happy 70 wso arrival from sweden: the music of abba ...€¦ · our first classics concert happy...

HAPPY 70TH WSO

ARRIVAL FROM SWEDEN:THE MUSIC OF ABBA

SCHEHERAZADE

FALL FESTIVAL:ANGELS & DEMONS

wso.ca I 204-949-3999

SEPTEMBER – OCTOBER 2017 I ISSUE 1

ECSTASY AND DESPAIR, yin and yang, the duality of the human spirit… For this year’s Autumn Festival,the WSO dives into musical visions of our highest aspirations and darkest conceits. Liszt’s massive tonepoem inspired by Dante’s Inferno. Kurt Weill’s ground-breaking musical Seven Deadly Sins. HenrykGórecki’s masterpiece Symphony of Sorrowful Songs. Visionary works of art inspired by powerful themes.

wso.ca/autumn-festival

Oct 27/28 Beethoven, Chopin and a Sorrowful Song (WSO)

Oct 29 Songs of Darkness and Light (Winnipeg Philharmonic Choir)

Oct 30 Natasha Paremski plays Pictures at an ExhibitionOct 31 Frankenstein!! (WSO)Nov 1 Winnipeg Chamber Music SocietyNov 3/4 Seven Deadly Sins (WSO)

S e p t e m b e r – O c t o b e r 2 0 1 7 I O V E R T U R E 1

MESSAGE FROM THE MUSIC DIRECTOR

Welcome to the Winnipeg Symphony Orchestra’s 70th AnniversarySeason!

From the bottom of my heart, I would like to thank the musicians,board, staff, supporters, and most importantly, you, our audience, forhelping us create this 70-year legacy. We are incredibly grateful forthis city that has embraced our orchestra.

As always, this season we will hear symphonic music in manydifferent ways. Arrival from Sweden brings an incomparabletribute to ABBA. In October, the enfant terrible himself AshleyMacIsaac fiddles Cape Breton style like no one else. Our Great-WestLife Kids Concerts start with Scheherazade: Sinbad, Aladdin, andother magical tales from The Arabian Nights – a musical treatparents will like just as much as the kids, or even more so.

Our first Classics concert Happy 70th WSO! pays homage to the orchestra’s anniversary. VictorFeldbrill, WSO Music Director from 1958-1968, now 92, joins us with his selection of Beethoven’sdramatic Lenore Overture No. 3. I can only hope to have his stamina when I’m his age.

This year’s Autumn Festival is a personal highlight for me. The music we selected for this week withour partners plays to the theme of Angels & Demons. There’s mysticism and paranormal themes inthis music and it gives us the chance to wade deep into the emotional waters of the human spiritwhere we’ll go from ecstasy to despair. As audience members, I invite you to experience wherethese composers can take us as we all open the door to an alternative reality. I don’t have enoughroom here to dig into the breadth of the festival, so please visit wso.ca for more about this musicand concept of the festival.

If you, or someone you know, is interested in taking in some WSO concerts this year but are not surewhere to start, we’ve created something called the Beginner’s Guide to the Symphony. Visit ourwebsite and we will help you navigate this exciting world and get you into experiences that willspeak to your soul – because that’s what it’s really all about.

This year is my final season at the helm of the WSO, and throughout the year I will have manycelebratory moments, passion projects, and music I can’t wait to conduct. It’s bitter sweet to leavethis wonderfully cultural city and the many friends I have made, but I can’t wait for this newadventure professionally, musically, and personally for my family and me. I wouldn’t trade the memoriesI’ve made here for anything, and I can only hope that I have inspired a passion for music in Winnipeg.

Here’s to this year of celebration and music!

Auf Wiedersehen,

Alexander MickelthwateMusic Director

The 70th anniversary of the Winnipeg Symphony Orchestrais a wonderful time to look back in gratitude to those whohave been a part of our history. We are so grateful to thosemembers of our community who have shaped our presentaccomplishments, especially our Maestro, AlexanderMickelthwate.

In honour of Alexander’s final year as our Music Directorwe are establishing an endowment fund in his name.This means that every year, in perpetuity, Alexander’slegacy will continue to be a source of support, stability,and inspiration to us.

With an endowment fund in his name, every year,we will remember Alexander’s legacy as one of energy,a passion for achievement, and the confidence to breaknew ground. Making a gift to his endowment will ensurehis years of dedication to our orchestra have continuingimpact on the WSO.

If you would like to make a gift to the AlexanderMickelthwate Endowment, you can do so by going towso.ca/support or call Shenna Song at (204) 494-3973.Make your endowment donation by November 15th and it will be eligible to be matched!

Market Value of WSO Endowment Fund:$7.29 million

Current annual dispersal:$300,000 per year


WSO SPONSORS, FUNDERS AND ACKNOWLEDGEMENTSThe WSO proudly acknowledges the ongoing support of the following sponsors, media and funders:

INDIVIDUAL CONCERTS

COMMUNITY ENGAGEMENT PARTNER

EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS

FUNDERS

WSO IN BRANDONPOPSSERIES

KIDS CONCERTSSERIES

CLASSICS ASERIES

POPS PRESENTINGMEDIA PARTNER

SOUNDCHECK PROGRAM

MANITOBA HYDROHOLIDAY TOUR

OFFICIAL RADIO STATION OF THE WSO CLASSICS

CORPORATE SUSTAINABILITYPIANO RAFFLE CAR RAFFLE

Women’s Committee of the

Winnipeg Symphony Orchestra

IN MEMORY OF PETER D. CURRY

ARNOLD & MYRAFRIEMAN

DANIEL FRIEDMAN& ROB DALGLIESH

MICHAELNESBITT

4 O V E R T U R E I S e p t e m b e r – O c t o b e r 2 0 1 7

Alexander Mickelthwate, Music DirectorGerman conductor Alexander Mickelthwate is renowned for his “splendid, richlyidiomatic readings” (LA Weekly),“fearless” approach and “first-rate technique” (LosAngeles Times). Critics have noted Alexander’s extraordinary command over theAustro-Germanic repertoire, commenting on the “passion, profundity, emotionalintensity, subtlety and degree of perfection achieved” in Bruckner’s SymphonyNo. 7 as “miraculous” (Anton Kuerti, 2011).

Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, whichhe completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los AngelesPhilharmonic for three years, under the direction of Essa-Pekka Salonen. Now in his tenth seasonas Music Director of the Winnipeg Symphony Orchestra, Alexander has significantly developedthe orchestra’s profile through active community engagement and innovative programminginitiatives like the annual Winnipeg New Music Festival and the Indigenous Music Festival.Chosen to perform at the Carnegie Hall Spring For Music Festival in New York, May 2014, due to“creative and innovative programming” (CBC Manitoba Scene), the orchestra was the onlyCanadian ensemble in the showcase.

CONDUCTORS AND COMPOSERS

Julian Pellicano, Resident ConductorA conductor with expansive musical interests, Julian Pellicano is a formidable interpreter ofthe symphonic repertoire.The Winnipeg Free Press says of Pellicano,“His versatility is trulyastonishing…”Marking his fifth season with the WSO, the 2017-2018 season includesappearances at the inaugural edition of the Ciclo de Música Contemporánea in Oviedo,Spain, a return to the Louisiana Philharmonic and his first appearance conducting the Royal Winnipeg Ballet among many other highlights.

The creation, with Dr. Paul Lehrman, of a new performance edition of George Antheil's Ballet Mecanique firstbrought Pellicano to the public’s attention. Conductor of the Norfolk Contemporary Ensemble since 2008,Pellicano is recognized for his transparent interpretations of contemporary music. He studied conductingas a fellow at the Yale School of Music. An autodidact, he was accepted to the Peabody Conservatory as apercussionist without typical classical training, and continued his studies at the Royal College of Music inStockholm, Sweden and at the Yale School of Music and was a member of the critically acclaimed YalePercussion Group. Pellicano also holds a degree in philosophy from The Johns Hopkins University.

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Harry Stafylakis, Composer-in-Residence, WNMF Festival DirectorHarry Stafylakis(b. 1982) hails from Montreal and is now based in NYC. He is the WinnipegSymphony Orchestra's Composer-In-Residence and Festival Director of the WSO'sWinnipeg New Music Festival. His works have been performed by the AmericanComposers Orchestra, the Toronto, Winnipeg, Vancouver, Spokane, Stamford, Victoria, andPEI symphonies, McGill Chamber Orchestra, ICE, Contemporaneous, Mivos Quartet,Quatuor Bozzini, and Aspen Contemporary Ensemble, among others. Awards include

the Charles Ives Fellowship from the American Academy of Arts and Letters, the ASCAP Foundation’sLeonard Bernstein Award, four SOCAN Foundation Awards for Young Composers, and grants from theCanada Council, NYSCA, and New Music USA. He is an Associate Composer of the Canadian Music Centreand a member of the NYC composer collective ICEBERG New Music. Stafylakis holds degrees from McGillUniversity and The Graduate Center, CUNY, and lectures at the City College of New York. His doctoralresearch, supported by SSHRC, examines rhythm and meter in progressive metal. www.hstafylakis.com


MUSIC DIRECTORAlexander Mickelthwate

RESIDENT CONDUCTORJulian Pellicano

COMPOSER-IN-RESIDENCEHarry Stafylakis

FIRST VIOLINSGwen Hoebig, Concertmaster

The Sophie-Carmen Eckhardt-Gramatté Memorial Chair, endowedby the Eckhardt-Gramatté Foundation

Karl Stobbe, Associate ConcertmasterMary Lawton, Assistant ConcertmasterChris AnsteyMona CoardaTeodora DimovaTara FensomHong Tian JiaMeredith McCallumSonia ShklarovJulie SavardJun Shao

SECOND VIOLINSJeremy Buzash, PrincipalElation Pauls, Assistant PrincipalKaren BauchKristina BauchElizabeth DyerBokyung HwangRodica JeffreySusan McCallumTakayo Noguchi*Jane PulfordClaudine St-Arnauld

VIOLASDaniel Scholz, PrincipalAnne Elise Lavallée,

Assistant PrincipalMarie-Elyse BadeauLaszlo BarocziRichard BauchGreg HayMichael ScholzHeather Wilson

CELLOSYuri Hooker, PrincipalLeana Rutt, Assistant Principal**Desiree AbbeyAlex AdamanArlene DahlCarolyn NagelbergEmma QuackenbushSean Taubner

BASSESMeredith Johnson, Principal

Andrew Goodlett, Assistant Principal

Travis Harrison

Paul Nagelberg

Bruce Okrainec

Daniel Perry

**Anna Scheider

FLUTESJan Kocman, Principal

OBOESBeverly Wang, PrincipalRobin MacMillan

ENGLISH HORNRobin MacMillan, Principal

CLARINETSMicah Heilbrunn, Principal

BASSOONSAlex Eastley, PrincipalKathryn Brooks

HORNSPatricia Evans, PrincipalKen MacDonald, Associate PrincipalJames RobertsonCaroline OberheuMichiko Singh

TRUMPETSChris Fensom, PrincipalPaul JeffreyIsaac Pulford

TROMBONESSteven Dyer, PrincipalKeith Dyrda

BASS TROMBONE**Stephen Clayton, Principal*Julia McIntyre, Principal

TUBAChris Lee, Principal

TIMPANIMike Kemp, Principal

PERCUSSIONFrederick Liessens, Principal

HARPRichard Turner, Principal

Endowed by W.H. & S.E. Loewen

ORCHESTRA PERSONNELMANAGERChris Lee

PRINCIPAL LIBRARIANGreg Hamilton

ASSISTANT LIBRARIANLaura MacDougall

*On Leave**Temporary Position

Please note: Non-titled (tutti)string players are listedalphabetically and are seatedaccording to a rotational system.

Fred Redekop is the official PianoTuner and Technician of the WSO.

WINNIPEG SYMPHONY ORCHESTRA 2017-2018 SEASON


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That’s MeKnowing Me Knowing YouWhen I Kissed the TeacherFernandoSOSMoney Money MoneyIntermezzo No. 1Medley: Waiting / Honey / BrotherWaterlooMamma Mia

- INTERMISSION -

Voulez VousAs Good As NewMedley: Kisses / Angel / Lay AllGimme Gimme / Super TrouperOne Man One WomanThe WinnerChiquititaTake a ChanceSummer Night City

AIR

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Pops Series Sponsor:

Presenting Media Sponsor:

Arrival from Sweden:The Music of ABBA

Arrival from Sweden, vocal groupVictoria Norback, Tove Lind Mckeever, lead singersEbba Thorn, Elisa Bryant, Bente Thorsén, back-up singersLars Egon Larsson, keyboardDaniel Palmqvist, guitarRonald Hogan, bassMathias Backstrom, saxophone/keyboardFredrik Karlberg, drums

Julian Pellicano, conductor

Friday, September 22 8:00 p.m.Saturday, September 23 8:00 p.m.Sunday, September 24 2:00 p.m.

8 O V E R T U R E I S e p t e m b e r – O c t o b e r 2 0 1 7

AIR CANADA POPSArrival from Sweden: The Music of ABBAARTIST BIOS

Arrival from Sweden, vocal group

ARRIVAL from Sweden was founded by VickyZetterberg in 1995 in Gothenburg, Sweden.Arrival from Sweden very soon became one ofthe world’s most popular and highest sellingABBA show bands. Since their start in 1995, theband has toured in close to 55 countries andhas appeared in several TV and radio shows allover the world. Since 2007, Arrival from Swedenhas made 42 successful tours in the USA.

Arrival from Sweden has also played with more than60 symphony orchestras throughout the world.Successful shows with some of the finest orchestrasin the USA include the Boston Symphony Orchestra,San Francisco Symphony Orchestra, DallasSymphony Orchestra, Houston Symphony Orchestraand Atlanta Symphony Orchestra.

Arrival from Sweden has exact copies of theoriginal staging clothes of ABBA, a permissiongranted by the ABBA clothing designer. Arrivalfrom Sweden is also the only group who has beengiven an unreleased ABBA song directly from BjörnUlvaeus and Benny Andersson of ABBA. The songJust A Notion is soon due for a worldwide release.

ADDITIONAL MUSICIANS:Allen Harrington, bassoon; Tony Cyre, percussion

1 0 O V E R T U R E I S e p t e m b e r – O c t o b e r 2 0 1 7

S e p t e m b e r – O c t o b e r 2 0 1 7 I O V E R T U R E 1 1

Leonore Overture No. 3, Op. 72a* Ludwig van Beethoven (1770-1827)

Cello Concerto in C major, H.VIIb:1 Franz Joseph Haydn (1732-1809)ModeratoAdagioAllegro molto

- INTERMISSION -

Symphony No. 2 in D major, Op. 73 Johannes Brahms (1833-1897)Allegro non troppoAdagio non troppoAllegretto grazioso (quasi andantino)Allegro con spirito

Friday, October 13 8:00 p.m.Saturday, October 14 8:00 p.m.

Pre-Concert Chat on the Piano Nobile at 7:15 p.m.

SPECIAL CONDENSED MATINEEJohannes Brahms: Symphony No. 2 in D major

Friday, October 13 10:30 a.m.

Happy 70th WSO!Alexander Mickelthwate, conductor

Victor Feldbrill, special guest conductor*

Yegor Dyachkov, cello

CLAS

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Classics ASeries Sponsor:

Official Radio Station of the WSO Classics:

Concert Presented by:

Saturday’s concert is dedicated in memory ofRobert Nix, a former 2nd trombone playerwho passed away on February 28, 2017 andleft a gift of $10,000 in his will to the WSO.


PROGRAM NOTESby James Manishen

Leonore Overture No. 3Ludwig van Beethovenb. Bonn / December 17, 1770d. Vienna / March 26, 1827Composed: 1806First performance: March 29, 1806(Vienna)Last WSO performance: 2001,Imre Pallo, conductor

Beethoven’s only operaFidelio caused him no endof grief over the decade ittook to create it. Beginningwork in 1804 and

composing virtually nothing else untilmid-1805, Beethoven revised the draftsmany times for different performances,some of which never took place.Whenone thinks that over a ten-year periodRossini composed 31 operas, Donizetti 35and Mozart launched seven, the struggleand resolve to complete Fidelio wascertainly in line with his subject matter. Noless angst occurred in the use of the fourovertures Beethoven wrote for the opera,reflecting his inexperience as a composerfor the theatre.

