instrument. That was the best time ever.” This spring, musicians from the Orchestra will make over 170 classroom visits, collaborate with 70 teachers, and bring over 1,200 students to Severance Hall for a live performance. (Over 18,000 additional students attend Education Concerts annually from the community at-large.) In November 2015, Mayfair Elementary in the East Cleveland School District (LTM pilot school) was selected to present at the Student Achievement Fair at the Ohio School Board As-sociation (OSBA) Conference and Trade Show, featuring their collaboration with The Cleveland Orchestra through LTM. The OSBA Capital Conference is Ohio’s premier continuing education program. Part of this conference is the Student Achievement Fair, which showcases innovative projects and

programs that boost student achievement and engage youngsters in learning and growth. Fourth-grade Mayfair Elementary teacher Irene Spraggins and three of her students created a vi-brant display of the books, CDs, and instruments provided to them as well as samples of student work created through LTM lessons (photo above). In addition to Learning Through Music, The Cleveland Orchestra also partners with schools through PNC Grow Up Great for Cleveland Metro-politan Pre-K classrooms, and In-School Perfor-mances (ISPs), bringing The Cleveland Orchestra itself into area schools. This year’s ISP took place on February 23 at Patrick Henry School in Glen-ville. In-School Performances are made possible in part through the Alfred M. Lerner In-School Performance Fund, generously endowed in her husband’s memory by Norma Lerner. For more information about The Cleveland Orchestra’s education programs, visit www.cleve-landorchestra.com/education-and-community.

March was “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Through Music” tying music to core curriculum

78 The Cleveland OrchestraCleveland Orchestra News

79Severance Hall 2015-16 79Cleveland Orchestra News


Auditions announced forCleveland Orchestra Chorusesfor 2016-17 season and 2016 Blossom Music Festival The Cleveland Orchestra Choruses have announced spring audition dates for member-ship in adult, youth, and children’s ensembles for the 2016-17 season. The Cleveland Orches-tra has a long-standing commitment to and tradition of choral music in which community members of all ages have the opportunity to participate. Adult singers can audition for the Cleve-land Orchestra Chorus and/or Blossom Festi-val Chorus on Thursday evenings, April 28 and May 5, or on Saturday afternoon, May 7. Students in grades 9-12 (and boys in grade 8 whose voice has changed) can audition for the Cleveland Orchestra Youth Chorus. Audition dates are Sunday, May 22, or Saturday mornings, June 4 and 11. Children in grades 5-9 can audition for the Cleveland Orchestra Children’s Chorus or Children’s Preparatory Chorus. Audition dates are Monday evening, May 23, or Saturday afternoons, June 4 and June 11. A scheduled audition time is required for all ensembles. All auditions are by appoint-ment only and can be arranged by visiting clevelandorchestra.com/chorus-auditions.

A.R.O.U.N.D T .O .W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

Retired Cleveland Orchestra member Frank-lin Cohen (principal clarinet emeritus, 1975-2015), who is co-founder of ChamberFest Cleveland, joins together with pianist Szolt Bognár to pres-ent an evening of music on Saturday, April 9, at 7 p.m. The evening’s performance at Near West Theatre (6702 Detroit Ave in Cleveland) includes late works of several composers, includ-ing Mozart and Schubert, taking audiences on a musical journey exploring creative expressions of destiny and mortality. Tickets are $60 concert only, or $75 with reception. To order tickets or for more information, call 216-229-5959 or write to [email protected].

The bassoon quartet Men Who Don’t Bite presents a benefit concert for Family Promise of Lorain County on Sunday afternoon, April 10, at 3 p.m. The quartet includes Cleveland Orchestra bassoonists Jonathan Sherwin and Barrick Stees. Admission is free to the event at the Meeting House of First Church Oberlin (Main and Lorain Streets in Oberlin), but contributions toward the organization’s work will be gratefully accepted.

The Women’s Committee of The Cleveland Orchestra presents a special Meet the Artist luncheon on Friday, April 15, with a program featuring the Orchestra’s principal viola Robert Vernon. Vernon retires at the end of the current

season in August, as the longest-serving string principal in the Orchestra’s his-

tory. For the April program, he will be interviewed by The Cleveland

Orchestra’s artistic administrator, Ilya Gidalevich, about his years and

memories onstage. The event begins at 11:30 with a patron reception with Vernon, con-tinues with lunch at noon, and then the program itself at 1 p.m. The cost is $40 for Women’s Com-mittee members, $50 for non-members; $100 premium ticket includes the pre-lunch reception. Reservations are required; the event occurs at Westwood Country Club in Rocky River. For in-formation or reservations, call 440-338-3369 or send email to [email protected].

Blossom season announced Dates and programming for the 2016 Blos-som Music Festival were announced on February 7. Look for details online at clevelandorchestra.com.Individual tickets to on sale on May 9.

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The Partners in Excellence program salutes companies with annual contri-butions of $100,000 and more, exem-plifying leadership and commitment to musical excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

Hyster-Yale Materials HandlingNACCO Industries, Inc.KeyBankRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEatonFirstEnergy FoundationJones DayPNC Bank

PARTNERS IN EXCELLENCE$100,000 TO $199,999American Greetings CorporationForest CityThe Lincoln Electric FoundationMedical Mutual of OhioNordson Corporation Foundation Squire Patton Boggs (US) LLPThompson Hine LLPWhite & Case (Miami)

$50,000 TO $99,999

Dollar Bank FoundationParker Hannifin FoundationQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Buyers Products CompanyFirstMerit BankAdam Foslid / Greenberg Traurig (Miami)Litigation Management, Inc.The Lubrizol CorporationOlympic Steel, Inc.RPM International Inc.

$2,500 TO $24,999Akron Tool & Die CompanyAmerican Fireworks, Inc.ArtsMarketing Services Inc.Bank of AmericaBDIBrothers Printing Co., Inc. Brouse McDowellEileen M. Burkhart & Co LLCCalfee, Halter & Griswold LLPCarlton Fields (Miami)Cleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsConsolidated SolutionsDominion FoundationErnst & Young LLPEvarts TremaineThe Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro CorporationFrantz Ward LLPArthur J. Gallagher & Co.The Giant Eagle FoundationGreat Lakes Brewing CompanyGross BuildersHahn Loeser & Parks LLPHuntington National BankKPMG LLP Lakewood Supply Co.Littler Mendelson, P.C.Live Publishing CompanyMacy’s Materion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Ohio CATOhio Savings Bank, A Division of New York Community BankOswald CompaniesPark-Ohio Holdings Corp.The Plain DealerPolyOne CorporationThe Prince & Izant CompanyThe Sherwin-Williams CompanySouthern Wine and Spirits (Miami)Stern Advertising AgencyStruktol Company of America Swagelok CompanyTucker EllisUBS United Automobile Insurance (Miami)University HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyMargaret W. Wong & Assoc. Co., LPA Anonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of March 5, 2016