The “rescue opera”was a popular genre atthe time, providing heroic stories of fightsfor freedom, suspense, loyalty anddeliveries from injustice, especially duringthe violent aftermath of the FrenchRevolution.The fact that Napoleon’sarmy was occupying Vienna during themonth following the scheduled premiereof Fidelio on October 15, 1805, and thatenemy officers were in the audiencedisplacing the many Austrians that hadfled, all but guaranteed a less-than-stellarevent for Beethoven, steeped in theopera’s story of unselfish love, sacrificeand courage in the tale of the unjustlyimprisoned Florestan, rescued by his wifeLeonore (disguised as a man, Fidelio).

The opera was originally entitled Leonoreand Beethoven wrote an Overture in C major, quickly rejecting it after a run-through at Prince Lichnowsky’s palacebefore the premiere. Leonore Overture No. 2 was more successful but proved toolengthy to serve as a prelude. But LeonoreOverture No. 3 emerged as a genuinemasterpiece: a symphonic structure in

sonata-allegro design journeying fromdarkness to light in the style of theFifth and Ninth Symphonies, with atelling offstage trumpet call signalingdeliverance for Florestan and thefaithful Leonore. However, No. 3 givesaway so much of the opera’s story insuch magnificent fashion, the muchbriefer, sunnier Fidelio Overture servesas the opera’s prelude, with theLeonore Overture No. 3 eitherperformed as a concert work orbetween the two scenes of Act II, apractice begun by Otto Nicolai inVienna productions of the 1840s. Inany case, one feels the sweep andemotional grandeur of Beethoven’sconception in this unforgettable digestcurtain-raiser.

Cello Concerto in C majorFranz Joseph Haydnb. Rohrau, Lower Austria / March 31, 1732d. Vienna / May 31, 1809Composed: early 1760sLast WSO performance: 1994;Bramwell Tovey, conductor withArkadiusz Tesarczyk as soloist

Unlike Mozart, Haydnhad the luxury ofcontinuous employment.As a member of themusical staff of the

Esterházy family beginning in 1761and continuing for the next halfcentury, Haydn was in charge of allmusic and befriended his musicians ashe poured out his many compositions,often writing concertos for theirconsiderable skills. Haydn became sofriendly with his principal cellist FranzWeigl that he became godfather toWeigl’s son Joseph, who wouldbecome a famous composer of comicopera in Vienna and a regular visitor toHaydn during his last days. Haydn’s Cmajor Cello Concerto was dedicatedto Weigl senior.

The Concerto was performed at thepalace and Haydn entered a note inhis catalogue of compositions in 1765.But then the piece disappeared for200 years.Though Haydn had likelycomposed more cello concertos, onlyone in D major was thought to havesurvived.

During the aftermath of the SecondWorld War, the Czech National Libraryconfiscated many of the country’sprivate collections. It took scholarsyears to identify material in the hugepile of manuscripts that included acomplete set of parts to the C majorCello Concerto, discovered by OldrichPulkert and H.C. Robbins Landon in1961.

In the C major Concerto, Haydnseems to have one foot in theBaroque period and the other in theClassical period, transitioningforward while looking back. It is oneof the few works where all threemovements are in the same form, theyoung Haydn appearing bothrespectful to the nobility of the oldmodels while infusing a new andvigorous spirit of abundant melodyand expression to every phase ofthem.

Symphony No. 2Johannes Brahmsb. Hamburg / May 7, 1833d. Vienna / April 3, 1897Composed: 1877First performance: December 30, 1877(Vienna), conducted by Hand RichterLast WSO performance: 2010;Alexander Mickelthwate, conductor

“You have no idea howit feels to hear behindyou the tramp of a giantlike Beethoven,”Brahmswrote during the 15

years it took him to complete his FirstSymphony.That monumental work, sofilled with struggle and victory, couldn’tbe more different than the characterand genesis of his Second Symphony.

In the summer of 1877, Brahms foundhimself entranced by the pastoralbeauty of Pörtschach in the Carinthianhills of southern Austria, where heenjoyed a stay in the local castle.Clearly the lovely surroundings of thisidyllic country setting found itsequivalent in the Second Symphonythat Brahms quickly completed overthe summer, bringing the manuscriptback to Vienna at the end of thesummer in anticipation of a premierethat December.

Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.


Victor Feldbrill, conductor Victor Feldbrill’s career as a conductorspreads over a seventy-year period.TheCanadian conductor’s first experiencein this field started when he wasfourteen-years-old while he wasconcertmaster of his high school

orchestra. All of his basic studies he received inCanada after which he pursued other studies inEurope and with Pierre Monteux.

Feldbrill has conducted virtually every majororchestra in Canada as well as orchestras in Europe,Asia and the United States as a guest conductor. Hehas also been Music Director of the London (Canada)Symphony Orchestra, the Hamilton PhilharmonicOrchestra and the Toronto Symphony Orchestra andChief Conductor of the Geidai Philharmonic in Japan.

In addition to symphony concerts, Feldbrill hasconducted for the Canadian Opera Company includingpremieres of important new operas. He has alsoconducted for Ballet, Radio and Television.

His programmes have whenever possible, includedcompositions by Canadian composers. As well, he hasdevoted much time to working with young orchestrasand efforts have won him many awards includingOffice of the Order of Canada and the Order ofOntario. He is also the first recipient of the CanadianMusic citation given by the Canadian League ofComposers and The Roy Thomson Hall Award. In theUS he received The American Concert Guild Award forhis devotion to young performers. In Japan, he wasmake Professor Emeritus at the Tokyo University ofFine Arts where he taught conducting for a period ofeight years. He also received the City of Tokyo medal.

His last engagement with the WSO was in 2004 incelebration of his 80th birthday.

Yegor Dyachkov, cello Lauded for his remarkablestage presence, depth ofinsight, nuance and generosity,cellist Yegor Dyachkov is aninspired recitalist, chambermusician and concerto soloist.

Since being named Artist of the Year by theCanadian Broadcast Corporation, in 2000, Mr.Dyachkov has gone on to performthroughout Europe, Latin America, Asia,Canada and the United States, making hisNew York debut at Lincoln Center in October2000. He has appeared with major orchestrasin such cities as Antwerp, Geneva, Montréal,Rio de Janeiro,Toronto and Vancouver, andhas performed at numerous internationalfestivals in Évian, Kronberg, Lanaudière,Ottawa, and Tanglewood.A champion of new music,Yegor Dyachkovwas invited by Yo-Yo Ma to take part in theSilk Road Project, and has premiered worksdedicated to him such as the Sonata byJacques Hétu, Ironman by Michael Oesterle,Vez for solo cello by Ana Sokolovic, as well asMenuhin: Présence by the late André Prévost.He has recorded extensively on several lables,including Chandos, Analekta and Atma.YegorDyachkov teaches at the Schulich School ofMusic of McGill University and is professor ofcello and chamber music at l'Université deMontréal.

ADDITIONAL MUSICIANS:Momoko Matsumura, violin; Virginia McDowell,oboe; Chad Reimer, tuba

CLASSICSHappy 70th WSO!ARTIST BIOS

Showing no less technical masterythan his First Symphony, theSecond seems to delight in itself,especially in the third movementwhich begins with a gentle oboetheme followed by a quick-tempomix of triple and duple metersbefore settling back to its openingreflection.

Touched by Nature, flowers, breezes anda sunny, gentler world, Brahms is at hismost congenial in this work - awonderful sequel to the First Symphonybut one that also covers a wideemotional and dramatic range within itscozy demeanor. Brahms’s inevitablenarrative and perfect proportion drawone in, inexorably carrying all right

through to the radiant optimism of thefinal trombone chord at the end.


Pre-concert Activities 1:00 p.m.Sunday, October 15 2:00 p.m.

Music ByNikolai Rimsky-Korsakov

ConductorJulian Pellicano

Production Created ByJennifer Blatchley Smith, Leslie Reidel and Landis Smith

Director/ChoreographerLeslie Reidel

Associate DirectorBradley K.Wrenn

Production DesignC. David Russell

Lighting DesignSimon Harding

The EnsembleEnchantment Theatre Company

Madison Bree Auch—Scheherazade, Sea Monster, Bird Lady, Aladdin’s Princess,Sultan’s First Love, Far-away Princess

Arlen Shane Hancock—Queen’s Lover, Sea Monster, Siren, Customer,Woman from the Lamp, Soldier, Horse, Kalandar Guard, Dragon

Jennifer Blatchley Smith—Sultan’s Guard, Sea Monster, Aladdin’s Mother, Soldier,Robber, Dragon

Landis Smith—Grand Vizier, Cyclops, Sorcerer, Sultan’s Friend, Soldier, Robber, Guard

Peter Smith—The Sultan, Sinbad, Aladdin, Kalandar Prince

Leah Rose Holleran—Queen, Siren, Merchant,Wood Nymph, Genie, Soldier, Dragon Lady

Andrew Cowles—Touring Technical Director

Enchantment Theatre Companypresents

Scheherazade!Aladdin ~ Sinbad ~ The Kalandar PrinceScheherazade’s Magical Stories

Co-commissioned by The Cleveland OrchestraThis production has been made possible in part by an awardfrom the National Endowment for the Arts that believes that agreat nation deserves great art. Art Works.

Pre-Concert Activities Partner:

G R E A T- W E S T L I F E

Kids ConcertsSeries Sponsor:

Instrument PettingZoo Sponsor:

GREA

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LIFE

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RTS


About Scheherazade!Scheherazade'sone-thousand-and-one talesare told to healher King and tosave hiskingdom.Through thesefantastic stories,

the King experiences adventures both great andsmall and discovers his true capacity to love.Music, like theater, has the power to illuminateand transform. As a theater company whosework is primarily movement-based, musicsupports and enriches our storytelling andbecomes another voice woven into the narrative.Our collaborations with symphony orchestras areinspired by a shared vision that by bringingtogether the magic of music and theater, greaterpossibilities are born. The orchestra will evokeScheherazade musically as we evoke itdramatically, using masks, puppets, magic andmovement. It is our intention that our combinedefforts will move the audience to discover thismarvelous tale in a new and meaningful way.

- Leslie Reidel, Resident Director

About Enchantment Theatre CompanyEnchantment Theatre Company thrills audienceswith its innovative and visually dramatic familytheater productions. The company was foundedin 1979 by Jennifer Blatchley Smith and LandisSmith, both actors and playwrights, andexpanded to an artistic partnership withResident Director Leslie Reidel in 1995.Enchantment Theatre Company’s distinctiveartistry combines masked actors, puppets, magic,music, and more. Their original and inspiringproductions have served more than a millionchildren and families across America and aroundthe world including performances at theBrooklyn Academy of Music and Lincoln Centerin New York City; the John F. Kennedy Center inWashington, D.C.; the Academy of Music and theKimmel Center with the Philadelphia Orchestra intheir home town of Philadelphia; and in the FarEast, performing in Taiwan, Hong Kong, Malaysia,Indonesia, and Singapore. The company has

appeared with major orchestras nationwide,including those of Atlanta, Baltimore, Cleveland,Houston, Minnesota, and Seattle, and with theBoston Pops on the PBS Christmas at the Popstelevision special. Other Enchantment symphonicconcert productions include The Firebird, MotherGoose, Cinderella, and The Merry Pranks of TillEulenspiegel.

“Enchantment Theatre Company adds abeautiful visual narrative to Scheherazade,Rimsky-Korsakov’s stirring orchestral music.The audience was mesmerized by both.”

–Joan Katz Napoli, The Cleveland Orchestra

Visit enchantmenttheatre.org for cast and creative staff biographies and

more information.

ADDITIONAL MUSICIANS:Laurel Ridd, flute; Virginia McDowell, oboe; TonyCyre, percussion; Victoria Sparks, percussion

ARTIST BIOS GREAT-WEST LIFE KIDS CONCERTSScheherazade

Teaching opportunities available! For more information, please contact:Marilyn Unrau, MYCCRegional Coordinator - Western Canada1.877.603.3MYC [email protected]

At Music for Young Children®, we encourage children to bemore creative, inventive, imaginative and expressive throughour keyboard-based music education program. We providethem with a unique set of skills that will carry throughout theirlives. Whether it’s improving their grades, enhancing coordinationskills for their athletic activities, or to learn the rewarding skill ofplaying the piano; MYC® is the first key to getting them there.


Antonín Dvorák Symphony No. 9, Op. 95, "From the New World"I. Adagio - Allegro moltoII. LargoIII. Scherzo: Molto vivaceIV. Allegro con fuoco

- INTERMISSION -

Robert Schumann Piano Concerto in A minor, Op. 54I. Allegro affettuosoII. Intermezzo: Andantino graziosoIII. Allegro vivace

Jan Lisiecki, piano

John Estacio I Lost My Talk* Monique Mojica, actor Based on the poem by Rita Joe, C.M.Donna Feore, creative producer and directorBarbara Willis Sweete, filmmakerTekaronhiáhkhwa Santee Smith, film choreographerNormal, visual and stage designKimberly Purtell, lighting designerSusan Monis Brett, stage manager

*Commissioned for the National Arts Centre Orchestra to commemorate the 75th birthday of the Right Honourable Joe Clark, P.C., C.C., A.O.E. by his family.

Thursday, October 19 7:30 p.m.

National ArtsCentre OrchestraAlexander Shelley, Music DirectorJohn Storgårds, Principal Guest ConductorJack Everly, Principal Pops ConductorAlain Trudel, Principal Youth and Family ConductorPinchas Zukerman, Conductor Emeritus

The Canada 150 Tour is made possible with leadership support from TourPatrons Gail and David O’Brien, Presenting Supporters Alice and GrantBurton, Supporting Partners Peng Lin and Yu Gu, Education Partner DashaShenkman, OBE, Hon RCM and Digital Partner Facebook.

Peter A. HerrndorfNational Arts CentrePresident and Chief Executive Officer

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PROGRAM NOTESSymphony No. 9, Op. 95,“From the New World”Antonín Dvorákb. Mühlhausen, Bohemia (today Nelahozeves, Czech Republic),September 8, 1841d. Prague, May 1, 1904

Although the “New World”Symphonywas written in the New World, it is notspecifically about the New World.True,there are themes that could beconstrued as being “authentic”songs ofthe American Indians or African-Americans, but in fact, as in Dvorák’sSlavonic works, he did not actuallyquote directly from folksong, but rathercomposed his own based on study ofthe source material. One “New World”aspect of this symphony is the roleplayed by Longfellow’s epic poem TheSong of Hiawatha, which Dvorák hadread in Czech translation some thirtyyears earlier. Dvorák actually visitedHiawatha’s land (Iowa and southernMinnesota), but the symphony wasessentially complete by this time, sowhatever influence Hiawatha had onhim was purely literary, notgeographical.The world premiere wasgiven in Carnegie Hall on December 16,1893, with Anton Seidl conducting theNew York Philharmonic.

Alone of Dvorák’s nine symphonies,From the New World opens with a slowintroduction.The main Allegro section islaunched by horns in an arpeggiatedfanfare motif in E minor, a motif that willreappear in all remaining movementsas well. Many listeners know the maintheme of the famous Largo as the song“Goin’home,”but Dvorák did notborrow the theme from a spiritual; it ishis own.

The Scherzo is one of the mostenergetic and exhilarating movementsDvorák ever wrote.

In the Finale, the development sectiondevelops not only material from thismovement but from the three previousones as well.The symphony’s finalchord is a lovely, warm sonority thatlingers gently on the ears of New Worldaudiences.

Piano Concerto in A minor,Op. 54Robert Schumannb. Zwickau, Saxony, June 8, 1810d. Endenich (near Bonn), July 29, 1856

In 1841, Schumann brought forth asingle-movement work he calledPhantasie, which was destined tobecome the first movement of thePiano Concerto in A minor.Theexuberance, freshness and poetryof this Phantasie all reflectSchumann’s great personalhappiness in life with his new wife.Its deeply lyrical impulses may alsobe seen as an extension of theprevious year’s outpouring ofsongs. Schumann’s wife Clara gavethe world premiere in Dresden onDecember 4, 1845, with FerdinandHiller conducting.

Schumann dispenses with thetraditional orchestral expositionfound in classical concertos. Insteadthere is a peremptory “shout”fromthe full orchestra, followed by acascade of chords from the soloist.A wistful, plaintive theme from thesolo oboe — as tenderly lyrical andpoetic an idea as any Schumannever conceived — is taken upimmediately by the piano,indicating at this early stage theclose relationship that will prevailbetween soloist and orchestra.Schumann’s desire to create atotally unified, cogent piece of workmanifests itself in the continuingpresence of the pervasive theme ofthe first movement, whichbecomes the basis of the followingtwo movements as well.

The coy, playful, four-note idea thatfigures prominently in the openingsection of the Intermezzo is reallyno more than a cleverly disguisedfragment of the familiar first-movement theme.

The Finale’s main theme is alsogenerated by the fertile themefrom the first movement.The mostnotable feature of this movementmay well be the recurring secondtheme with its tricky syncopations.

I Lost My TalkJohn EstacioBased on the poem by Rita Joe, C.M.b. Newmarket, Ontario, April 8, 1966Now living in Edmonton

John Estacio ranks as one of Canada’s mostfrequently commissioned and performedcomposers. Over the past two decades he hasserved as composer-in-residence for theEdmonton Symphony, the CalgaryPhilharmonic and Calgary Opera. In 2003,Calgary Opera gave the world premiere of hisfirst opera, Filumena, to a libretto by Canadianplaywright John Murrell. Calgary Opera likewisepremiered his second opera, Frobisher, in 2007,and his third opera, Lillian Alling, was premieredby Vancouver Opera in 2010. Among his manysuccessful orchestral works, Frenergy hasbecome one of his most often-performedcompositions. John Estacio’s first full-lengthballet score was premiered by the CincinnatiBallet in 2015, and his fourth opera, Ours, waspremiered in July 2016 by Opera on the Avalon(St. John’s, NL). He has also composed for theToronto Symphony, Orchestre symphonique deMontréal, and Vancouver and VictoriaSymphonies. In 2009, he was one of threecomposers to receive the NAC Award forComposers which resulted in the followingcommissioned works: Brio (2011), Sinfonietta forWoodwind Quintet (2014), and concluding withtonight’s work, I Lost My Talk.

I Lost My TalkIn fifteen lines of poetry, Rita Joe’s poem “I LostMy Talk”captures the discombobulating fear ofbeing forced to leave one’s culture. Just as thepoem is divided into four stanzas, thecomposition is divided into four uninterruptedmovements. A bucolic flute solo captures thenarrator’s life prior to attending Shubenacadieresidential school. Strings play a hymn thatsuddenly transforms into a harsh musicalenvironment; the flute melody is now fracturedand lost within a foreign tonal soundscape.Throughout the second movement, as shatteredmusical themes recover, the percussion andlower brass frequently interrupt, forcing themelody to regroup and move forward into anatmosphere that becomes relentlesslyoppressive.With the words “you snatched itaway,”an aggressive third movement begins;the solo flute returns, swept up in franticmomentum. A percussion solo ushers the returnof the hymn, now fraught and anguished. Withthe text “two ways I talk,”the hymn is played intwo different keys simultaneously.With “I offermy hand,”the noble fourth movement begins;here, an anthem for reconciliation soars as thenarrator finds the courage to act as anambassador, bringing peace and understandingto two different cultures as well as her own life.



National Arts Centre OrchestraCanada’s National Arts Centre Orchestra is a worldclass ensemble of outstanding classical musiciansfrom across Canada and around the world, underthe inspiring leadership of Music DirectorAlexander Shelley. Formed in 1969, the Orchestragives about 100 performances a year in Ottawa,across Canada and around the globe, working withdiverse artists of international renown. It breaksboundaries with its regular commissions of newcreations including the critically-acclaimed,immersive Life Reflected. The NAC Orchestrareaches a wide audience through national andinternational tours, recordings, extensiveeducational outreach across Canada and on tour,and via the websites NACmusicbox.ca andArtsAlive.ca.

Alexander Shelley, conductorAlexander Shelley is Music Director ofthe National Arts Centre Orchestra,Principal Associate Conductor of theRoyal Philharmonic Orchestra, and wasChief Conductor of the Nuremberg

Symphony Orchestra from 2009 to 2017. He is alsoArtistic Director of the DeutscheKammerphilharmonie Bremen’s ECHO andDeutsche Gründerpreis winning “Zukunftslabor”.

Born in London in 1979, Shelley studied cello andconducting in Germany. Unanimous winner of the2005 Leeds Conductor’s Competition, he worksregularly with leading international orchestrasincluding the DSO Berlin, Leipzig Gewandhausand Orchestre de la Suisse Romande.

Shelley’s operatic engagements have included TheMerry Widow (Royal Danish Opera); La Bohème(Opera Lyra), Le nozze di Figaro (Opera North) andCosì fan tutte (Montpellier), and in 2017, HarrySomers’ Louis Riel with the NAC Orchestra and theCanadian Opera Company. Shelley has releasedrecordings with Deutsche Grammophon, and LifeReflected and Encount3rs with the NAC Orchestraon the Analekta label.

Jan Lisiecki, pianoJust 22, pianist Jan Lisiecki is recognizedas one of the greatest pianists of ourtime. Acclaimed for his extraordinaryinterpretive maturity, distinctive soundand poetic sensibility, he is “a pianist

who makes every note count.” (The New York Times)Lisiecki’s insightful interpretations, refinedtechnique, and natural affinity for art give him amusical voice that belies his age.

Lisiecki performs with the world’s most prestigiousorchestras on major stages, and has cultivatedrelationships with prominent conductors including SirAntonio Pappano, Yannick Nézet-Séguin, Daniel Harding,and Pinchas Zukerman. His fourth album for DeutscheGrammophon presents Chopin’s seldom performedworks for piano and orchestra with NDR ElbphilharmonieOrchester and Krzysztof Urbanski. For this recording,Lisiecki received the ECHO Klassik in August 2017,Germany’s most significant classical music award.

An example of recent highlights include his BBC Promsdebut with Sir Antonio Pappano at Royal Albert Hall, hisdebut in the main auditorium at New York’s CarnegieHall with the Philadelphia Orchestra, performances withthe New York Philharmonic and SächsischeStaatskapelle Dresden, subscription debuts withCleveland Orchestra and San Francisco Symphony and aperformance in the opening festival of the newElbphilharmonie in Hamburg. He just recently made hisdebut with Valery Gergiev and the Munich PhilharmonicOrchestra. In the 2017-18 season, Lisiecki will open theseason with Toronto Symphony Orchestra, return toDSO Berlin and Santa Cecilia and perform with BostonSymphony Orchestra and London Symphony Orchestra.

In 2013, he became the youngest ever recipient ofGramophone’s Young Artist award, and also receivedthe Leonard Bernstein Award at the Schleswig-HolsteinMusic Festival. Jan Lisiecki is an exclusive recordingartist with Deutsche Grammophon.

Monique Mojica, actorMonique Mojica, from the Guna andRappahannock nations, is passionatelydedicated to theatrical practice as an actof healing, of reclaiminghistorical/cultural memory, and of

resistance. Spun directly from the family-web of NewYork’s Spiderwoman Theater, her first play PrincessPocahontas and the Blue Spots was produced in 1990.

She founded Chocolate Woman Collective in 2007 to develop the play Chocolate Woman Dreams theMilky Way, a performance created by devising adramaturgy specific to Guna cultural aesthetics, storynarrative and literary structure.

She has taught Indigenous Theatre – theory, processand practice – at the University of Illinois, the Instituteof American Indian Arts and McMaster University.

Upcoming projects include Side Show Freaks & CircusInjuns, with an illustrious team of Indigenous artistsfrom diverse disciplines, co-written with Choctawplaywright LeAnne Howe, and Kaha:wi Dance Theatre’sRe-Quickening, a new work by Santee Smith.

SPECIALNational Arts Centre OrchestraARTIST BIOS


Rita Joe, C.M., poet Rita Joe was a famous Mi’kmaw poetwho celebrated her language, cultureand way of life. Rita Bernard was born in1932 in Whycocomagh, Nova Scotia.Orphaned at the age of ten, she soon

found herself at the Shubenacadie ResidentialSchool. Forbidden to speak her language, sheendured mental and physical abuse and left at age16. She soon met Frank Joe and they married andstarted a family. Rita Joe began writing in the mid-1970s. She wrote seven books, including Poems ofRita Joe (1978), Song of Eskasoni (1988) and TheBlind Man’s Eyes (published posthumously in 2015).In 1989, Rita Joe was inducted into the Order ofCanada and in 1992, she became a member of theQueen’s Privy Council. She received an AboriginalAchievement Award in 1997 and doctorates fromseveral East Coast universities. Her husband, Frank,died in 1989, and a year later she was diagnosedwith Parkinson’s disease. She kept writing until herdeath in 2009, five days after her 75th birthday.Upon her death, the Globe and Mail named her thePoet Laureate of the Mi’kmaq people.

“I was only a housewife with a dream to bringlaughter to the sad eyes of my people”

Donna Feore, Creative producer and directorDonna Feore is one of Canada’s mostversatile creative talents and has beenhighly praised for her work with theStratford Festival. She directed andchoreographed last season’s smash hit,

A Chorus Line , which enjoyed an extended run.This came on the heels of her previous hugelyacclaimed productions of the popular The Sound ofMusic (2015), Crazy for You (2014), and Fiddler on theRoof (2013). She returned to the NAC to act asCreative Producer & Director for the NAC-commissioned Life Reflected and as Director forMendelssohn’s A Midsummer Night’s Dream withthe NAC Orchestra. Other directing credits includeTom Stoppard’s Rock & Roll and It’s a Wonderful Lifefor Canadian Stage, and Lecture on the Weather byJohn Cage and A Soldier’s Tale with F. MurrayAbraham for the Detroit Symphony. Selected operacredits include staging and choreography for theCanadian Opera Company’s Siegfried, which sheremounted for the Opera National de Lyon. Also forthe COC: Tosca, Red Emma and Oedipus Rex, whichearned her a Dora Mavor Moore Award for BestChoreography. Selected film and television creditsinclude Mean Girls, Eloise, Treading Water, Politics is

Cruel, Martin and Lewis and Stormy Weather. In2017, Ms. Feore directed and choreographed Guysand Dolls for the Stratford Festival.

Barbara Willis Sweete, FilmmakerA founding partner of Rhombus Media, award-winning director and producer Barbara WillisSweete now heads up a dynamic new team at WillisSweete Productions, a boutique media companyspecializing in cultural documentaries, arthousefilms and cross-media projects.

Willis Sweete has produced and directed more than50 films which have been seen around the world.She has also directed 30 live-to-cinematransmissions from The Metropolitan Opera of NewYork, which are broadcast live to more than 2000cinemas in 70 countries. In the 2016-17 season, shedirected the MetOpera transmissions of Wagner’sTannhäuser and Puccini’s Turandot.

Within the last year, Barbara Willis Sweete hascompleted a number of film and television projects:Sketches of Dvorák, a feature-length documentaryfor Czech Television; Songs of Freedom, a multi-platform project, starring Measha Brueggergosman,encompassing a feature-length documentary, aseries of half-hour television episodes, and acomprehensive digital media component; and, mostrecently, a one-hour special about Chinese New Yearfeaturing Yo-Yo Ma and Lang Lang.

Tekaronhiáhkhwa Santee Smith,Film choreographerTekaronhiáhkhwa Santee Smith is a multi-disciplinaryartist: performer, designer and award-winningdirector and choreographer. She is from theKanien’kehá:ka Nation, Turtle Clan from Six Nations ofthe Grand River, Ontario. Her dance journey beganearly and included attending Canada’s National BalletSchool. She holds Kinesiology and Psychologydegrees from McMaster University and a Master ofArts in Dance from York University.

In 1996, the opportunity to choreograph ignitedher creative force, and in 2004, Smith produced herfirst choreographic work, Kaha:wi. In 2005, shefounded Kaha:wi Dance Theatre as a vehicle for herartistic work. The Theatre is thrilled to becelebrating 10 years as an Indigenous arts company.

In 2015, Tekaronhiáhkhwa Santee Smith wasrecognized as an Eihwaedei Yerihwayente:ri(Community Scholar) by Six Nations Polytechnic.Her work and life celebrates identity and humanity:what it means to be Onkwehon:we on Turtle Island.

SPECIALNational Arts Centre OrchestraARTIST BIOS

Proud supporter of the Winnipeg SymphonyOrchestra, we celebrate and wish them ahuge success on their 70th Anniversary!

On behalf of

DARRELLGEBHARDTFamily, Partners, & Associates

SOUN

DBYT

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Friday, October 20 8:00 p.m.Saturday, October 21 8:00 p.m.Sunday, October 22 2:00 p.m.

MUSICIANS IN THE MAKINGPre-Concert Performance on the Piano Nobile,Friday, 7:15 p.m. Les Rapides en Rythme de Rivière RougeSaturday, 7:15 p.m. Winnipeg Youth OrchestrasSunday, 1:15 p.m. Beautiful Savior Lutheran School Strings

Four Scottish Dances: Malcolm ArnoldPesanteCon brio

Rita Respective arr. Scott MacMillanHard at the JigsReel of TullochMy MotherLooking GlassDevil in the Kitchen

- INTERMISSION -

Silver WellsPrince William’s Coronation MarchGravel WalksSleepy MaggieBuddy’s PicksMacDougall’s PrideTulloch Like It is

AIR

CANA

DA P

OPS

Pops Series Sponsor:

Presenting Media Sponsor:

Ashley MacIsaac

Ashley MacIsaac, fiddler

Jay Andrews, drums

Double the Trouble:

Aidan and Luc Wrigley, fiddlers

Julian Pellicano, conductor


AIR CANADA POPSAshley MacIsaacARTIST BIOS

Ashley MacIsaac, fiddler One of the mostcelebrated Canadianroots musicians of alltime, having sold inexcess of 500,000albums, Ashley hasgarnered international

acclaim by playing the fiddle in that hard-nosed, traditional Cape-Breton style, whileadding his own spin, mixing genres andupdating Celtic music to appeal to a broaderspectrum of fans. Considered something of alocal legend and prodigy by the time of hisimpressive 1992 debut Close To The Floor,Ashley broke through to the mainstream

with the double-platinum genre-bending Hi,How Are You Today? in 1995. International radioplay for the single, Sleepy Maggie, and a regularslot on MuchMusic made Ashley an instantCanadian icon.

Much has been said about the antics of theenfant terrible of the Fiddle, but only because hehas had international success and notoriety froman early age and grew up under the spotlight asone of the most dynamic fiddlers from CapeBreton, Nova Scotia. MacIsaac constantly pushedthe traditional styles of Celtic music as he grewup and incorporated rock, pop, and everythingimaginable in between.


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Kurt Weill’s The Seven Deadly Sins Nov 4A Southern BBQ

Soul food from the South begins this unique culinary series, igniting your palette with deliciously sinful flavours! A perfect dinner for Autumn’s golden harvest.

Harry Potter and the Philosopher’s Stone™ In Concert Nov 25Magical FeastLearning on his 11th birthday that he is a wizard destined for greatness, Harry leaves for wizarding school for the first time in Harry Potter and the Philosopher’s Stone™.This concert presents the first movie of the unforgettable series while a live orchestraperforms John Williams’ enchanting score. Join us for an evening of music and magic.

A Night in Spain Feb 24Spanish Cuisine

Inspired by Gypsy castanets and flamenco guitar, this menu will bring the heat in themiddle of winter with traditional Spanish flare. A glass of red wine will be a muy bien pairing.