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Lubrizol Corporation / The Lubrizol FoundationMedical Mutual of OhioParker Hannifin FoundationThe Plain DealerPolyOne CorporationRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker CompanyUBS

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Corporate Support


81Severance Hall 2015-16 81Corporate Annual Support

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$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

$500,000 TO $999,999The George Gund FoundationOhio Arts CouncilTimken Foundation of Canton

$250,000 TO $499,999Knight Foundation (Miami)Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family Fund

$100,000 TO $249,999GAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationThe Kelvin and Eleanor Smith Foundation

$50,000 TO $99,999Paul M. Angell Family FoundationThe George W. Codrington Charitable FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMiami-Dade County Department of Cultural Affairs (Miami)The Nord Family FoundationThe Payne FundThe Sage Cleveland Foundation

Annual Support gifts of $2,500 or more during the past year, as of March 5, 2016

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

$20,000 TO $49,999The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationMary and Dr. George L. Demetros Charitable TrustThe Helen Wade Greene Charitable TrustNational Endowment for the ArtsThe Frederick and Julia Nonneman FoundationPeacock Foundation, Inc. (Miami)The Reinberger FoundationJames G. Robertson Fund of Akron Community FoundationSandor FoundationHarold C. Schott FoundationThe Sisler McFawn FoundationThe Veale Foundation

$2,500 TO $19,999The Abington FoundationThe Ruth and Elmer Babin FoundationDr. NE & JZ Berman FoundationThe Bernheimer Family Fund of The Cleveland FoundationElisha-Bolton FoundationThe Conway Family FoundationThe Cowles Charitable Trust (Miami)The Harry K. Fox and Emma R. Fox Charitable FoundationFunding Arts Network (Miami)The Hankins FoundationThe William Randolph Hearst FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe Lehner Family FoundationThe G. R. Lincoln Family FoundationBessie Benner Metzenbaum Foundation The Margaret Clark Morgan FoundationThe M. G. O’Neil Foundation Paintstone FoundationThe Charles E. & Mabel M. Ritchie Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationJean C. Schroeder FoundationKenneth W. Scott FoundationLloyd L. and Louise K. Smith Memorial FoundationThe South Waite FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation, a KeyBank TrustThe Edward and Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through Cuyahoga Arts & CultureKulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor Smith Foundation


The George Gund FoundationKnight Foundation (Cleveland, Miami)The Andrew W. Mellon FoundationJohn P. Murphy Foundation


The William Bingham FoundationThe George W. Codrington Charitable Foundation GAR FoundationAnn and Gordon Getty FoundationThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationNational Endowment for the ArtsThe Eric & Jane Nord Family FundThe Payne FundThe Reinberger FoundationThe Sage Cleveland Foundation

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.


Foundation & Government Support

83Severance Hall 2015-16 83Foundation and Government Annual Support

Individual Annual Support

The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. Lewis (Miami, Cleveland)Jan R. Lewis (Miami, Cleveland)Mrs. Alfred M. Rankin, Sr.


Mr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Alexander M. CutlerMrs. Norma Lerner and The Lerner FoundationMr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. Callahan*Mrs. M. Roger Clapp*Mr. George Gund III *Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III *The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. NortonThe Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.Charles and Ilana Horowitz RatnerJames and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami)The Ralph and Luci Schey FoundationMr.* and Mrs. Ward SmithMr. and Mrs. Richard K. SmuckerAnonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orch-estra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride.

Lifetime giving listing as of March 2016.

Giving Societiesgifts during the past year, as of March 5, 2016

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. ��The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orches-tra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant com-munity spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

84 The Cleveland OrchestraIndividual Annual Support

Adella Prentiss Hughes Society

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam IIIThe Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami)Jan R. Lewis (Miami)Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid


George* and Becky DunnDr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar MaltzElizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society



Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami)Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami)T. K. and Faye A. Heston Giuliana C. and John D. KochDr. and Mrs. Jerome KowalToby Devan LewisMr.* and Mrs. Edward A. LozickRobert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland OrchestraAnonymous (2)

Elisabeth DeWitt Severance Society



Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationMr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr.Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock

listings continue

Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

85Severance Hall 2015-16 85Individual Annual Support

listings continue


William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc.Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardIrad and Rebecca CarmiJill and Paul ClarkMr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julie F. Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve HardisJack Harley and Judy ErnestDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselEdith and Ted* Miller Lucia S. NashMrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelJoe and Marlene TootMr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeffrey J. WeaverMr. and Mrs. Jeffrey M. Weiss

Frank H. Ginn Society


INDIVIDUAL GIFTS OF $12,500 TO $14,999 Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami)Mr. and Mrs. Richard A. Manuel*Mr. and Mrs. Stephen MyersPaul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe)Margaret and Eric* Wayne Sandy and Ted Wiese

listings continued

The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton


Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami)Martha and Bruce Clinton (Miami)Mr.* and Mrs. Gerald A. ConwayJudith and George W. DiehlJoAnn and Robert Glick Mr. Loren W. HersheyMrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr.Junior Committee of The Cleveland OrchestraThomas E Lauria (Miami)Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. NordWilliam J. and Katherine T. O’Neill Mr. and Mrs. James A. RatnerMr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie SaltzbergMr. Larry J. Santon Jim and Myrna SpiraPaul and Suzanne Westlake Anonymous

Dudley S. Blossom Society



Gay Cull Addicott Mr. and Mrs. William W. BakerRandall and Virginia BarbatoMr. Yuval BriskerMr. and Mrs. Matthew V. Crawford Jim and Karen DakinMr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Jeffrey and Susan Feldman (Miami)Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami)Allan V. JohnsonMr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami)The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernKim Sherwin Mr. and Mrs. Donald Stelling (Europe)Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)


Ronald H. BellHenry C. DollJudy ErnestNicki GudbransonJack Harley Iris Harvie

Faye A. HestonBrinton L. HydeDavid C. LambLarry J. SantonRaymond T. Sawyer

Barbara Robinson, chairRobert Gudbranson, vice chair

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

LEADERSHIP PATRON PROGRAM


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The 1929 Society

gifts of $2,500 to $9,999INDIVIDUAL GIFTS OF $7,500 TO $9,999

Dr. and Mrs. D. P. AgamanolisSusan S. AngellMr. William AppAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicFred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussFrank and Leslie Buck Mr. and Mrs. William C. ButlerAugustine* and Grace CaliguireMs. Maria Cashy Dr. William and Dottie ClarkKathleen A. Coleman