Luca Buratto Plays Prokofiev Apr 7Russian Revelry

Dave Bergmann’s take on favourite dishes from composers Rachmaninoff and Prokofiev’s homeland offer an experience of dining in Moscow. Nostrovia!

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Enjoy a journey of gourmet food and beautiful music in partnership with Bergmann’s on Lombard all in one location at the Centennial Concert Hall,Piano Nobile level. Each three-course meal is themed to a specific WSO concert,offering patrons a unique opportunity to explore cuisine from around the globe.

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The Creatures of Prometheus, Overture. Op. 43 Ludwig van Beethoven (1770-1827)

Piano Concerto No. 2 in F minor, Op. 21 Frédéric Chopin (1810-1849)MaestosoLarghettoAllegro vivace

- INTERMISSION -

Symphony No. 3, Op. 36, Henryk Górecki (1933-2010)“Symphony of Sorrowful Songs”*

Lento sostenuto tranquillo ma cantabileLento e largo, tranquillissimo, cantabillissimo,

dolcissimo, legatissimoLento cantabile, semplice

Friday, October 27 8:00 p.m.Saturday, October 28 8:00 p.m.


SPECIAL CONDENSED MATINEEHenryk Mikolaj Górecki: Symphony No. 3

(Symphony of Sorrowful Songs)

Friday, October 27 10:30 a.m.

Beethoven, Chopin and a Sorrowful Song

Daniel Raiskin, conductor

Natasha Paremski, piano

Nathalie Paulin, soprano*

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SICS




Creatures of PrometheusOvertureLudwig van Beethovenb. Bonn / December 17, 1770d. Vienna / March 26, 1827Composed: 1801First performance: March 28, 1801(Vienna)Last WSO performance: 2000,Leon Fleisher, conductor

Beginning in 1799,the celebrateddancer/choreographerSalvatore Vigano graced Viennawith an extended residence.

Wanting to compliment Maria Theresa,second wife of Emperor Francis,Vigano wasseeking a composer for a new ballet based onthe Prometheus legend. Beethoven was therecommendation of the court, as he hadrecently dedicated the score of his Septet,Op. 22 to Maria Theresa.

Beethoven happily agreed to take on theproject which was to be a ballet withoverture, introduction and 16 scenes. Butfriction soon developed.Vigano complainedthat Beethoven was treating the danceconventions as background to his musicwhile Beethoven felt that thechoreographer was not paying enoughattention to the music itself. Still, theproduction was a huge success in its 29performances and Beethoven’s star rose inhis first effort for the theatre, leading directlyto the commission for what would be hisonly opera, Fidelio.

Prometheus tells of the god who fashions thefirst man and woman from clay and water, withlife from fire stolen from heaven. Finding thathe can’t give his new beings the power toreason, Prometheus decides to destroy thembut is stopped by a higher power. Man andwoman experience Apollo, Melpomene,Thalia,Terpsichore and Bacchus, all of whom opennew vistas of reason and emotion in the newcreatures, who now may begin life’s journey.

Beethoven never again composed for dance,but the delightful Mozart-like Overture toPrometheus became both a concert staple inBeethoven’s own performances and aspringboard to his second creative period.

Piano Concerto No. 2Frédéric Chopinb. Warsaw / March 1, 1810d. Paris / October 17, 1849Composed: 1830First performance: March 17, 1830(Warsaw) with the composer as soloistLast WSO performance: 2010;Alexander Mickelthwate, conductor,with Janina Fialkowska as soloist

Chopin wasdesperately in lovewhen he graduatedfrom the WarsawConservatory at age

19 – the first love of his life in theperson of one ConstantiaGladowska, a conspicuouslybeautiful blond singer Chopinbecame entranced with butcouldn’t muster the courage toapproach until a full year later.

In love Chopin was giddy andimmature, boasting to his friends“I have found my ideal,”addingthat Constantia was forefront inhis mind when he composed theLarghetto of his Second PianoConcerto.When he finally met hershe was pleasant but non-committal. Her marriage in 1832to a Warsaw merchant causedChopin distress, at least until hemoved to Paris and met who wasto become his greatest supporter,Countess Delphine Potocka, agrande dame of Parisian societywho made sure her composer-friend mingled with people ofhigh social stature.

The Second Concerto’s premierewas also Chopin’s official debut asa pianist in Warsaw. It was anotable success and a secondperformance had to bescheduled the following weekdue to audience demand. Lisztcalled the Larghetto “a perfectionalmost ideal.”

Though the F minor Concerto isone of the most beloved in thepiano literature, the orchestranever really enters the musicalargument, serving mostly asaccompaniment after making its

presence felt in the introduction.The piano role is another story for itis ripe with all the poetry andincomparable pianistic resourceChopin is famous for.The workcloses with a dazzling mazurka, thePolish national dance the 19-year-old composer was to return to timeand time again.

Symphony No. 3Henryk Góreckib. Czernica, Poland / December 6, 1933d. Katowice, Poland / November 12, 2010 Composed: 1976First performance: April 4, 1977(Royan, France), conducted by ErnestBour with Stefania Woytowicz as soloistFirst WSO performance of thecomplete work

Born in the industrialtown of Katowice,Henryk Góreckioriginally trained as aprimary- schoolteacher

before studying composition at itsConservatory where he then taughtfollowing his graduation in 1960.Winning prizes for his music from thePolish Composers’Union and otherinstitutions, Górecki developed areputation for a fierce individualism,exploring a Webern-like serial style inhis Symphony No. 1 and his subsequentScontri (Collisions) that enragedcommunist officials. Solace for thecomposer came as Poland thawedduring post-Stalinist times, reflected inGórecki’s Symphony No. 2 with itsevocations of folk songs and texts setfrom the Psalms.Then, his artistic lifechanged.

Górecki regularly took walks in theTatras, an alpine-type farming regionsteeped in old Polish culture. But itwas also near the site of Auschwitz,and the experience became thegenesis of his Third Symphony, inwhich he wanted to distill theemotional cross-references in onelarge-scale work. Entitled “Symphonyof Sorrowful Songs,”Symphony No. 3was composed in 1976 oncommission from the South WestGerman Radio in Baden-Baden.The opening movement is a lament




that gathers in canon up from deep bassmelodies, adding voices and leading to aveiled piano figure that ushers in thesoprano singing verses from the 15th-century “Lysagóra Songs”of the HolyCross Monastery. Another canonconcludes the movement with similarmelodic material as the first canon butwith voices dropping off.

The second movement is the emotionalheart of the work.The texts are drawnfrom a prayer to the Virgin Mary whosewords were inscribed in a cell wall in thebasement of Gestapo headquarters inZakopane by Helena Wanda

Blazusiakówna with the words “18 yearsold, imprisoned since 26 September1944.”

The final movement is a folk-songmourning a lost son who might havebeen killed in combat; furtherevocation of the ties between motherand child which Górecki maintained asthe thrust of the entire work.

Symphony No. 3 was tepidly received bycritics at the premiere who felt thatGórecki had strayed from establishedavant-gardism. But the phenomenallybest-selling 1992 recording by Dawn

Upshaw, David Zinman and theLondon Sinfonietta brought the workto international acclaim, Górecki’s“spiritual minimalism”creating atriumvirate with the more establishedJohn Tavener and Arvo Pärt in whatGórecki called the “intensely feltrevelation of the human condition.”

Daniel Raiskin, conductor A son of a prominentmusicologist, Daniel Raiskingrew up in St. Petersburg. Heattended music school andlater the celebratedconservatory in his native city,

where he studied violin, viola andconducting. At the age of twenty, DanielRaiskin left the Soviet Union to continue hisstudies in Amsterdam and Freiburg. Inspiredto take up the baton by an encounter withthe distinguished teacher Lev Savich, he alsotook classes with Maestri such as MarissJansons, Neeme Järvi, Milan Horvat,Woldemar Nelson und Jorma Panula. Raiskin,who cultivates a broad repertoire, often looksbeyond the mainstream in his strikinglyconceived programmes.

He was Chief Conductor of theStaatsorchester Rheinische Philharmonie inKoblenz (2005-2016) and held the same titlewith the Artur Rubinstein PhilharmonicOrchestra in Lódz (2008-2015). From the2017-2018 season onwards, Daniel Raiskinwill be Principal Guest Conductor of theOrquesta Sinfónica de Tenerife and of theBelgrade Philharmonic Orchestra as well asArtistic Partner of the Chamber Orchestra St. Michael Strings in Finland.

Natasha Paremski, pianoBorn in Moscow and now based inNew York, Natasha Paremskicontinues to generate excitementfrom all corners as she wins overaudiences with her musicalsensibility and powerful, flawless

technique. The 2017-2018 season sees Natasha'sreturn recitals at the Wigmore Hall and IstanbulResitalleri, as well as a return to the NorthCarolina Symphony, Oregon Symphony to playProkofiev’s 2nd Piano Concerto with CarlosKalmar, Winnipeg Symphony, ColoradoSymphony, Columbus Symphony, and her debutwith the Kansas City Symphony. Major awardsinclude the Gilmore Young Artists prize in 2006at the age of eighteen, the Prix Montblanc in2007, the Orpheum Stiftung Prize in Switzerland.Natasha began her piano studies at the age offour with Nina Malikova at Moscow’s AndreyevSchool of Music. She then studied at SanFrancisco Conservatory of Music before movingto New York to study with Pavlina Dokovska atMannes College of Music, from which shegraduated in 2007. Natasha made herprofessional debut at age nine with the El Camino Youth Symphony in California. At theage of fifteen she debuted with Los AngelesPhilharmonic and recorded two discs withMoscow Philharmonic Orchestra.

CLASSICSBeethoven, Chopin and a Sorrowful SongARTIST BIOS


Nathalie Paulin, sopranoSoprano Nathalie Paulinhas established herself in theUnited States, Canada, Europeand the Far East as aninterpretive artist of the veryfirst rank. Winner of a Dora

Mavor Moore Award for Outstanding OperaPerformance, she has collaborated withinternationally renowned conductorsincluding Jane Glover, Michael Christie, RobertSpano, Kent Nagano, Yannick Nézet-Séguin,Antony Walker, Bernard Labadie, Sir RogerNorrington, Andrew Parrott, David Agler,Jacques Lacombe, Graeme Jenkins, andAndrew Litton on both the concert platformand in opera. As well, critics have been lavishin their praise. Reviewing from Chicago, Johnvan Rhein noted that “Paulin in particular is a

real find; her rich, agile voice possesses great depthand allure, her manner radiates sensuous charm.”Ms. Paulin debuted for L’Opéra de Montréal asMélisande in Pélléas Et Mélisande and for ChicagoOpera Theater as Galatea in Acis And Galatea. Shewas re-engaged by Chicago Opera Theater for thetitle role in Semele and for Mary in La Resurrezione,both by Handel. She has also been heard asSusanna in Le Nozze Di Figaro for Cincinnati Operaand the Dallas Opera featured her in Carmen andCunning Little Vixen.

ADDITIONAL MUSICIANS:Momoko Matsumura, violin; Laurel Ridd, flute;Katrina Panchuk, flute; Peter Pinteric, clarinet;Ross Edwards, clarinet; Allen Harrington, bassoon;Francois Godere, trombone; Donna Laube, keyboard

CLASSICSBeethoven, Chopin and a Sorrowful SongARTIST BIOS

Autumn Festival:

Natasha Paremskiin RecitalNatasha Paremski, piano

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Three Mazurkas Frédéric Chopin (1810-1849)B Major, Op. 63, No. 1F minor, Op. 63, No. 2C-sharp minor, Op. 63, No. 3

Scherzo No. 4 in E Major, Op. 54 Frédéric Chopin

Variations on a theme by Paganini, Op. 35 Johannes Brahms (1833-1897)Book IThema, non troppo presto Variation 8Variation 1 Variation 9Variation 2 Variation 10Variation 3 Variation 11 AndanteVariation 4 Variation 12Variation 5 Variation 13Variation 6 Variation 14 Allegro-presto ma non troppoVariation 7

Book IIThema Variation 8 AllegroVariation 1 Variation 9Variation 2 Poco animato Variation 10 Feroce, energicoVariation 3 Variation 11 VivaceVariation 4 Poco allegretto Variation 12 Un poco andanteVariation 5 Variation 13 Un poco più andanteVariation 6 Poco più vivace Variation 14 Presto ma non troppoVariation 7

- INTERMISSION -

Pictures at an Exhibition Modest Mussorgsky (1839 -1881)Promenade 1 Ballet of the Chicks in their ShellsGnomus amuel Goldenberg and SchmuylePromenade 2 Promenade 5

The Old Castle The Marketplace in LimogesPromenade 3 In the CatacombsTuileries Con mortuis in lingua mortuaBydlo The Hut of Baba YagaPromenade 4 The Great Gate of Kiev

Exclusive Management: ARTS MANAGEMENT GROUP, INC., 130 West 57th St., New York, NY 10019

Monday, October 30 7:30 p.m.



Three Mazurkas, Op. 63Frédéric Chopinb. Warsaw / March 1, 1810d. Paris / October 17, 1849Composed: 1846

Chopin’s 60 mazurkas stand at thepinnacle of folk-inspired art musicfor the piano. Based on the dance’sthree main forms: the mazur,oberek and kujawiak, each mazurka

is a mini tone-poem with many subtleties of rhythm,harmony and colour unusual even for Chopin.

Of the Opus 63 Mazurkas, No. 1 is a sunnyrecollection of the simplicity of Chopin’s youth.No. 2 begins with yearning sadness, opening upto a richly upholstered central section beforereturning to its veiled opening theme. No. 3 is thebest-known of the three, with a memorablynostalgic melody and canonic close at the octaves.

Scherzo No. 4Frédéric ChopinComposed: 1842

This most extended and complex of Chopin’sfour scherzos is the only one which begins tolive up to its name (scherzo in Italian - meaningjoke or jest), the other Chopin scherzos beingtragic and turbulent.Though the E Major isperhaps less immediate in its appeal than theothers, it’s combination of playfulness andsobriety make it possibly more human incomparison.

The opening section deals with a sober motivethat is constantly interrupted by a morefrivolous one.These two “characters”act andreact at length, one never quite giving in to theother.The central intermezzo has a restrainedsadness after which we hear a recapitulation ofthe opening. The extended coda provides akind of reconciliation for the two conflictingideas of the opening.

Variations on a Theme of PaganiniJohannes Brahmsb. Hamburg / May 7, 1833d. Vienna / April 3, 1897Composed: 1863

If Bach and Beethoven were thecomposers closest to theRomantics’ hearts, NicoloPaganini was the inspiration fortheir fingers.The slender Italian

violinist with the colossal technique galvanizeda generation of pianists. After hearing him playin 1829, the 19-year-old Chopin begancomposing his revolutionary (with a small “r”)

Etudes, Op. 10. Schumann’s Op. 10 was,coincidentally, six Concert Etudes afterCaprices by Paganini. Liszt weighed in acouple of years later with his own SixEtudes after Paganini and“Transcendental”Etudes. Much more wasto follow, notably Rachmaninoff’sebullient Rhapsody on a Theme ofPaganini. Even Brahms, who stood alooffrom much of the virtuoso circus of hisday, got into the Paganini act with thesetwo books of Variations, Op. 35.

It happened on Brahms’ first visit toVienna, where, intoxicated by the city’sfamous Gemütlichkeit, the shy young manhung around with a couple of notoriousWagnerians, composer Peter Corneliusand pianist Karl Tausig. “Do you stillremember Pressburg,”wrote Tausig toBrahms later,“where we three wereperfectly drunk, and you kept on insistingthat you must have your coffee? I hopewe shall be as jolly together again.”Thetwo were jolly together at the piano aswell, but while Brahms was merely one of the best pianists around,Tausig wasalready a legend. It was out of respect forhis new friend’s technique - or perhaps adesire to stump him - that Brahmsdevised these diabolical “Studies forPianoforte,”as he called them.

The famous Paganini theme of Brahms’work, however, is hardly a theme at all,but a little one-bar motive repeated overa progression of chords. In the variations,Brahms keeps the progression and, forthe most part, jettisons the motive.Thematic development is not the pointhere; dazzling technical ingenuity is.Double notes, hand crossing, trills inchords, rapid arpeggios spanning threeoctaves, cross rhythms, leaps in contrarymotion, octave glissandos - the catalog ofexotic difficulties is endless. It is all,however, music worthy of Brahms: finelylaid out, sonorous moving throughemotions from playful to eloquent, fromexhilarating to terrifying.

Pictures at an ExhibitionModest Mussorgskyb. Karevo, Pskov district, Russia / March 21,1839d. St. Petersburg, Russia / March 28, 1881Composed: 1874

In the spring of 1874,Mussorgsky and the musiccritic Vladimir Stassovorganized an exhibition ofdrawings and paintings by

their friend Victor Hartmann who hadsuddenly died less than a year earlier. Hartmann’s works werearchitectural drawings and pictures ofscenes that interested Russians at homeand abroad.While walking through thegallery, Mussorgsky had a bold and brilliantinspiration: to compose a set of pieces thatwould be musical reflections of Hartmann’sart. He worked with a speed and certaintythat were unusual for him, and on June22nd, the work was done.

The idea of rendering visual images inmusic was a modern one.The truly originalfeature of the work is the Promenade musicthat opens it and then recurs appropriatelyaltered in character, as the visitor amblesabout the gallery and stops to look at theworks of art. After the first Promenade, thereare ten pictures:

GNOMUS. A grotesque, little, bow-leggedcreature, its jaw open, is in fact a nutcracker.THE OLD CASTLE. Outside a medieval castle,a troubadour sings a serenade andaccompanies himself on the lute.THE TUILERIES. On a path in the Gardens ofthe Tuileries, in Paris, children play and quarrel.BYDLO. A Polish ox-cart with enormouswheels, seen by Hartmann in the town of Sandomir on his way home from Western Europe.BALLET OF THE UNHATCHED CHICKS. Acostume design for a ballet, Trilby, withchoreography by Marius Petipa, producedin 1870.SAMUEL GOLDENBERG AND SCHMUYLE. Adrawing of a Sandomir ghetto scene thatMussorgsky described as picturing “twoPolish Jews, one rich and the other poor.”LIMOGES:THE MARKETPLACE. Mussorgskyoriginally suggested that this wasintended to represent two market womenexchanging neighborhood gossip, but,after the composer’s death, Stassov saidthat the women were quarreling angrily.CATACOMBS (WITH THE DEAD IN A DEADLANGUAGE). A view of the artist, lantern inhand, examining the ancient Romancatacombs in Paris.“With the dead, in adead language.”BABA YAGA (THE HUT ON FOWL’S LEGS).In Russian folklore, Baba Yaga is a witchwho lives in a hut that stands on hen’s legsso that she can turn it in any direction.Hartmann’s drawing was a design foraclock in the form of Baba Yaga’s hut.GREAT GATE OF KIEV. The massive gatewas intended to commemorate the Czar’sescape from the Kiev Nihilist’s plot toassassinate him, and the design is rich inImperial symbols.




Autumn Festival:

Frankenstein!!Alexander Mickelthwate, conductor

Todd Martin, vocalist*

SPECIAL

Night on Bald Mountain Modest Mussorgsky (1839-1881)

Arr. Nicolai Rimsky-Korsakov (1844-1908)

Danse Macabre, Symphonic Poem, Op. 40 Camille Saint-Saëns (1835-1921)

- INTERMISSION -

Frankenstein!! A Pan-Demonium for Chansonnier and

Orchestra after children’s rhymes by H.C. Artmann* H[einz]-K[arl] Gruber (b. 1943)

Fanfare – Prologue

Ia. Dedication

Ib. Miss Dracula

IIa. Goldfinger and Bond

IIb. John Wayne

IIc. Monster

III. A Mi Ma Monsterlet

IV. Fanfare – Intermezzo,“Werewolf’s Serenade”

V. Frankenstein

VI. Rat Song and Crusoe Song

VII. Mr. Superman

VIII. Finale

VIIIa.The Green-haired Man

VIIIb. Batman and Robin

VIIIc. Monsters in the Park

VIIId. Litany

VIIIe. Hello, hello, Herr Frankenstein

VIIIf. Grete Muller’s Adieu

Fanfare – Epilogue

Tuesday, October 31 8:00 p.m.



Night on Bald MountainModest Mussorgskyb. Karevo, Pskov district, Russia / March 21, 1839d. St. Petersburg, Russia / March 28, 1881Composed: 1867; arranged by Rimsky-Korsakov in 1886First performance: October 15, 1886 (St. Petersburg), conducted by the arrangerLast WSO performance: 2007, AlexanderMickelthwate, conductor

Night on Bald Mountain isMussorgsky’s only orchestralwork and, apart from his well-known Pictures at anExhibition for piano (famously

orchestrated by Maurice Ravel), the onlyinstrumental work he composed. As one ofthe Russian “Five,”as acknowledged in theWest – Balakirev, Cui, Borodin, Rimsky-Korsakov and Mussorgsky – and whosemandate was to reveal Russia’s distinctivemusical and folkloric voice, Mussorgsky isregularly felt as the most original within thegroup, which had as its leader Balakirev andRimsky-Korsakov as its self-appointedmusical officiator.

In 1861, the 21-year-old Mussorgsky was thrilledto receive a commission to compose a dramaticpagan work for the Russian legend of St. JohnsNight, where an annual witches’ Sabbath wouldtake place on “Bald Mountain”(Mount Triglavnear Kiev) June 23-24, the eve of the feast of St. John the Baptist.There would be episodes in the music to describe the happenings.Mussorgsky conceived the work as a piecewith piano and orchestra.

Mussorgsky sent the score to his mentor Balakirevwho promptly rejected it. Others in the grouptweaked the score with added material and eventook material from it for an aborted operaticproject. All came to naught and Mussorgskynever heard it performed in his lifetime.

It fell on Rimsky-Korsakov to rescue Night on BaldMountain, supplying an orchestration that cleanedup Mussorgsky’s design and sharpened its dramaticthrust.This is the version mostly heard today,though Mussorgsky’s own original one of 1867(published in 1968) retains a unique savagery.

In Rimsky’s words, the synopsis of the score is asfollows:“Subterranean sounds of supernaturalvoices…Appearance of the spirits of darkness,followed by that of Satan himself…Glorificationof Satan and celebration of the Black Mass…TheSabbath Revels…At the height of the orgies thebell of the village church, sounding in thedistance disperses the spirits ofdarkness…Daybreak.”

Danse MacabreCamille Saint-Saënsb. Paris, France / October 9, 1835d. Algiers / December 16, 1921Composed: 1874First performance: January 24, 1875(Paris), conducted by Édouard ColonneLast WSO performance: 2007,Alexander Mickelthwate, conductor

A mandate to promoteFrench music becameespecially potent in theperiod followingFrance’s defeat at the

hands of the Prussians in 1870, whohad returned to their homeland.Theresult was the founding of the SociétéNationale in 1870 by Camille Saint-Saëns and selected colleagues. Saint-Saëns’ contributions to the newenterprise included four symphonicpoems written between 1871 and1877, in respect to Liszt whodeveloped the genre and who Saint-Saëns knew well. It was a convenientsymphonic model, he found, thatallowed for several ideas to argue outwithin a single piece.

The best-known of Saint-Saëns’symphonic poems is Danse Macabre,whose premiere was so successful, ithad to be immediately encored.Inspired by a poem by Jean Lahorunder the pseudonym of Henri Cazilis,the story is set in a graveyard atmidnight:

Zig, zig, zig, Death, in tempo,Kicks at the tombs with his heel,Death at midnight plays a dance tune,Zig, zig, zig, on his violin.

The harp opens the piece with theimage of distant bells tolling.Thedemonic mistuned fiddle enters thestory, followed by an insinuating flutemelody. Both converse imaginatively,later in parody, with the woodwindswho serve up the Dies Irae (Day ofWrath) chant from the Requiem Mass.All is halted by daybreak signaled bythe oboe, after which the defeatedviolin steals away.

Frankenstein!!HK Gruberb. Vienna / January 3, 1943Composed: 1976/77First performance: November 25,1978 (Liverpool), conducted by SimonRattle with the composer as soloistLast WSO performance: 2000,Bramwell Tovey, conductor with thecomposer as soloist

The origins of this ‘pan-demonium’ go back tothe Frankenstein Suite of1971 – a sequence ofsongs and dances written

for the Vienna ‘MOB art and tone ART Ensemble,’which was then active in the field of instrumentaltheatre. Although the Suite was a success, I wasunhappy about its improvisatory structure, andalso needed the resources of a full orchestra. Soin 1976/77 I completely recomposed the work inits present form.

It was first performed on 25 November 1978 bythe Royal Liverpool Philharmonic Orchestraunder Simon Rattle, with myself as soloist. Forthe 1979 Berlin Festival I wrote an alternativeversion for soloist and 12 players (firstperformed that year by the Vienna ensemble‘die reihe’ under Kurt Schwertsik, again withmyself as soloist). Since then, the two versionshave happily co-existed; and in 1983, at theEspace Cardin in Paris, Frankenstein!! enteredthe theatre for the first time – an unforeseendevelopment, but one that proved suited toArtmann’s multi-layered fantasy.

The title of the volume from which I took thepoems of Frankenstein!! – Allerleirausch, neueschöne kinderreime (Noises, noises, all around –lovely new children’s rhymes) – promisessomething innocuous; but Artmann himselfhas described the poems as being, amongother things,‘covert political statements.’Typically he refused to explain what he meant.But his reticence is eloquent: the monsters ofpolitical life have always tried to hide their truefaces, and all too often succeed in doing so.

One of the dubious figures in thepandemonium is the unfortunate scientistwho makes so surprising an entry at mid-point. Frankenstein – or whoever we chooseto identify with that name – is not theprotagonist, but the figure behind the sceneswhom we forget at our peril. Hence theexclamation marks.

Artmann’s demystification of heroic villains orvillainous heroes finds a musical parallel in, forinstance, the persistent alienation ofconventional orchestral sound by resorting toa cupboard-full of toy instruments.Howeverpicturesque or amusing the visual effect of thetoys, their primary role is musical rather thanplayful – even howling plastic horses havetheir motivic / harmonic function.

In order to do justice to the true significance ofthe texts it would be enough to provide someextra exercises in structural complexity. Byanalogy with Artmann’s diction, my aim was abroad palette combining traditional musicalidioms with newer and more popular ones, andthus remaining true to the deceptive simplicityof texts whose forms at first glance suggest anaive and innocently cheerful atmosphere.

HK Gruber


Todd Martin, vocalsTodd Martin is a freelance musicianwith many interests and talents. Agraduate of McGill University with aBachelor of Music, and a LicentiateDiploma with High Distinction inFrench Horn performance, Todd has

also attended the Banff Centre for the Arts, and TheUniversity of Miami.

An accomplished singer, Todd has been fronting theWinnipeg-based group Dirty Catfish Brass Band forthe past six years, as well as performing regularlywith the WSO, and The Ron Paley Big Band. He isalso a member of Polycoro, one of Winnipeg's finestchoirs, and a former member of Camarata Nova.

Adding to his list of accomplishments, he hasperformed on 2 Juno Award winning albums, mostrecently for The Bros Landreth album Let It Lie,which features both his horn and harmonicaplaying.

As a French Hornist, Todd has performed withsome of the finest orchestras in Canada, includingThe Winnipeg Symphony Orchestra, L'OrchestreSymphonique de Montréal, The CalgaryPhilharmonic Orchestra, The Thunder BaySymphony Orchestra and Orchestra London.

Todd is also highly committed to musiceducation. He is the harmonica instructor at theManitoba Conservatory of Music and Arts, and isan avid clinician and teacher on the French Horn.For the past three years, he has also been aninstructor for The Bridge Program, at Hugh JohnMcDonald School. This privately funded programprovides music instruction to students, whootherwise would not have any music classes.

ADDITIONAL MUSICIANS:Momoko Matsumura, violin; Avalon Lee, bass;Laurel Ridd, flute; Tony Cyre, percussion;Victoria Sparks, percussion; Donna Laube, keyboard

SPECIALFrankenstein!!ARTIST BIOS



The Seven Deadly Sins (ballet chanté) Kurt Weill (1900-1950)Text by Bertolt BrechtEnglish by W. H. Auden and Chester Kallman

Prologue: Andante sostenutoSloth: Allegro vivace Meno (city unnamed)Pride: Allegretto, quasi Andantino (Memphis)Anger: Molto agitato (Los Angeles)Gluttony: Largo (Philadelphia)Lust: Moderato (Boston)Greed: Allegro giusto (Baltimore)Envy: Allegro non troppo Alla Marcia, un poco tenuto (San Francisco)Epilogue: Andante sostenuto (the new little house in Louisiana)

- INTERMISSION -

Dante Symphony, S. 109 Franz Liszt (1811-1886)InfernoPurgatorio - Magnificat*

This performance is funded by the Kurt Well Foundation for Music, Inc. New York, NY.

Friday, November 3 8:00 p.m.Saturday, November 4 8:00 p.m.


The Seven Deadly SinsAlexander Mickelthwate, conductor

Sarah Jo Kirsch, soprano

Peter John Buchan, tenor

Scott Reimer, tenor

Kris Kornelsen, baritone

Derek Morphy, bass

Canadian Mennonite University Women’s Chorus,

Janet Brenneman, director*

CLAS

SICS

Classics ASeries Sponsor:



The Seven Deadly SinsKurt Weillb. Dessau, Germany / March 2, 1900d. New York / April 3, 1950 Bertolt Brechtb. Augsburg, Germany / February 10, 1898d. East Berlin / August 14, 1956Composed: 1933First performance: June 7, 1933 (Paris),conducted by Maurice Abravanel, withLotte Lenya as soloistFirst WSO performance

Kurt Weill Bertolt BrechtSome of the most successful theatre pieces ofthe Weimar Republic between 1927 and 1931came from the collaboration of composer KurtWeill and the lifelong committed Marxist poet,playwright and singer Bertolt Brecht: TheThreepenny Opera, from which The Ballad ofMack the Knife became one of the pair’ssignature hits, Happy End, and The Rise and Fallof the City of Mahagonny. But when the Naziscame to power in 1933, the Jewish Weillheaded straight for Paris and Brecht to Caronain the Italian Alps.

Weill was well-regarded by Parisian luminariesStravinsky, Cocteau, Picasso and others. Almostas soon as Weill arrived in Paris on March 23,1933, he was thrilled to receive a commissionfrom Diaghilev’s former collaborator BorisKochno, choreographer George Balanchineand a wealthy English philanthropist EdwardJames, who was looking for a vehicle for hisestranged wife, ballerina Tilly Losch, to winback her affection.

Weill had had a falling out with Brecht overissues with Mahagonny in Berlin in 1929 andsince German productions of their works werenow banned, their financial well-being wastenuous. So when Weill asked Brecht to joinhim for the project, Brecht accepted the role ofdevising a satirical libretto for the one-act“sung ballet.”Weill’s also-estranged wife LotteLenya was to star (Weill was hoping to win herback as well).

Die sieben Todsünden (The Seven Deadly Sins)premièred in the ballet version of GeorgesBalanchine at the Théâtre des Champs-Élyséeson 7 June 1933. It was the last collaboration ofBrecht and Weill and soon become one oftheir best-known works.

The story comprises seven shortscenes flanked by a Prologue and anEpilogue.The music integratespopular elements of Germancabaret and song with Americanmusic styles of the twenties such astango, foxtrot, polka or barbershop.Weill and Brecht perfectly ironize thepetty bourgeois double standards ofeach society willing to sacrifice theirvalues for the sake of financial gain.

“Sisters”Anna 1, a singer withpragmatic values, and Anna 2, adancer (both, in fact, the sameperson) are sent by their family fromhome in Louisiana on a seven-yearjourney to various North Americancities to earn money to build “a smallhouse near the Mississippi.” Duringthe journey, Anna takes on menialjobs where she is confronted by oneof the seven biblical sins in each ofthe cities of Memphis, Los Angeles,Philadelphia, Boston, Baltimore andSan Francisco.