Diane Lynn Collier and Robert J. Gura Marjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa LarsenMr. and Mrs. Ralph DaugstrupMr. and Mrs. Thomas S. DavisPete and Margaret Dobbins Mr. and Mrs. Bernard H. EcksteinDr. and Mrs. Robert ElstonMary and Oliver Emerson* Ms. Karen FethJoseph Z. and Betty Fleming (Miami)Scott A. FoersterJoan Alice FordBarbara and Peter GalvinJoy E. GarapicDr. and Mrs. Adi GazdarBrenda and David GoldbergMr. Albert C. Goldsmith

Mr. and Mrs. Henry J. GoodmanPatti Gordon (Miami)Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin GunningAlfredo and Luz Gutierrez (Miami)Douglas M. and Amy Halsey (Miami)Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. BuchananJanet D. Heil*Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland


Robert and Alyssa Lenhoff-BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet FritzLinda and Lawrence D. Goodman (Miami)Harry and Joyce GrahamMr. Paul GreigIris and Tom Harvie Mrs. Sandra L. HaslingerHenry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Richard and Michelle JeschelnigJoela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family TrustMrs. Florence Brewster Rutter

Patricia J. Sawvel Dr. and Mrs. James L. SechlerDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. SmithDr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann WilliamsAnonymous (3)


Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. BowenMr. D. McGregor Brandt, Jr.Paul and Marilyn Brentlinger*Mr. and Mrs. Marshall BrownJ. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne ClarkHenry and Mary* Doll Mr. and Mrs. Paul DomanNancy and Richard DotsonMr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami)Mr. Isaac Fisher (Miami)Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. GellerMr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Andrew and Katherine KartalisAlan Kluger and Amy Dean (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlShirley and William Lehman (Miami)Dr. David and Janice LeshnerElsie and Byron LutmanMr.* and Mrs. Arch J. McCartneyMr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy MurphyMr. Raymond M. Murphy Dr. Anne and Mr. Peter NeffMrs. Milly Nyman (Miami)Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen PowersAndrés Rivero (Miami)Audra and George Rose Dr. and Mrs. Ronald J. RossSteven and Ellen RossMichael and Chandra Rudd (Miami)Dr. Isobel RutherfordDr. and Mrs. Martin I. Saltzman Drs. Michael and Judith Samuels (Miami)Raymond T. and Katherine S. SawyerCarol* and Albert SchuppMr. and Mrs. Joseph H. Serota (Miami)Seven Five FundDr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami)Lois and Tom StaufferMrs. Jean H. TaberBruce and Virginia Taylor Mr. Joseph F. TetlakDr. Russell A. TrussoMr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami)Anonymous (4)


The Cleveland Orchestra guide to Fine Shops & Services

Michael Hauser DMD MDImplants and Oral Surgery

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Cleveland School of the Arts Concert Choir

William B. Woods, director | 3pm, Sunday, April 17, 2016

Program includes Bernstein: Chichester Psalms

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Ms. Nancy A. AdamsMr. and Mrs. Robert J. AmsdellDr. Ronald and Diane Bell Margo and Tom BertinHoward R. and Barbara Kaye BesserMr. and Mrs. David BialoskyCarmen Bishopric (Miami)Mr. and Mrs. Robert R. BroadbentMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterDrs. Mark Cohen and Miriam Vishny Mr. Owen ColliganMr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Mr. William and Dr. Elizabeth FeslerRichard J. FreyPeggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldThe Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy and James GrunzweigLilli and Seth HarrisMr. Robert D. HartMary S. HastingsIn Memory of Hazel HelgesenMr. and Mrs. Jerry HerschmanDr. Fred A. HeuplerMr. Robert T. HexterDavid Hollander (Miami)Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. InkleyBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanMrs. Natalie D. KittredgeDr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. KrosinRonald and Barbara Leirvik Dr. Edith LernerMary LohmanMrs. Idarose S. LuntzHerbert L. and Rhonda MarcusMartin and Lois MarcusMs. Nancy L. MeachamDr. Susan M. MerzweilerBert and Marjorie MoyarSusan B. Murphy

Richard B. and Jane E. NashDavid and Judith NewellMr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Carl PodwoskiAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerFred Rzepka and Anne Rzepka Family FoundationMr. Paul H. Scarbrough Ginger and Larry ShaneHarry and Ilene ShapiroMr. Richard Shirey Howard and Beth SimonMs. Ellen J. SkinnerMr. Richard C. StairMr. Taras G. Szmagala, Jr.Kathy* and Sidney Taurel (Miami)Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueRichard Wiedemer, Jr. Mrs. Henietta Zabner (Miami)Marcia and Fred* Zakrajsek Max and Beverly Zupon


Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMayStanley I.* and Hope S. AdelsteinMr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja

Mr. and Mrs. James B. Aronoff Joseph BabinMr. Mark O. Bagnall (Miami)Ms. Delphine BarrettMr. and Mrs. Belkin

Mr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJohn and Laura Bertsch


listings continued

INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusDavid and Gloria KahanRudolf D. and Joan T. KamperMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyMr. and Mrs. Michael T. KestnerDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. Clayton R. KoppesMr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. KushnickMr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Mrs. Sandra S. LaurensonAnthony T. and Patricia A. Lauria Ivonete Leite (Miami)Irvin and Elin Leonard Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. LiederbachMs. Grace LimMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlMr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMr. and Mrs. E. Timothy McDonelJames and Virginia Meil

Dr. and Mrs. Eberhard MeineckeMs. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara MollDr. R. Morgan and Dr. S. Weirich (Miami)Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenJay Pelham (Miami)Mr. and Mrs. John S. PietyMr. Robert Pinkert (Miami)Mr. and Mrs. Richard W. Pogue In memory of Henry PollakMartin R. Pollock and Susan A. GiffordDr. and Mrs. John N. Posch Ms. Rosella PuskasMr.* and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. FonsecaDr. James and Lynne Rambasek Mr. and Mrs. Roger F. RankinBrian and Patricia RatnerMs. Deborah ReadMr. and Mrs. Robert J. ReidMrs. Charles Ritchie Amy and Ken RogatDr. and Mrs. Michael Rosenberg (Miami)Robert and Margo Roth Mr. and Mrs. Robert C. RuhlDavid M. and Betty SchneiderLinda B. SchneiderLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanMs. Marlene Sharak Mrs. Frances G. Shoolroy*

Naomi G. and Edwin Z. Singer Family Fund

Bruce SmithDrs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyMiss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDykeTeresa Galang-Viñas and Joaquin Viñas (Miami)Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr.Charles and Lucy WellerMr. and Mrs. Ronald E. WeinbergTom and Betsy WheelerDr. Edward L. and Mrs. Suzanne WestbrookNancy V. and Robert L. Wilcox Sandy Wile and Susan NamenBob and Kat WollyungKatie and Donald WoodcockTony and Diane Wynshaw-BorisAnonymous (2)