Anna 2 is the spontaneous one,prone to give way to sins to achieveher goals, which she does formonetary gain despite the warningsof Anna 1 and their family (the malevocal quartet in Greek chorusmode). Gradually, they give up theirdreams and ideals, eventually andwearily to return to their family inLouisiana, disillusioned with whatsuch temptations can so willfullyachieve.

The Kurt Weill FoundationThe Kurt Weill Foundation, Inc. promotesand perpetuates the legacies of Kurt Weilland Lotte Lenya by encouraging anappreciation of Weill’s music throughsupport of performances, recordings, andscholarship, and by fostering anunderstanding of Weill’s and Lenya’s livesand work within diverse cultural contexts. Itadministers the Weill-Lenya ResearchCenter, a Grant and Sponsorship Program,the Lotte Lenya Competition, the KurtWeill/Julius Rudel Conducting Fellowship,the Kurt Weill Prize for scholarship in musictheater, and publishes the Kurt Weill Editionand the Kurt Weill Newsletter. Buildingupon the legacies of both Weill and Lenya,the Foundation nurtures talent, particularlyin the creation, performance, and study ofmusical theater in its various manifestationsand media. Since 2012, the Kurt WeillFoundation has administered the musicaland literary estate of composer MarcBlitzstein. www.kwf.org.

Dante SymphonyFranz Lisztb. Raiding, (Doborján), Austria / October 22,1811d. Bayreuth / July 31, 1886Composed: 1855-56First performance: October 7, 1857(Dresden), conducted by the composerFirst WSO performance

Liszt found compellinginspiration for his music inliterature, visual arts, history,religion, folklore and Nature.As with Berlioz, Liszt expanded

the realm of what program music could be,influencing many composers going forward.Most of his 13 symphonic poems generatefrom the works of such poets as Byron,Shakespeare, Schiller, Hugo and more, butLiszt didn’t overlook two landmark works ofWestern literature – Goethe’s Faust andDante’s Divine Comedy – for two largesymphonies completed in the 1850s.

In December 1830, Liszt had been swept offhis feet at a performance of Berlioz’sSymphonie fantastique and it is thought that he broached the subject of a symphonybased on the story of Faust at dinner that evening with Berlioz. Liszt’s splendidFaust-Symphonie was composed in 1854.His Dante Symphony arrived the followingyear, for which he felt equal in quality to theearlier symphony.

The Dante Symphony is laid out in twoparts.The first represents the Inferno, thesecond evokes the Purgatorio. Ending thework is a setting of the Magnificat forwomen’s or boys’ voices.The choral closingcame from doubts expressed by Wagner, towhom Liszt unofficially dedicated the work,who felt a portrayal of Paradise at the endneeded a special musical reaction.

Lower brass and lower strings begin indeclamation of the words Dante reads atthe gates of Hell. Horns and trumpets thentake over with a fearsome statement, afterwhich an “Allegro frenetico”arrives. An“Andante amoroso”section provides respitein the dreams of Paolo and Francesca,rapturously set in a 7/4 metre.

The second movement begins with clearlydistilled harmonies in solo horn andwoodwinds.The souls are saved in a“Lamentoso,”whose fugue signifies hard-won penitence. Clearly Liszt viewedPurgatory more with hope than despair, theethereal Magnificat memorably closing thejourney.



Sarah Jo Kirsch, sopranoSarah Jo Kirsch is a soprano/vocalistcurrently based in Winnipeg, Canada.She continues to make waves as arecitalist and soloist in North America,Europe, and the Middle East. Winner of

the 2014 Eckhardt-Gramatté National MusicCompetition, she has been described as "...one ofthe finest contemporary dramatic vocalists inCanada today..." (Calgary Herald) "...with the abilityto get under the skin of everything she sings..."(Winnipeg Free Press). From Baroque oratorio toelectro-acoustic sound art, Sarah Jo surfs the gamutof musical evolution. In recent seasons, she haspremiered works by Michael Matthews, ÖrjanSandred, Jim Hiscott, Andrew Staniland, MatthewRicketts, Luke Nickel, Sid Robinovitch, John Greer,David Scott, Aaron Funk, and Zach Bales in additionto creating her own soundscapes as half ofexperimental a/v duo The Gritty.

Peter John Buchan, tenorPJ Buchan – a native of Winnipeg – hasbeen involved with choral and vocalmusic since he joined the men and boyschoir at All Saint’s Church in 1979. Hehas appeared as a chorister and soloist

with many of Winnipeg’s foremost ensembles,including the Winnipeg Singers, Camerata Nova, theManitoba Chamber Orchestra, as well as for CBCnational broadcast.

PJ has been a competitor for both the Rose Bowl andthe Tudor Bowl at the Winnipeg Music Festival, hasappeared as a soloist in London’s Millennium Centreand Prague’s St Vitus’s Cathedral, and was the guestsoloist at the February 2005 Reykjavik Winter Festival.Recently, PJ has been involved in a number of operaproductions with Winnipeg’s Musical Offering andLittle Opera Company.

Scott Reimer, tenor Scott loves to sing. He believes invaluing music both for of its ability toenvelop, discern, and comfort thehuman soul and its subsequentsignificance in mobilizing masses and

pursuing peace. Since moving to Winnipeg, Scott has sung as a chorister and soloist with most ofWinnipeg’s premier ensembles as well as theNational Youth Choir and the World Youth Choir,the latter of which included performances at theNobel Peace Prize celebrations in 2011.

Scott is also a passionate conductor. He hashad the honour of teaching music at GardenCity Collegiate for four years and conductingyouth choirs here in Manitoba. He was alsoblessed to conduct the Vancouver ChamberChoir as part of their Conductors Symposium.

Known as a vocal chameleon, Scott’s most recentsolo work came this past May in the RWB’spremiere of Monteverdi’s Vespers, gracefullyconveying King Solomon’s words in Nigra sum.

Kris Kornelsen, baritoneBaritone Kris Kornelsen is nostranger to the music scene inWinnipeg. He has sung as both asoloist and chorister with TheWinnipeg Singers and Canzona

and has enjoyed guest appearances with the Manitoba Chamber Orchestra, theMennonite Oratorio Choir and the WinnipegPhilharmonic Choir. Kris has performed assoloist in performances of Handel’s Messiah,Haydn’s Creation, and Bach’s St. John and St. Matthew’s Passions. He is known for hismusicianship and ability to activelycommunicate with his audiences. He brings a refreshingly bright yet warm vocal qualitymarked by sensitive phrasing to hisperformances. Kris is also very active singingvarious styles of music, from classical to jazz,gospel and pop with the mixed vocalquartet, Encore.

Derek Morphy, bass Born in England, educated inWales, Derek Morphy sang as aChoral Scholar in the chapel at St. John’s College, Cambridge, andhas sung in a number of chamber

choirs in England and Canada.

Derek is still active as a bass soloist, havingmost recently sung as a bass soloist withCamerata Nova in the Michael PraetoriusChristmas Mass, and in an earlier performanceof Claudio Monteverdi’s Vespers of 1610, aswell as performing the part of the deacon inboth Rachmaninoff’s “Liturgy of St JohnChrisostom” and Tchaikovsky’s “Liturgy” withThe Winnipeg Singers. He also performed aspart of the quartet in the Manitoba ChamberOrchestra performance of Kurt Weill’s SevenDeadly Sins.

CLASSICSSeven Deadly SinsARTIST BIOS


Derek Morphy retired in 2000 after a thirty-seven-yearcareer teaching choral music and history. He presentlyconducts the St. Andrew’s River Heights United ChurchChoir. As well as a number of solo and ensembleperformances dating back to the last century, he hasalso appeared with the Winnipeg Symphony Orchestrain the “Beyond the Score” presentation of Dvorák’s New World Symphony, and as the narrator in JohnRutter’s Brother Heinrich’s Christmas.

Canadian Mennonite University Women’s ChorusDr. Janet Brenneman, conductor

The CMU Women’s Chorus, open to all CMU students,is an auditioned choir known for its challenging andinnovative programming. In weekly rehearsals, thisenergetic and highly motivated ensemble explores the

vast and demanding repertoire written forwomen’s choirs with a specificcommitment to performing the music ofwomen composers. Together with theCMU Men’s Chorus, they host CMU ChoralConnections events, and regularly performwith the Winnipeg Symphony Orchestra.The CMU Women’s Chorus maintains ademanding concert schedule, performs inworship, and features regularly on GoldenWest Broadcasting throughout southernManitoba. For these performances withthe WSO, CMU Alumni as well as membersof the Mennonite Festival Chorus join theCMU Women’s Chorus.

ADDITIONAL MUSICIANS:Momoko Matsumura, violin; Laurel Ridd, flute;Caitlin Broms-Jacobs, oboe; Peter Pinteric,clarinet; Brendan Thompson, timpani;Byron Wood, percussion; Tony Cyre, percussion;Janice Lindskoog, harp; Donna Laube, keyboard;Andrew Goodlett, guitar/banjo

CLASSICSSeven Deadly SinsARTIST BIOS


The WSO gratefully acknowledgesthe following companies whosegenerous support helps to ensuremusical enrichment within ourcommunity.

Podium

Johnston Group Inc.

Resident Artist

Qualico

Principal Chair Terracon Development Ltd.Wawanesa Insurance

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Cambrian Credit UnionJ.K. May Investments Ltd.

Orchestra Chair Bison TransportMaxim Truck & TrailerRoyal Bank of Canada

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Coghlan's LimitedCrosier Kilgour & Partners Ltd.Pollard Banknote LimitedPremier Printing Ltd.Price Industries LimitedReider InsuranceWinmar Property Restoration

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A. Akaman & Son Ltd.European Art Glass Ltd.Greg Brodsky Law CorporationInterGroup Consultants Ltd.Mid West Packaging LimitedPatill/St. James Insurance

FoundationsThe WSO gratefully acknowledgesthe following foundations:Robert & Ina Abra Family Fund - the

Winnipeg FoundationThe Noreen & Robert Allen

Charitable TrustBrandon Area Community FoundationSylvia & Robin Cowan FoundationIn memory of Peter D. CurryFoundation for Choral Music in

ManitobaFrancofonds Inc.Souchay Gossen Family FoundationJoseph and Judith Malko Family

Fund - the Strategic CharitableGiving Foundation

Michael S Gray Fund C/O PrivateGiving Foundation

Marjory Alexander Graham & FamilyFund

Jewish Foundation of ManitobaGeorge Warren Keates Memorial FundAllen and Marion Lambert FundLutz Family FoundationThe Winnipeg Foundation, John and

Carolynne McLure FundMaurice (Moe) & Ethel Pierce FundProgram for the Enrichment of

French in EducationRBC FoundationRichardson FoundationPerce & Elizabeth Schirmer

FoundationThe Winnipeg Foundation - Chief

Justice Richard J. Scott and MaryScott Fund

David & Leda Slater Memorial FundAqueduct Foundation - Inga and

Anna Storgaard FundLeslie John Taylor Fund, the

Winnipeg FoundationJames Thompson Memorial Fund in

Trust of WSOThe Winnipeg Foundation - Marylla

van Ginkel Memorial FundThe Winnipeg Foundation - Dr. Ken

and Lorna Thorlakson FundWinnipeg Jets True North Foundation

The Legacy Circle exists torecognize the following patronswhose foresight ensures that theWSO plays on for all Manitobans for generations to come. The WSOgratefully acknowledges LegacyCircle members for their plannedfuture gift to the WSO.

Siana Attwell, PhDGreg Doyle and Carol BellringerMrs. Lucienne BlouwDolores P. BrommellLorraine and Gerry CairnsMrs. Audrey F. HubbardRichard and Carol JonesEthel KarrHenry KatzKevin & Els KavanaghErwin W. KitschMichel D. LagacéGail E. LoewenS. E. LoewenW. H. LoewenDr. Brendan MacDougallMargaret Kellermann McCullochNathan & Carolyn MitchellLesia PeetBeth M. ProvenEdward Fisher & Lyse RémillardTrudy SchroederJune SlobodianMuriel SmithDr. & Mrs. S. SziromEdith A. Toews & Dr. Helen A. ToewsRobin Wiens & Emilie Lagacé-WiensDonn K. Yuen2 Anonymous

The Maestro’s Circle recognizespatrons whose significantphilanthropy furthers themusical artistry of the WSO.*Based on 12 months accumulative giving

Honourary ChairAlexander Mickelthwate,Music Director

Diamond MC

Peter & Dana JessimanMichael Nesbitt

Platinum Baton

James Cohen & Linda McGarva-Cohen

Marten & Joanne DuhouxBill and Shirley Loewen*

Gold MC

Daniel Friedman & Rob DalglieshArlene Wilson & Allan MacDonaldDrs. Eleanor & Grant MacDougallMr. & Mrs. Barry & Carol McArtonRon & Sandi MielitzKen and Judy MurrayHartley & Heather Richardson

Silver MC Gail Asper and Michael PatersonMark & CariLyn BullerTimothy & Barbara BurtDr. Marcel A. DesautelsDr. Ken FowlerMr. & Mrs. Duncan & Judy JessimanKevin & Els Kavanagh*Don & Kim MacDonaldWade Miller & Melissa MaldenMichael Nozick & Cheryl AshleyBarb & Gerry PriceTannis Richardson*Mr. & Mrs. Meril & Eveline RivardMr. & Mrs. Lyle & Anna SilvermanCharlie & Dayna SpiringDr. Lea StogdaleJim & Jan TennantMr. & Mrs. Curt & Cathy VossenDr. Jens J. Wrogemann

Concertmaster's Bow David & Ruth AsperLeonard & Susan AsperShibashis BalMr. Jim BarrettMrs. Lucienne BlouwHerb & Erna BullerBrent Trepel & Brenlee

Carrington TrepelMorris ChiaDr. Leslie Simard-Chiu &

Dr. Aaron ChiuFrank & Agnes DeFehrJohn & Gay DochertyDr. Ravi DookeranKarl & Petra DornetshuberDouglas C. Everett, Chairman,

Domo Gasoline Corporation Ltd.Bill & Margaret FastGreg & Linda FearnDr. Albert & Mrs. Lee Friesen

James GibbsMrs. Audrey F. HubbardJared & Robin JacobsonDavid & Diane JohnstonMr. Sotirios KotoulasDr. Judith LittlefordChristine Skene & Nick LoganDr. David LyttleElaine & Neil MargolisBrent Mazur & Nancy QuiringJohn MorrissDiane Payment & Roxroy WestLesia PeetRobert PennerMs. Pat PhilpottOliver & Gennie PlettLawrie & Fran PollardDr. Bill Pope & Dr. Elizabeth

Tippett-Pope*Sanford & Deborah RileyOlga & Bill RunnallsMr. Terry SargeantJimmy & Morse SildenPam Simmons*Paul & Shelley SmithDon & Jennifer StreuberIan R. Thomson & Leah R. JanzenSusan Glass & Arni ThorsteinsonE. ToewsMr. & Mrs. Simon & Deborah

WallerProfessor A.M.C. WatermanElsie WillistonKlaus & Elsa Wolf2 Anonymous

Black Tie Austin AbasMs. Sandra AltnerAubrey & Dr. Linda AsperMrs. Marjorie BlanksteinFrances BoothDoneta & Harry BrotchieMr. & Mrs. John & Bonnie BuhlerMs. Emily BurtRev. Msgr. Michael BuyachokPierce & Amy CairnsMr. Steven ChipmanJan & Kevin CoatesArt & Leona DeFehrMichael & Sigrid DuncanJoan & Glen DyrdaPhilipp & Ilse EnsMr. Alan Freeman &

Dr. Radhika DesaiJason A. GoldbergTyler GompfDr. Alexander Grunfeld &

Silvester KomlodiDrs. Daya & Chander GuptaGregg & Mary HansonMicah HeilbrunnJohn & Lisa HeimbeckerMs. Robin HildebrandDerek & Mary JohannsonRichard & Carol JonesNora KaufmanMargaret Kellermann McCulloch

& Paul A. McCullochMr. & Mrs. Konstantinos &

Chrysoula KotoulasMr. Rob Kowalchuk, CPA, CAMr. & Mrs. Bob & Deirdre

Kozminski

WSO SUPPORTERS



Mr. Aaron Lewis in memory ofRobert Handler

Mr. & Mrs. David & NancyMacAngus

Gord & Sherratt MoffattMs. Valerie MollisonJim & Krista MordenDr. Michael Nelson &

Dr. Selena FriesenBob & Cindy NewfieldDr. Joel NkosiTed & Mary PaetkauWayne & Linda PaquinHarvey I. Pollock Q.C.Dr. & Mrs. Brian PostlBeth M. ProvenJohn & Violet RademakerDr. Diane RamseyMs. Iris ReimerDr. Donald S. Reimer &

Mrs. Anne ReimerJim & Leney RichardsonMrs. Shirley RichardsonMr. Rick Riess & Mrs. Jean CarterTrudy SchroederBob Silver FamilyMuriel SmithMrs. Rae SpearMr. Jason StefansonJon & Jodee StewartMr. Richard TurnerDr. & Mrs. Eric VickarDon & Florence WhitmoreKlaus and Dorit WrogemannMitch & Wanda Zajac1 Anonymous* Founding Members

Friends of the WSO supportthe WSO each season.

Honourary ChairGwen Hoebig, Concertmaster

Symphony Mrs. France AdamsIda AlboMargaret-Lynne & Jim AstwoodDr. & Mrs. Mark & Theresa BarkerDr. David BarnardDavid & Gillian BirdHelga & Gerhard BockSusan Brownstone Brock &

Thomas BrockSheila & David BrodovskyStephen BrodovskyAndy BurgessLorraine & Gerry CairnsMr. David ChristiansonNick Logan & Christine SkeneJoy Cooper & Martin ReedGordon & Jeannine CornellJohn Corp and Mary Elizabeth

McKenzieRuth CrookMargaret CuddyRobert DawsonMiss O. DilayDuha GroupJennifer & Tim DumoreHelene DyckBeverley & Fred DyckKathleen & David Estey

Ms. Susan FeldmanCarrie FergusonGreg Fettes & Carmyn AleshkaMs. Judith FlynnJocelyn and Mark GabbertRobert & Linda GoldDr. Percy Goldberg in memory of

Elaine GoldbergMr. Gary B. GoossenMrs. Audrey HarburnN and L HollidayMiss Susan HoltRobert JaskiewiczMarianne JohnsonLawrence JonesMichael & Glenna KayMr. Darrell KlassenDr. Terry Klassen & Ms. Grace

DueckDr. Alexander Grunfeld &

Silvester KomlodiMillie & Wally KroekerT.G. KuceraMr. Frank LavittMr. & Mrs. Philippe Le DorzeDr. John & Mrs. Natalie MaybaJonathan E. MitchellSylvia MitchellTerence and Vi MooreVera MorozDrs. Kenneth & Sharon MouldKevin Neiles & Tracy KogaDr. Rashmi NigamMr. Jean-Francois PhaneufDonna & Ian PlantMs. Marina Plett-LyleCarolynne PresserMike Pyle & Laura LomowLarry & Thelma ReynoldsMrs. Shirley RichardsonJim & Pat RichtikNoni & Dan RosenblatBarbara ScheunemanJustin SchinkelMr. Walter SiliczJim Skinner & Judy NicholMarlene SternMs. Marilyn ThompsonStrang / van Ineveld FamilyDr. & Mrs. Willem T.H. van OersFaye WarrenPeter & Marina WhiteRaymond & Shirley WiestHerbert & Shirley Wildeman 4 Anonymous

Concerto Judy & Jay AndersonGorden Andrus & Adele KoryCheryl & Earl BarishMs. Kathleen Beach-NelsonF. BellMr. & Mrs. Richard & Joy C. BettsBernice BlakemanCathie and Brian BowermanMr. & Mrs. Penny & Sheldon BowlesDaniel Heindl & Eugene BoychukGreg & Sylvia BrodskyMr. & Mrs. F. BuckmasterMs. Carol BudnickAlexis Kochan & Nestor BudykDr. David CamorianoDavid CarrJames CarrMr. Raymond ChrunykAnna-Lisa CohenDr. & Mrs. David Connor

Pam & Andrew CookeIrene & Robert CorneGary & Fiona CrowMr. Bradley J. CurranMr. Peter CzaplinskiEsther and Hy DashevskyHilary DruxmanMr. & Mrs. W. EastonMs. Ursula ErhardtRandy EwanikaHonourable Gary and

Honourable Janice FilmonDr. LeeAnn FishbackMarcia Fleisher & Kelly MacDonaldMargaret FollettWayne ForbesPenny GilbertBruno GossenKatie & DeLloyd GuthPatricia GuyDr. & Mrs. Don & Jerri HallGordon E. HannonMr. & Mrs. Allen HattieBlair & Erica HendersonMrs. Elsie HignellHilda & Elmer HildebrandBob & Biddy HiltonCarole HolkeMrs. Joan M. HunterDr. Lorne Hurst & Elly HoogterpDrs. Keith & Gwyneth JonesKoren & Leonard KaminskiMarilynne KeilRay Kohanik & Terri AshcroftMrs. Marion B. KornMr. Andre KrieningKat KupcaEdith Landy, in memory of

David LandyYan Lau & Ming-Ka ChanMr. Don LawrenceMs. Francoise Lesage &

Mr. Ken MillsJames & Pat LudwigScott MacDonald & Tracey NovakDr. Brendan MacDougallDouglas MacEwanDrs. Joshua Manusow

& Kristen CreekTerri & Jim McKercharLouise McLandressAmanda McLeodMr. Neil MiddletonRon & Maureen MonsonMargaret & Fred MooibroekConor MulhollandProfs. Robert O'Kell & Arlene

YoungBonnie & Richard OlfertMs. Lois PowneTim Preston & Dave LingRosemary PriorDr. Clare RamseyFred & Carolyn RedekopJ. ReichertLevi & Tena ReimerRicou-ManfredaJudge & Mrs. Charles & Naida

RubinMs. Miriam RudolphA. SchroederDr. L. SeklaMerrill & Shayna ShulmanDeborah SpracklinMr. & Mrs. Gary and Gwen

Steiman

Dr. & Mrs. M.R. SteinbartHelen SundstromPaul SwartDr. & Mrs. David SwatekTodd TanchakJennifer & Brian ThiessenTom & Lori ThomasEdith A. ToewsDr. Helen A. ToewsCarol & Neil TrembathSusan TwaddleMr. Robert VinebergMeeka WalshThuraya WeedonDiane WeselakeMr. Neil WilcoxMyra Wolch & Saul CherniackHarry & Evelyn WrayArlene Young and Robert O'Kell11 Anonymous

Serenade Edward AcunaJean AltemeyerKaeren AndersonPat & Harvey AntonDoug Arrell & Dick SmithBetty & Ted AshBrian & Janice BaileyMr. John A. BaileyRalph & Eileen BaxterJanet, Susan, Kathie Beach in

memory of Garnet & BettyBeach

In honour of Helene BeaucheminDick & Minnie BellAudrey BelyeaSusan & Edwin BethuneJoan BlightMr. Robert BriercliffeSherrill BrownSel & Chris BurrowsGary & Jane CainesGerald CallowMrs. Audrey CampbellMs. Donna CarruthersLaura Chan & Herman LamMrs. Leona ChristiansenRon ClementFred CoakesMs. Julie CollingsHelle CosbyMs. Linda DanielsMr. Tom DercolaSandra & Robert DeweyMr. & Mrs. Gordon DingmanFaye Dixon in memory of Graham

DixonMr. & Mrs. Lawrence & Brenda

DonaldJohn and Ada DucasR. DuddekFrances EdyeDonna EkerholmGeorge B. EliasMr. & Mrs. Richard A. Elsner Jr.John & Martha EnnsMargaret E. FaberNelma FettermanDoug & Phyllis FlintDonalda FridfinnsonArnold & Christa FroeseMrs. Margaret FunkGeorge & Carol GambyGeorge HaidauMr. & Mrs. Ben & Nadia Hanuschak


Patricia HarrasBeth & Raymond HarrisCatherine HarrisonRuediger & Lydia HedrichL.G. HerdMarilyn & Helios HernandezDebby and Brian HirschMr. & Mrs. J.K. HollandPatti HolmHelmut & Dorothy HuebertRudy & Gail IsaakDavid JacobsonTerry & Shirley JamesMargaret JeffriesRoss & Betty Jo JohnstonVictoria JohnstonRick & Caroline JosephsonMs. Nadia KamienskiMs. Marilyn KapitanyHenry Katz, in memory of DenaMr. & Mrs. Burton J. KennedyMarion & Bill KinnearKen KinsleyHeather KirkhamErwin W. KitschSusan & Keith KnoxMona KoropatnickSarah Kredentser & David HowenMs. Janet KuchmaElaine & Patrick LamonicaLisa & TedMr. Norman LeathersMoira Swinton and Bernie LéveilléTom Liewicki in memory of Lovie

LiewickiRose & Dick LimFraser & Joan LinklaterAlbert & Helen LitzJanice Lutz in memory of Andrew

LutzJanice Lutz in memory of Patricia

HoebigAl & Pat MacklingLorraine MacLeodAngelos and Pauline MacrodimitrisAllan MalbranckLinda MartinRuth MayLynne McCarthy & Claude DavisJ. Doreen McCormickMrs. Maureen McIntoshC. & J. McIntyreMr. & Mrs. Sheldon McLeodGlen MeadShana MenkisJudith MeunierMr. & Mrs. Walter & Gladys MildrenDr. Kyle MillarMrs. Mona MillsBrad & Donna MitchellNathan & Carolyn MitchellMargaret Moroz in memory of her

brother Andrew LutzD.E. MorrisonMrs. Joan Ann MortonD. MunroMs. Bonnie NeilTruus OliverPatricia Mary PattersonCameron PaulsDavid & Veronica Payne, in

memory of Eleanor AnnandaleMs. Eleanor PayneMr. Rick PinchinSandra & Irvin Plosker

Ruth Carol & Len PodheiserDon & Carol PoulinMrs. Edna PoulterDonna & Gordon PriceDr. David PunterJuta RathkeEsther and Reynold RedekoppAnne Reid and the McLarty Family

in memory of Norman MacKay,38 years as a member of theFrench Horn Section of WSOand Personal Manager forsome time

Pat and Bill ReidMr. Daryl & Mrs. Sheila ReidM. RennieKevin Rollason & Gail MacAulaySteve Ruddy & Pauline BoisselleMatt SchaubroeckEd & Susan SchmidtHans & Gabriele SchneiderMarie SchoffnerDr. & Mrs. Alvin and Ethel

SchroederDr. Robert J. SchrothDr. & Mrs. Morry SchwartzMr. Ken SchykulskiOlga & Myron ShatulskyRobert Shaw & Chris KrawchenkoMr. & Ms. Ed ShwedykBrenda SklarDavid & Lorraine SmithMs. Kaye SnatenchukMs. Brenda SniderMargaret & Hartley StinsonLorne SunleyDr. & Mrs. Ian & Karen SuttonJo Swartz & Richard SilvermanDr. & Mrs. Stephen SziromDr. & Mrs. John TaylorJune & Lorne ThompsonC. & R. ThomsenDr. J.M. TrainorPaul TrapnellFran & Estela ViolagoMs. Edna WalpoleJim & Joan WarbeckDr. Marnie WatersJack WattsJ. WhyteDebbie WilsonMs. Joan WiseDonna WoodsKarin WoodsMr. John Yarema19 Anonymous

PreludeBrian & Karen Abrams in honour of

Harvey & Sandra Weisman's60th Anniversary and Harvey's90th Birthday

Trish Allison-SimmsLarissa AshdownAllan & Rochelle BakerAlison BaldwinMr. & Mrs. R. Bruce BallMr. Robert BaragarMs. Margaret BarbourRobert BartonByrnes BenoitEric BergenHelen Bergen, Music Director

FGUC ChoirBruce & Joyce BerryDonald & Edith Besant

Ms. Diane BewellEric & Clara BohmRuth & Kris BreckmanJackie BrignallPaul & Doreen BromleyMiss Dorothy BroomhallChris Brown & Pat McCulloughLeona BurdeniukKevin BurnsMr. John BurrowsRuth CalvertMrs. Patti CherneyLawrie and Bea CherniackShelley ChochinovAnne Cholakis & Howard LoewenIn memory of Robert CoatesDennis CooleyGlynis CorkalJoyce & Lawrence CormackMaxine CristallMr. & Mrs. Ted & Lacona

CunninghamJudy & Werner DanchuraMaureen DanzingerMr. Ray DavisF. De GraziaMichele Del RizzoWade DerksonAnne Downey in memory of Pat

MutchmoreMr. & Mrs. Mervin & Ariela

DrabinskyHerb & Norma DriverLinda EdelLisa EdelScott & Margaret EdmondsMr. & Mrs. J.G. EkinsSiegfried EnnsDon & Martha EpsteinMs. Karin ErhardtMathilda FijnJoanne FlynnMargo FoxfordMrs. Marguerite FredetteMrs. Gitta FrickeMrs. Donna FriesenLise Laverdure & François GauvinDr. & Mrs. Andrew & Karen GomoriD. GoochDr. & Mrs. W. L. GordonMrs. Noreen GreenbergMarj GrevstadIrene Groot-Koerkamp & Greg

EdmondMr. & Mrs. Kenneth W. & Marjorie

GrowerGertrude HamiltonMs. Joanne HampsonMs. Meghan HansenKelsey Hargreaves & Vojtech

BalabanMs. Erin HarleyLinda A. HarlosMrs. Phyllis HatskinMs. Helen HawryshTeresa A. HayLarry & Evelyn HechtTerry HeronMs. Shirley HicksMs. Marilyn HidoMs. Susan HildebrandtKaren HiscottRichard & Karen HowellCarl & Vi HultinWilliam J. HuttonHuynh Van Ho

Rozin & Cathy IwanickiMrs. Jacquie JamesBob Jansen in memory of Eleanor

AnnandaleAlan Janzen & Leona SookramFather Stan A. JaworskiMrs. Karen KaplenMs. Bev KawchukJo KellendonkRandy & Kathleen KempMs. Mary KlassenEd & Helen KolomayaJacki & Sheldon KovenKozub/Halldorson FamilyElsa KrahnD. KristjansonMiss Patricia KuchmaHelen & Len La RueMs. Betty LaingRon LambertElizabeth LansardMrs. Ingrid LeeMr. & Ms. Saul & Kathy LeiblMr. R. LeroeyeJennifer LidstoneBarry & Patricia LloydLorron Agencies Ltd.Roger LoweSarah LubyMargaret Mahon in honour of her

Father, Thomas Hoey McGownMs. Dorothy I. MacIntyreMr. & Mrs. Cam & Joy MacLeanBarbara MainJames ManishenAnethea MarshallHarold S. Mawhinney & Judy MoonDr. & Mrs. Ihor MaybaPaul A. McCullochD. McKayViolet McKenzieTed McLachlanMrs. Jean McLennanS. McMillanMs. Linda MecklingEstelle MeyersMs. Sue MiclashCarolyn Garlich & Peter MillerMs. Sheila MillerMs. Marlene MilneJohn & Margaret MundieLeesa MunroeCharlotte MurrellMel & Sharon MyersDr. Sidney & Gwen NelkoMikaela OldenkampDavid & Hermine OlfertAllan & Hazel OsbornMr. Douglas PageMs. Georgine PalmquistMrs. Henny ParitzkyJohn & Agnieszka Payne in

memory of Eleanor AnneAnnandale

In memory of Eleanor Annandalefrom Joan, Stuart and Helen

Ellen Peel & Neil BruneauMs. Nettie PetersIngrid Peters-FransenIan & Ann-Margret PlummerMs. Danuta PodkomorskaBlumie PortnoyPhyllis Portnoy & Rory EganApril Powell in memory of S.