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Jaime A. Bianchi and Paige A. Harper (Miami)Ms. Deborah A. BladesBill* and Zeda BlauDoug and Barbara BletcherDr. Charles Tannenbaum and Ms. Sharon BodineMr. and Mrs. Richard H. BoleMrs. Loretta BorsteinMs. Andrea L. BoydLisa and Ron BoykoMr. and Mrs. David BriggsLaurie BurmanRev. Joan CampbellMrs. Millie L. CarlsonLeigh CarterMr. and Mrs. James B. ChaneyDr.* and Mrs. Ronald ChapnickMr. Gregory R. ChemnitzMr. and Mrs. Homer D. W. ChisholmMrs. Robert A. ClarkDr. John and Mrs. Mary CloughKenneth S. and Deborah G. CohenMr. and Mrs. Mark CorradoDr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. DannemillerDr. Eleanor DavidsonMr. and Mrs. Edward B. DavisJeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. DistadWilliam Dorsky and Cornelia HodgsonMr. George and Mrs. Beth Downes Mr. and Mrs. Robert DreshfieldMs. Mary Lynn Durham Mr. and Mrs. Ronald E. DziedzickiEsther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel DoughertyDrs. Heidi Elliot and Yuri NovitskyHarry and Ann FarmerMr. Paul C. ForsgrenMichael Frank & Patricia A. SnyderMr. William Gaskill and Ms. Kathleen BurkeMr. Wilbert C. Geiss, Sr.Anne and Walter GinnDr. and Mrs. Victor M. GoldbergMr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinBob* and Edith Hudson (Miami)Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottMr. Norman E. Jackson (Miami)Ms. LaVerne JacobsonRobert and Linda JenkinsDr. Michael and Mrs. Deborah JoyceMr. Peter and Mrs. Mary JoyceMr. Stephen JudsonRev. William C. KeeneAngela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis

Bruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanMarion KonstantynovichJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. LammMr. and Mrs. John J. Lane, Jr. Michael LedermanJudy and Donald Lefton (Miami)Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth LoudJanet A. MannMr. and Mrs. Raul Marmol (Miami)Dr. and Mrs. Sanford E. Marovitz Ms. Dorene MarshDr. Ernest and Mrs. Marian MarsolaisMr. Fredrick MartinMs. Amanda MartinsekMr. Julien L. McCallWilliam C. McCoyMr. and Mrs. James E. MengerStephen and Barbara Messner Loretta J. Mester and George J. MailathMr. Michael and Mrs. Lynn MillerDrs. Terry E. and Sara S. Miller Jim and Laura MollSteven and Kimberly MyersDeborah L. NealeMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Dr. Guilherme OliveiraMr. Robert D. PaddockGeorge Parras Mr. Thomas and Mrs. Tommie PattonDr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterMr. Robert and Mrs. Susan PriceKathleen PudelskiMs. C. A. ReaganDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. Rott*Michael and Chandra Rudd (Miami)Mr. Kevin Russell (Miami)Mrs. Elisa J. Russo Dr. Harry S. and Rita K. RzepkaPeter and Aliki RzepkaDr. Vernon E. Sackman and Ms. Marguerite PattonRev. Robert J. SansonMs. Patricia E. Say Mr. James Schutte Ms. Adrian L. ScottMr. and Mrs. Alexander C. ScovilDr. John Sedor and Ms. Geralyn PrestiMs. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne Shatten

Dr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckLaura and Alvin A. SiegalLois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaRoy SmithSandra and Richey Smith Ms. Barbara SnyderLucy and Dan SondlesMr. Louis StellatoMr. and Mrs. Joseph D. SullivanKen and Martha TaylorDr. and Mrs. Thomas A. TimkoSteve and Christa Turnbull Mrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum and Mrs. Judith RosmanBarbara and George von MehrenAlice & Leslie T. Webster, Jr.Mr. and Mrs.* Jerome A. WeinbergerMr. Peter and Mrs. Laurie WeinbergerRichard and Mary Lynn WillsMr. Martin WisemanMichael H. Wolf and Antonia Rivas-WolfElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (6)

INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

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member of the Leadership Council (see first page of Annual Support listings)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM



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H A I L E D A S O N E O F the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or-chestra since its opening on February 5, 1931. After that fi rst concert, a Cleve-land newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a tem-ple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa-tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnifi cent building. De-signed by Walker & Weeks, its elegant

Georgian exterior was constructed to harmonize with the classical architec-ture of other prominent buildings in the University Circle area. The interior of the building refl ects a combination of design styles, including Art Deco, Egyp-tian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was com-pleted in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citi-zens for performances, meetings, and special events each year.

11001 Euclid AvenueCleveland, Ohio 44106C L E V E L A N D O R C H E S T R A . C O M

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Severance Hall94 The Cleveland Orchestra

11001 Euclid AvenueCleveland, Ohio 44106C L E V E L A N D O R C H E S T R A . C O M


AT SEVERANCE HALLRESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or online by visiting clevelandorchestra.com/opentable. Intermission & Pre-Concert: Concession service of beverages and light refreshments is avail-able before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and com-pact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at cleveland-orchestra.com.

ATM — Automated Teller Machine For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground fl oor.

QUESTIONS If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to [email protected].

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orches-

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Ticket Offi ce at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the ga-rage often fi lls up and only ticket holders with pre-paid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s web-site for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.

Guest Information

96 The Cleveland OrchestraGuest Information

AT THE CONCERTCOAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground fl oor.

PHOTOGRAPHY AND SELFIES,VIDEO AND AUDIO RECORDING Photographs of the hall and selfi es to share with others can be taken when the performance is not in progress. However, audio recording, pho-tography, and videography are prohibited during performances at Severance Hall. And, as courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them ac-cordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a distur-bance may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the fi rst break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consulta-tion with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating op-tions for mobility-impaired persons and their com-panions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheel-chairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are avail-able from a Head Usher or the House Manager for most performances. If you need assistance, please

contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce as you buy tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you re-quire medical assistance.

SECURITY For security reasons, backpacks, musical instru-ment cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a fi rearms-free facility. No person may possess a fi rearm on the premises.

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Cleveland Orchestra sub-scription concerts are not recommended for chil-dren under the age of 8. However, there are sev-eral age-appropriate series designed specifi cally for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18.

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to fi ve days prior to a performance. There will be no service charge for the fi ve-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Offi ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a dona on, you can make a crucial diff erence in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on pro-grams, and community ac vi es and partnerships. To make a gi to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com


. . . to hear The Cleveland Orchestra for the fi rst time?

Yoash and Sharon Wiener believe there is nothing better than listen-ing to beautiful music played by a world-class orchestra in an internationally-renowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century.

In addition to being long-time season subscribers to The Cleveland Orch estra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orch-estra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction.

“Our very fi rst date was 46 years ago at a Cleveland Orchestra performance in Sev-erance Hall. The date was great and so was the music, and The Cleveland Orch estra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”

To fi nd out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Offi ce by calling 216-231-7522.


clevelandorchestra.com/cga

Remember how it felt . . . ?



H E R I T A G E S O C I E T Y

Legacy GivingLegacy Giving

Lois A. AaronLeonard AbramsShuree Abrams*Gay Cull AddicottStanley* and Hope AdelsteinSylvia K. Adler*Gerald O. Allen*Norman and Marjorie* AllisonGeorge N. Aronoff Herbert Ascherman, Jr.Jack and Darby AshelmanMr. and Mrs. William W. BakerRuth Balombin*Mrs. Louis W. Barany*D. Robert and Kathleen L. Barber*Jack L. BarnhartMargaret B. and Henry T.* BarrattNorma E. Battes*Rev. Thomas T. Baumgardner and Dr. Joan BaumgardnerFred G. and Mary W. BehmBertram H. Behrens*Dr. Ronald and Diane BellBob BellamyJoseph P. BennettMarie-Hélène BernardIla M. BerryHoward R. and Barbara Kaye BesserDr.* and Mrs. Murray M. BettDr. Marie BielefeldRaymond J. Billy (Biello)Dr. and Mrs. Harold B. Bilsky*Robert E. and Jean Bingham*Mr. William P. Blair IIIMadeline & Dennis Block Trust Fund Mrs. Flora BlumenthalMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonKathryn Bondy*Loretta and Jerome* BorsteinMr. and Mrs.* Otis H. Bowden IIRuth Turvy Bowman*Drs. Christopher P. Brandt and Beth Brandt SersigMr. D. McGregor Brandt, Jr.David and Denise BrewsterRichard F. Brezic*Robert W. BriggsDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRonald and Isabelle Brown*Mr. and Mrs. Clark E. Bruner*Mr. and Mrs.* Harvey BuchananRita W. Buchanan*

Joan and Gene* BuehlerGretchen L. BurmeisterStanley and Honnie Busch*Milan and Jeanne* BustaMrs. Noah L. Butkin*Mr. and Mrs. William C. ButlerMinna S. Buxbaum*Gregory and Karen CadaRoberta R. Calderwood*Jean S. Calhoun*Harry and Marjorie M. CarlsonJanice L. CarlsonDr.* and Mrs. Roland D. CarlsonMr. and Mrs. George P. Carmer*Barbara A. Chambers, D. Ed.Arthur L. Charni*Ellen Wade Chinn*NancyBell CoeKenneth S. and Deborah G. CohenRalph M. and Mardy R.* CohenVictor J. and Ellen E. CohnRobert and Jean* ConradMr. and Mrs. Gerald A. ConwayJames P. and Catherine E. Conway*Rudolph R. Cook*The Honorable Colleen Conway Cooney and Mr. John CooneyJohn D. and Mary D.* CorryDr. and Mrs. Frederick S. Cross*Martha Wood CubberleyDr. William S. Cumming*In Memory of Walter C. and Marion J. CurtisWilliam and Anna Jean CushwaAlexander M. and Sarah S. CutlerHoward CutsonMr.* and Mrs. Don C. DanglerMr. and Mrs. Howard J. DanzingerBarbara Ann DavisCarol J. DavisCharles and Mary Ann DavisWilliam E. and Gloria P. Dean, Jr.Mary Kay DeGrandis and Edward J. DonnellyNeeltje-Anne DeKosterCarolyn L. DessinWilliam R. Dew*Mrs. Armand J. DiLellioJames A. Dingus, Jr.Dr. and Mrs. Richard C. DistadMaureen A. Doerner and Geoff rey T. WhiteHenry and Mary DollGerald and Ruth DombcikBarbara Sterk Domski

Mr.* and Mrs. Roland W. DonnemNancy E. and Richard M. DotsonMrs. John DrollingerDrs. Paul M.* and Renate H. DuchesneauGeorge* and Becky DunnWarren and Zoann Dusenbury*Mr. and Mrs. Robert DuvinPaul and Peggy EdenburnRobert and Anne Eiben*Mr. and Mrs. Alfred M. Eich, Jr.Mr. and Mrs. Ramon Elias*Roger B. EllsworthOliver and Mary EmersonLois Marsh EppPatricia EspositoMargaret S. Estill*Dr. Wilma McVey Evans*C. Gordon and Kathleen A.* EwersPatricia J. FactorSusan L. Faulder*Dr. and Mrs. Frederick Fennell*Mrs. Mildred FieningGloria and Irving B. FineJules and Lena Flock*Joan Alice FordDr. and Mrs. William E. Forsythe*Mr.* and Mrs. Ralph E. FountainGil and Elle FreyArthur and Deanna FriedmanMr.* and Mrs. Edward H. FrostDawn FullHenry S. Fusner*Dr. Stephen and Nancy GageCharles and Marguerite C. Galanie*Barbara and Peter GalvinMr. and Mrs. Steven B. GarfunkelDonald* and Lois GaynorBarbara P. Geismer*Albert I. and Norma C. GellerCarl E. Gennett*Dr. Saul GenuthJohn H.* and Ellen P. GerberFrank and Louise GerlakDr. James E. GibbsIn Memory of Roger N. Giff ordDr. Anita P. Gilger*S. Bradley GillaughMr.* and Mrs. Robert M. GinnFred and Holly GlockRonald* and Carol GodesWilliam H. Goff Mr. and Mrs. Henry J. GoodmanJohn and Ann GoskyMrs. Joseph B. Govan*

Th e Heritage Society honors those individuals who are helping to ensure the future of Th e Cleveland Orchestra with a Legacy gift . Legacy gift s come in many forms, including bequests, charitable gift annuities, and insurance policies. Th e following listing of members is current as of October 2015. For more information, please contact the Orchestra’s Legacy Giving Offi ceby calling Liz Arnett at 216-231-7522.

LISTING CONTINUES

Leagcy Givimg




H E R I T A G E S O C I E T YHarry and Joyce GrahamElaine Harris GreenTom and Gretchen GreenAnna Zak Greenfi eldRichard and Ann GridleyNancy Hancock Griffi thDavid E.* and Jane J. Griffi thsDavid G. Griffi ths*Ms. Hetty Griffi ths*Margaret R. Griffi ths*Bev and Bob GrimmJudd and Zetta Gross*Candy and Brent GroverMrs. Jerome E. Grover*Thomas J.* and Judith Fay GruberMr. and Mrs. David H. GunningMr. and Mrs. William E. GuntonJoseph E. Guttman*Mrs. John A Hadden Jr.Richard* and Mary Louise HahnJames J. HamiltonKathleen E. HancockDouglas Peace Handyside*Holsey Gates HandysideNorman C. and Donna L. HarbertMary Jane HartwellWilliam L.* and Lucille L. HasslerPeter and Gloria Hastings*Mrs. Henry Hatch (Robin Hitchcock)Virginia and George HavensGary D. HelgesenClyde J. Henry, Jr.Ms. M. Diane HenryWayne and Prudence HeritageRice Hershey*T. K. and Faye A. HestonGretchen L. HickokMr. and Mrs.* Daniel R. HighEdwin R. and Mary C. Hill*Ruth Hirshman-von Baeyer*Mr. and Mrs. D. Craig Hitchcock*Bruce F. HodgsonGoldie Grace Hoff man*Mary V. Hoff manFeite F. Hofman MD*Mrs. Barthold M. HoldsteinLeonard* and Lee Ann HolsteinDavid and Nancy HookerGertrude S. Hornung*Patience Cameron HoskinsElizabeth HosmerDorothy Humel HovorkaDr. Christine A. Hudak, Mr. Marc F. CymesDr. Randal N. Huff Mrs. Marguerite B. HumphreyAdria D. Humphreys*Ann E. Humphreys and Jayne E. SissonKaren S. HuntMr. and Mrs. G. Richard HunterRuth F. IhdeMr. and Mrs. Jonathan E. IngersollPamela and Scott IsquickMr. and Mrs.* Cliff ord J. Isroff Mr. and Mrs. Donald M. Jack, Jr.Carol S. JacobsMilton* and Jodith Janes

Alyce M. Jarr*Jerry and Martha Jarrett*Merritt JohnquestAllan V. JohnsonE. Anne JohnsonNancy Kurfess Johnson, M.D.Paul and Lucille Jones*Mrs. R. Stanley Jones*William R. Joseph*David and Gloria KahanJulian and Etole KahanBernie and Nancy KarrDrs. Julian* and Aileen KassenMilton and Donna* KatzPatricia and Walter Kelley*Bruce and Eleanor KendrickMalcolm E. KenneyMr. and Mrs. Douglas A. KernNancy H. Kiefer*Charles M. and Janet G. Kimball*James and Gay* KitsonMr. Clarence E. Klaus, Jr.Mary Elizabeth and G. Robert Klein*Julian H. and Emily W. Klein*Thea Klestadt*Fred* and Judith KlotzmanPaul and Cynthia KlugMartha D. KnightMr. and Mrs. Robert KochDr. Vilma L. Kohn*Elizabeth Davis Kondorossy*Mr. Clayton KoppesMr.* and Mrs. James G. Kotapish, Sr.LaVeda Kovar*Margery A. KowalskiBruce G. Kriete*Mr. and Mrs. Gregory G. KruszkaThomas* and Barbara KubyEleanor and Stephen KushnickMr. and Mrs. Dennis W. LaBarreJames I. LaderMr. and Mrs. David A. LambrosDr. Joan P. Lambros*Mrs. Carolyn LamplMarjorie M. LamportLouis LaneKenneth M. Lapine and Rose E. MillsCharles K. László and Maureen O’Neill-LászlóAnthony T. and Patricia LauriaCharles and Josephine Robson Leamy FundTeela C. LelyveldMr. and Mrs. Roger J. LerchJudy D. LevendulaGerda LevineDr. and Mrs. Howard LevineBracy E. LewisMr. and Mrs.* Thomas A. LiederbachRollin and Leda LindermanRuth S. LinkDr. and Mrs. William K. LittmanJeff and Maggie LoveDr. Alan and Mrs. Min Cha LubinAnn B. and Robert R. Lucas*Linda and Saul Ludwig

Kate LunsfordMr. and Mrs. Thomas E. Lynch*Patricia MacDonaldAlex and Carol MachaskeeJerry MaddoxMrs. H. Stephen MadsenAlice D. MaloneMr. and Mrs. Donald Malpass, Jr.Lucille Harris Mann*Mr. and Mrs. Richard A. Manuel*Clement P. MarionMr. Wilbur J. Markstrom*Dr. and Mrs. Sanford E. MarovitzDavid C.* and Elizabeth F. MarshDuane and Joan Marsh*Florence Marsh, Ph.D.*Mr. and Mrs. Anthony M. MartincicKathryn A. MatesDr. Lee Maxwell and Michael M. PruntyAlexander and Marianna* McAfeeNancy B. McCormackMr. William C. McCoyMarguerite H. McGrath*Dorothy R. McLeanJim and Alice Mecredy*James and Virginia MeilMr. and Mrs.* Robert F. MeyersonBrenda Clark MikotaChristine Gitlin MilesChuck and Chris MillerEdith and Ted* MillerLeo Minter, Jr.Mr. and Mrs. William A. MitchellRobert L. MoncriefMs. Beth E. MooneyBeryl and Irv MooreAnn Jones MorganMr. and Mrs. Stanley L. Morgan*George and Carole MorrisMr. and Mrs. Thomas W. MorrisMr. and Mrs.* Donald W. MorrisonJoan R. Mortimer, PhDFlorence B. MossSusan B. MurphyDr. and Mrs. Clyde L. Nash, JrDeborah L. NealeMrs. Ruth Neides*David and Judith NewellDr.* and Mrs. S. Thomas NiccollsSteve Norris and Emily GonzalesRussell H. Nyland*Katherine T. O’NeillThe Honorable and Mrs. John Doyle OngAurel Fowler-Ostendorf*Mr. J. William and Dr. Suzanne PalmerR. Neil Fisher and Ronald J. ParksNancy* and W. Stuver ParryMrs. John G. Pegg*Dr.* and Mrs. Donald PensieroMary Charlotte PetersMr. and Mrs. Peter Pfouts*Janet K. Phillips*Florence KZ PollackJulia and Larry PollockVictor and Louise PreslanMrs. Robert E. Price*

Legacy Giving




H E R I T A G E S O C I E T YLois S. and Stanley M. Proctor*Mr. David C. Prugh*Leonard and Heddy RabeM. Neal RainsMr. George B. RamsayerJoe L. and Alice Randles*Mrs. Alfred M. Rankin, Sr.Mrs. Theodore H. Rautenberg*James and Donna ReidMrs. Hyatt Reitman*Mrs. Louise Nash Robbins*Dr. Larry J.B.* and Barbara S. RobinsonMargaret B. RobinsonDwight W. RobinsonJanice and Roger RobinsonAmy and Ken RogatMargaret B. Babyak* and Phillip J. RoscoeAudra and George RoseDr. Eugene and Mrs. Jacqueline* RossHelen Weil Ross*Robert and Margo RothMarjorie A. RottHoward and Laurel RowenProfessor Alan Miles Ruben and Judge Betty Willis RubenFlorence Brewster RutterMr. James L. Ryhal, Jr.Renee SabreenMarjorie Bell SachsDr. Vernon E. Sackman and Ms. Marguerite PattonSue SahliMr. and Mrs. James A. SaksMr. and Mrs. Sam J. SanFilipo*Larry J. SantonStanford and Jean B. SarlsonSanford Saul FamilyJames Dalton SaundersPatricia J. SawvelRay and Kit SawyerRichard Saxton*Alice R. SayreIn Memory of Hyman and Becky SchandlerRobert ScherrerSandra J. SchlubMs. Marian SchluembachRobert and Betty SchmiermundMr.* and Mrs. Richard M. SchneiderLynn A. Schreiber*Jeanette L. SchroederFrank SchultzCarol* and Albert SchuppRoslyn S. and Ralph M. SeedNancy F. SeeleyEdward SeelyOliver E. and Meredith M. SeikelRussell Seitz*Reverend Sandra SelbyEric SellenThomas and Ann SepúlvedaElsa Shackleton*B. Kathleen ShampJill Semko ShaneDavid ShankDr. and Mrs. Daniel J. Shapiro*

Helen and Fred D. ShapiroNorine W. SharpNorma Gudin ShawElizabeth Carroll Shearer*Dr. and Mrs. William C. SheldonJohn F. Shelley and Patricia Burgess*Frank* and Mary Ann SherankoKim SherwinMr. and Mrs. Michael SherwinReverend and Mrs. Malcolm K. ShieldsRosalyn and George SievilaMr.* and Mrs. David L. SimonDr.* and Mrs. John A. SimsNaomi G. and Edwin Z. SingerLauretta SinkoskyH. Scott Sippel and Clark T. KurtzEllen J. SkinnerRalph* and Phyllis SkufcaJanet Hickok SladeAlden D. and Ellen D. Smith*Drs. Charles Kent Smith and Patricia Moore SmithMr.* and Mrs. Ward SmithM. Isabel Smith*Sandra and Richey SmithNathan Snader*Sterling A. and Verdabelle Spaulding*Barbara J. Stanford and Vincent T. LombardoGeorge R. and Mary B. StarkSue Starrett and Jerry SmithLois and Tom Stauff erWillard D. Steck*Saundra K. Stemen Merle SternDr. Myron Bud and Helene* SternMr. and Mrs. John M. StickneyNora and Harrison Stine*Mr. and Mrs. Stanley M. StoneMr.* and Mrs. James P. StorerRalph E. and Barbara N. StringThe Irving Sunshine FamilyVernette M. Super*Mr. and Mrs. Herbert J. Swanson*In Memory of Marjory SwartzbaughDr. Elizabeth SwensonLewis Swingley*Lorraine S. SzaboNorman V. TagliaferriSusan and Andrew Talton*Frank E. Taplin, Jr.*Charles H. Teare* and Cliff ord K. Kern*Mr. Ronald E. TeareNancy and Lee TenenbaumPauline Thesmacher*Dr. and Mrs. Friedrich ThielMrs. William D. Tibbetts*Mr. and Mrs. William M. Toneff Marlene and Joe TootAlleyne C. ToppinJanice and Leonard TowerDorothy Ann TurickMr. and Mrs. Robert A. Urban*Robert and Marti VagiRobert A. ValenteJ. Paxton Van Sweringen

Mary Louise and Don VanDykeElliot Veinerman*Nicholas J. Velloney*Steven VivarrondaHon. William F.B. VodreyPat and Walt* WahlenMrs. Clare R. WalkerJohn and Deborah WarnerMr. and Mrs. Russell WarrenJoseph F. and Dorothy L. WasserbauerCharles D. Waters*Reverend Thomas L. WeberEtta Ruth Weigl*Lucile WeingartnerEunice Podis Weiskopf*Max W. WendelWilliam Wendling and Lynne WoodmanMarilyn J. WhiteRobert and Marjorie Widmer*Yoash and Sharon WienerAlan H. and Marilyn M. WildeElizabeth L. Wilkinson*Helen Sue* and Meredith WilliamsCarter and Genevieve* WilmotMiriam L. and Tyrus W.* WilsonMr. Milton Wolfson* and Mrs. Miriam Shuler-WolfsonNancy L. WolpeMrs. Alfred C. WoodcockKatie and Donald WoodcockDr.* and Mrs. Henry F. Woodruff Marilyn L. WozniakNancy R. WurzelMichael and Diane WyattMary YeeEmma Jane Yoho, M.D.Libby M. YungerDr. Norman Zaworski*William L. and Joan H. Ziegler*Carmela Catalano Zoltoski*Roy J. Zook*Anonymous (106)

Th e lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefi ts of legacy gift s to

Th e Cleveland Orchestra’s endowment. Said to be

Elisabeth Severance’s favorite fl ower, the lotus is found as a

decorative motif in nearly every public area of Severance Hall.

Legacy Giving

Presented by Cleveland State University’s Center for Arts and Innovation

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel28th Season 2015-2016

Masterly

Enthralling

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All concerts begin at 3:00 pm in Cleveland State University’s WaetjenAuditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5022or visit www.csuohio.edu/concertseries/kc

“An afternoon of entertaining talk and exhilarating music.” – The Washington Post

Sunday, October 18, 2015Robert Schumann — Passionate music inspired by Schumann’s beloved!

Sunday, January 10, 2016Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016 Splendor from Silence: Smetana, Fauré & Beethoven — Written after deafness engulfed them.

Sunday, May 1, 2016Musical Pictures — Visually inspired, gloriously colorful works.

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d o

. iver the most meaningful

2015-16 SEASON

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S E V E R A N C E H A L L

Concert Program: March 24 and 26

WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH — page 29

Concert Program: March 31, April 1 and 2

WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director — page 7



Concert Previews Cleveland Orchestra Concert Previews are presented before every regular subscription con-cert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a vari-ety of interviews and through talks by local and national experts. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka.

April 7, 8, 9, 10“Folksongs and Freud’” (Musical works by Bartók) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

April 14, 16“From Dawn to Dusk” (Musical works by Mozart and Haydn) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

April 21, 23, 24“Heroic Beethoven, Fashionable Chopin” (Musical works by Wagner, Chopin, Beethoven) with Donna Lee, professor of piano Kent State University

April 28, 29, 30“Of Love and Life” (Musical works by Wagner, Chausson, Strauss) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 5, 6, 7“First Attempts: Concerto and Ballet”(Musical works by Kodaly, Rachmaninoff , Stravinsky) with Jerry Wong, associate professor of piano, Kent State University

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-ety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermis-sion, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of explor-ing the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the sto-ries behind the composers’ lives. Free Concert Previews are pre-sented one hour before most subscrip-tion concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the op-portunity for audience members to ask questions.

Concert Previews

T H E C L E V E L A NC O N C E R T C A L E N D A R


S P R I N G S E A S O N

Welser-Möst Conducts BrucknerMarch 24 — Thursday at 7:30 p.m.March 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorTruls Mørk, cello

KURTÁG Petite musique solennelle — Homage to Pierre Boulez at 90 SCHUMANN Cello Concerto BRUCKNER Symphony No. 6

Wagner’s GötterdämmerungMarch 31 — Thursday at 7:30 p.m.April 1 — Friday at 11:00 a.m. <18s

April 2 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLeila Josefowicz, violin

CHEUNG Lyra* ADÈS Violin Concerto: Concentric Paths WAGNER Excerpts from Götterdämmerung * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE:The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m.April 8 — Friday at 8:00 p.m. <18s

April 9 — Saturday at 8:00 p.m. April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLETAshley Wheater, artistic directorand featuring choreography and stage direction by Yuri Possokhovset, lighting, projection design by Alexander V. Nicholscostume design by Mark ZapponeMikhail Petrenko, bassKatarina Dalayman, soprano and members of the Cleveland Orchestra ChorusTHE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season, with two of Bartók’s mas-terful stage works as a doublebill — exploring desire and deception, secrets and death. Two fantastical tales about love . . . and murder! A world premiere collaboration with Chicago’s renowned Joffrey Ballet.

Supported with funding from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

Concert Calendar

PNC MUSICAL RAINBOWThe Terrifi c TrumpetApril 8 — Friday at 10:00 a.m. <18s

April 9 — Saturday at 10:00 & 11:00 a.m. <18s

with Jack Sutte, trumpetFor ages 3 to 6. Host Maryann Nagel gets attendees sing-ing, clapping, and moving to the music in this series intro-ducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation.Sponsor: PNC Bank

Mozart (and Haydn)April 14 — Thursday at 7:30 p.m.April 15 — Friday at 7:00 p.m. <18s

April 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAJane Glover, conductorJoshua Smith, fl uteYolanda Kondonassis, harp

HAYDN Symphony No. 6 (“Le Matin”)* MOZART Concerto for Flute and Harp MOZART Symphony No. 39 * not part of Fridays@7 concert.

Sponsors: Squire Patton Boggs (US) LLP KeyBank

FAMILY CONCERTGreen Eggs and HamadeusApril 16 — Saturday at 2:00 p.m. <18s THE CLEVELAND ORCHESTRARob Kapilow, conductorSherry Boone, sopranoJoshua Turchin, boy sopranowith stage direction by Daniel Pelzig

This concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for children. The Boston Globe called Green Eggs and Hama-deus “the most popular family music since Prokofi ev’s Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra.” You will like it, Sam-I-am! Free pre-concert activities begin one hour before start time.

Supported by The Giant Eagle Foundation

<18sUnder 18s Free FOR FAMILIES

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program off ers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

CLEVELAND ORCHESTRA TICKETS PHONE 216-231-1111 800-686-1141 clevelandorchestra.com

D O R C H E S T R A

I N T H E S P O T L I G H T

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit www.clevelandorchestra.com.

105Severance Hall 2015-16 105Concert Calendar

Beethoven’s Heroic SymphonyApril 21 — Thursday at 7:30 p.m.April 23 — Saturday at 8:00 p.m. April 24 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAAntoni Wit, conductorJan Lisiecki, piano

WAGNER Polonia Overture CHOPIN Piano Concerto No. 2 BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: KeyBank

AT THE MOVIESBride of FrankensteinApril 26 — Tuesday at 7:30 p.m. THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror fi lm with legendary fi lm composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff).

Sponsor: PNC Bank

A Hero’s LIfeApril 28 — Thursday at 7:30 p.m.April 29 — Friday at 11:00 a.m. <18s

April 30 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAAntonio Pappano, conductorMarie-Nicole Lemieux, mezzo-soprano*

WAGNER Prelude and Love-Death from Tristan and Isolde CHAUSSON Poem of Love and the Sea* STRAUSS Ein Heldenleben [A Hero’s Life] * not part of Friday Morning Concert

Sponsor: PNC Bank

2015-16 SEASON

BARTÓK ON STAGE:The Miraculous Mandarin andBluebeard’s CastleThursday April 7 at 7:30 p.m.Friday April 8 at 8:00 p.m. <18s

Saturday April 9 at 8:00 p.m.Sunday April 10 at 3:00 p.m. <18s

THE JOFFREY BALLETAshley Wheater, artistic director choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols costume design by Mark ZapponeTHE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season! With two of Bartók’s masterful stage works presented as a doublebill — exploring desire and deception, secrets and murder, life and death! A world premiere new production in collaboration with Chicago’s renowned Joff rey Ballet.

Supported with funding from The Andrew W. Mellon Foundation and a grant from the National Endowment for the Arts.

U P C O M I N G C O N C E R T S

T H E C L E V E L A N D O R C H E S T R A2015-16 SEASON

See also the concert calendar listing on previous pages, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

106 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

STRAVINSKY’STHE FIREBIRDThursday May 5 at 7:30 p.m.Friday May 6 at 11:00 a.m.Friday May 6 at 7:00 p.m.Saturday May 7 at 8:00 p.m.THE CLEVELAND ORCHESTRAAndrés Orozco-Estrada, conductorKirill Gerstein, piano

Stravinsky’s ground-breaking ballet was an instant sensation when it was premiered — and remains an audience favorite. Based on a Russian folk legend, it features mesmerizing melodies, fi erce rhythmic drive, and one of music’s most breathtaking fi nales. This week-end of concerts also features Rachmaninoff ’s First Piano Concerto, fi lled with lyricism and passion. Plus Zoltán Kodály’s delightful musi-cal postcard about a village he had lived in, Dances from Galánta. Friday night sponsor: KeyBank

AT THE MOVIESBRIDE OFFRANKENSTEINTuesday April 26 at 7:30 p.m.THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror fi lm with legendary fi lm composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff ). Sponsored by PNC Bank

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Documents

The Cleveland Orchestra April 7, 8, 9, 10 Concerts