Devinder S. BharajMrs. Nell Provinciano


Bryan & Diana PurdyM. RegulyTheresa RempelEleanor RiachMr. & Mrs. Robert & Vera RipleyBrian & Iris RountreeFrances E. RowlinMr. Johnny Rule Salangad & Ms.

Pearly Rule SalangadDavid & Helen SaudeIn memory of Jean SauderGrant & Janet SaundersNicola SchaeferMr. M. SchnitzerDavid SchroederR. SchroederCharlene ScoutenMs. Noreen SealyCarl & Margaret ShaykewichHeida & Skuli SigfussonLouis & Shirley Ann SimkulakWilma SotasGeri & Peter SpencerMs. Nata L. SpigelmanMr. & Mrs. StarodubDan & Elsie StasiukMrs. Pat StefanchukBonnie Hoffer-Steiman & Lionel

SteimanMs. Helena StelsovskyMs. Sally StephensArchie & Shirley StoneMuriel SutherlandRoss & Bette Jayne TaylorTom ThiessenMary and Robert ThomasBetsy F Thorsteinson in memory of

Ruth DowseRobert & Barb TisdaleHenry & Elizabeth ToewsMs. Andrea TowersMs. Eleanor UrquhartJudith & Francisco ValenzuelaIra van den Berg & Greg ButterfieldDr. & Mrs. Jose & Ruth VasconcelosBarry and Gail VealsHugo and Anny VeldhuisNils & Melissa VikWaverley Tenant AssociationJames & Claudia WeselakeDr. Gaynor Jane WilliamsDorcas & Kirk WindsorMr. Andrew WinklessPatrick WrightLibby Yager and Billy BrodovskyMr. Edwin YeeDonn K. Yuen14 Anonymous

Sonatina

James & Faye Alward in honour of Margot J. Alward

Greg AndersonJacqueline AndersonIn memory of Eleanor Anne

AnnandaleDr. John BadertscherMrs. Eva BerardMrs. Lori BettigAnna BirdMr. Dick J. BloemheuvelShirley BookMonica BrechkaWendy & Ken BroadfootCrowe & BrownlieAlfred BuelowSheila Burland

Lori ButlerDivna CalicMs. Linda CampbellMarianas CanadasAline CaronRheo CattEileen ChabanElla ChenkieMelina ChowS.K. ClarkMr. Alfred CorniesKaren CouchStephen CraneMs. Judy CrawfordMr. Fred J. CrossJean CunninghamMs. Jean CurtisD. CymbalistCarl Ar DarbyEric DaviesMrs. Wilna DehlsBeth DerraughMs. Terrylynn DesrosiersM. Jane DickMrs. Ethel DilPaul DueckPam EylandVera & Peter FastMs. Helen FeniukBarbara Filuk in honour of

Alex PitkethlyMs. Catherine FlowerMrs. Cindy FlynnPeter FlynnHilda FranzBonny FraserJim & Betty GaynorMrs. Barbara GessnerMs. Jacqueline GodardHeather F. GrahamMrs. Inga GranovskayaVictoria GretchenMs. Marianne GruberMs. Marion GuinnB. & R. HallHelen & Peter HaywardJohn HeathD&R HerntierJean HighmoorMrs. Margaret HillArlene Hintsa in memory of

MarilynMrs. Diane HoldingStella HryniukMaryann HudjikMr. & Mrs. Peter & Rosalind HusbandIshbel IsaacsBonnie Dee & Richard JakubowskiDavid & Heather JenkinsC BohemierRon & Barb JohnsonDr. Arnold & Mrs. Doreen KapitzMr. Gordon C. KeatchUrsula & Sandor KelemenKatie KirkpatrickMs. Irene KuhteyAnne La TourMr. & Mrs. David LeveneKatrina LimberatosIn memory of Andrew LutzChristopher MacNuttMr. Allan L. MapesMrs. Irene MarriottMarian Martin in memory of

Eleanor AnnandaleMs. Teresa MartinHugh McCabe

Jim McLarenArdythe McMasterSen. Marilou McPhedranIona McPheeMr. Garfield McRaeMs. Kathleen MichenerMrs. Jocelyn MillardHarry & Annette MinukMs. Sharon MinukMs. Sandra MitchellJon MontesM MorawskiMaureen MorinKim MortonJeffrey & Mary MortonJackie MurphyAnne MartinMr. Robert NixMs. Helen O'NeillAlice OswaldMrs. Clarice OwenIn memory of Diena YoungShirley & Graham PadgettMrs. Kathy Parry in honour of

"PINK" RCN 4760Sonjia PasiechnikMr. Irwine PermutGail Perry & David Firman in

memory of Andrew LutzMargaret PetersKen & Geri PorathMark Potash, Darena Snowe, Lily

Snowe-Potash and Lev Snowe-Potash

Janis PregnallMs. Joanne PrygrockiValerie RaberKaren Rassmussen-OkeMrs. Marieann ReevesMs. Barbara RobertsonMelissa SteeleGisela RogerMrs. V. RosolowichMarnie RossJoan SabourinMrs. Claudia SarbitJessie SawiczKay SchalmeWilliam ScheidtIvor & Lorna SchledewitzMary Agnes WelchBetty & Sam SearleAdriana SedlakMr. & Mrs. Bill & Lynn SheadIzzy ShoreMrs. Elaine SilverbergMs. Jean P. SmellieEvelyn R. Smith in memory of

Mayer RabkinMr. & Mrs. Robert SmithDr. Camelia StefanoviciDiane StewartRobert Stewart & Leslie Ross-

Stewart, in memory of EleanorAnne Annandale

George StolarskyjMrs. Marilyn StothersMrs. Joan SwafferGladys TaralaRoss & Bette Jayne TaylorMs. Vanessa ThiessenMs. Linda ThomasPhyllis ThomsonMs. Melita TonogaiIn memory of Mayer RabkinMs. Josette ToyeShelley Turnbull

Ward TweetCarole UriasMs. Stephanie M. van NestMrs. Arlene van RuitenMr. Steve van VlaenderenSophia VenterDenis VincentMrs. Nancy VincentMiss A. H. WagstaffeDr. Jackie WalkerMr. Glen Angus WebsterGerri WeigeldtJody White in honour of Doug and

Loreen Buss' MarriageMs. Barbara WiebeGrace M. WiebeTheresa WiktorskiIn memory of my uncle Joe

Jaworski who was a musician39 Anonymous

The WSO gratefully acknowledgesthe following patrons whoseforesight helps to ensure long-term financial support for theWSO. Thank you!

Blumie & Iser Portnoy EndowmentFund

Lorraine & Gerry CairnsMr. Ray DavisHelene DyckGreg & Linda FearnMarilyn & Helios HernandezMarilynne Keil, in memory of

David H. SkinnerBarbara MainJudith MeunierMs. Iris ReimerLevi & Tena ReimerBarbara ScheunemanIvor & Lorna SchledewitzJim & Jan TennantJames & Claudia WeselakeWSO Women's Committee in

memory of Eleanor Gibson1 Anonymous

Festival donors help to furtherthe musical artistry of theWSO’s New Music Festival.Thank you!

Mrs. France AdamsJean AltemeyerGorden Andrus & Adele KoryAubrey & Dr. Linda AsperAlison BaldwinDavid & Gillian BirdJackie BrignallStephen BrodovskyKevin BurnsDr. David CamorianoMarianas CanadasDavid CarrAnne Cholakis & Howard Loewen

Mr. Peter CzaplinskiEric DaviesSandra & Robert DeweyDr. Rashmi Nigam Medical CorpDr. R. Dookeran Medical

CorporationDr. Tenley Nicole Bower Medical

CorporationKathleen & David EsteyRandy EwanikaMs. Susan FeldmanDr. LeeAnn FishbackMs. Catherine FlowerWayne ForbesDaniel Friedman & Rob DalglieshGuillermo Rocha Medical

CorporationDr. & Mrs. Don & Jerri HallKelsey Hargreaves & Vojtech

BalabanMs. Helen HawryshMarilyn & Helios HernandezHilda & Elmer HildebrandPatti HolmBonnie Dee & Richard JakubowskiJanet Ash & Associates Ltd.Drs. Keith & Gwyneth JonesKoren & Leonard KaminskiJo KellendonkKelly Regula Dental CorpMr. Sotirios KotoulasKozub/Halldorson FamilyT.G. KuceraRon LambertLisa & Tedunderpaid teacherMoira Swinton and Bernie LéveilléDrs. Eleanor & Grant MacDougallMr. & Mrs. Cam & Joy MacLeanDrs. Joshua Manusow & Kristen CreekMs. Teresa MartinBrent Mazur & Nancy QuiringPaul A. McCullochTed McLachlanShana MenkisRon & Sandi MielitzMs. Sheila MillerConor MulhollandMichael NesbittBob and Cindy NewfieldDr. Rashmi NigamMikaela OldenkampLesia PeetMark Potash, Darena Snowe, Lily

Snowe-Potash, Lev Snowe-Potash

Beth M. ProvenDr. Clare RamseyPat and Bill ReidM. RennieSteve Ruddy & Pauline BoisselleOlga & Bill RunnallsMr. M. SchnitzerRobert Shaw & Chris KrawchenkoPam SimmonsMuriel SmithMarlene Stern & Peter RaeMs. Stephanie M. van NestNils & Melissa VikVQ SalonMeeka WalshDr. Marnie WatersMr. Neil WilcoxKarin WoodsDr. Jens J. Wrogemann5 Anonymous

Share the Music is a uniqueoutreach initiative of the WSOthat allows economicallydisadvantaged children andtheir families to attend WSOperformances. Thank you forhelping to Share the Music!

Ms. Margaret BarbourRalph & Eileen BaxterLucienne Blouw in honour of Louise

Nebbs and Paul GodardLucienne Blouw in memory of

Hermi van den BergMs. Rheo CattShelley ChochinovMichele Del RizzoDr.William DutkaBarbara FilukGeorge HaidauDon & Jerri Hall in memory of

Aunt Lois AndersonHuynh Van HoIn memory of Mary HarrisonMrs. Karen KaplenRussell KennedyTom Liewicki in memory of

Lovie LiewickiClaudette & Robert LussierJames ManishenMr. & Mrs. Barry & Carol McArtonMs. Sharon MinukMargaret Moroz in memory of

Mrs. Pat HoebigAnne MartinDr. Sidney & Gwen NelkoLesia Peet in memory of Andrew LutzAnne Reid and the MacLarty Family in

memory of Norman MacKay,38 Years As a Member of theFrench Horn Section of WSO andPersonal Manager for some time

Mr. L. J. RoyBarbara ScheunemanM ScheunemanBrenda SklarDeborah SpracklinMr. Robert B. StinsonJim & Jan TennantWard TweetMs. Gerardina VanaertFran & Estela Violago10 Anonymous

Sistema Winnipeg is a free dailyafter-school program offered atno cost to participants thatenriches the lives of children andyoung people with the fewestresources and the greatest need. The WSO gratefullyacknowledges the followingpatrons whose support makes adifference in the everyday lives ofthese children. Thank you!

Honourary ChairDaniel Scholz, Principal Viola

MaestosoWinnipeg Jets True North FoundationRBC FoundationRichardson Foundation

VivaceBoeing Canada WinnipegMr. & Mrs. Barry & Carol McArtonTelus - Manitoba Community Board

Con Brio

Dr. Ken FowlerGarth Lee StringsSouchay Gossen Family FoundationManitoba Community Services CouncilManitoba Liquor and Lotteries1 Anonymous

Allegro Dr. David BarnardAndy BurgessTimothy & Barbara BurtRev. Msgr. Michael BuyachokMr. David ChristiansonGordon & Jeannine CornellArt & Leona DefehrGreg & Linda FearnJocelyn and Mark GabbertMr. Gary B. GoossenMichael S Gray Fund C/O Private

Giving FoundationKevin & Els KavanaghMr. & Mrs. Philippe Le DorzeBill and Shirley LoewenDr. David LyttleManitoba Community Services

CouncilJonathan E. MitchellJohn MorrissKevin Neiles & Tracy KogaMr. Jean-Francois PhaneufMaurice (Moe) & Ethel Pierce FundMrs. Shirley RichardsonThe Winnipeg Foundation - Chief

Justice Richard J. Scott and MaryScott Fund

Mr. Walter SiliczJim & Jan TennantE. ToewsStrang/van Ineveld FamilyFaye WarrenElsie Williston 2 Anonymous

ConmotoJames & Faye Alward in honour of

Margot J. AlwardIn memory of Eleanor Anne

AnnandaleBetty & Ted AshMr. John A. BaileyRalph & Eileen BaxterJanet, Susan, Kathie Beach in

memory of Garnet & Betty BeachMs. Kathleen Beach-NelsonIn honour of Helene BeaucheminAudrey BelyeaByrnes BenoitHelen Bergen, Music Director FGUC

ChoirMs. Diane BewellPaul & Doreen BromleyMs. Carol BudnickAlexis Kochan & Nestor BudykLorraine & Gerry Cairns

Mrs. Audrey CampbellMs. Linda CampbellFred CoakesIn memory of Robert CoatesAnna-Lisa CohenMr. Victor CollombDennis CooleyCarl Ar DarbyDouglas Kuhl School of Music Inc.R. DuddekECCO SingersLinda EdelMs. Karin ErhardtMs. Ursula ErhardtKathleen Estey in memory of Alan

MaxwellPam EylandNelma FettermanMathilda FijnMs. Catherine FlowerMrs. Cindy FlynnJudith & Peter FlynnJudith & Peter Flynn in memory of

Diena YoungJudith & Peter Flynn in memory of

Andrew Wihelm-BoylesMargo FoxfordBonny FraserIn memory of James Joseph ("Jim")

GibbonsMr. & Mrs. Ben & Nadia HanuschakPatricia HarrasCatherine HarrisonRuediger & Lydia HedrichD&R HerntierMs. Shirley HicksRobin HildebrandArlene Hintsa in memory of MarilynDebby and Brian HirschKaren HiscottWilliam J. HuttonMrs. Jacquie JamesBob Jansen in memory of Eleanor

AnnandaleIn memory of my uncle Joe Jaworski

who was a musicianRon & Barb JohnsonVictoria JohnstonJoseph and Judith Malko Family

Fund - the Strategic CharitableGiving Foundation

Rick & Caroline JosephsonMs. Nadia KamienskiMarilynne KeilEd & Helen KolomayaAnne La TourAlbert & Helen LitzDr. Brendan MacDougallLorraine MacLeodAllan MalbranckManitoba Children's MuseumMarian Martin in memory of Eleanor

AnnandaleLynne McCarthy & Claude DavisMrs. Maureen McIntoshIona McPheeMs. Linda MecklingMr. Neil MiddletonDr. Kyle MillarMs. Marlene MilneVera MorozKim MortonJeffrey & Mary MortonMs. Bonnie NeilNorth Kildonan United ChurchAlice OswaldIn memory of Diena Young



Patricia Mary PattersonDavid & Veronica Payne, in memory

of Eleanor AnnandaleJohn & Agnieszka Payne in memory

of Eleanor Anne AnnandaleIn memory of Eleanor Annandale

From Joan, Stuart and HelenLesia PeetMargaret PetersMrs. Edna PoulterApril Powell in memory of S.

Devinder S. BharajMs. Lois PowneDr. David PunterValerie RaberMrs. Marieann ReevesM. RegulyMelissa SteeleMs. Miriam RudolphJoan SabourinMrs. Claudia SarbitMr. Terry SargeantIn memory of Jean Sauder Nicola SchaeferBarbara ScheunemanPerce & Elizabeth Schirmer

FoundationEd & Susan SchmidtA. SchroederTrudy SchroederBetty & Sam SearleOlga & Myron ShatulskyJim Skinner & Judy NicholWilma SotasMrs. Pat StefanchukDiane StewartRobert Stewart & Leslie Ross-Stewart,

in memory of Eleanor AnneAnnandale

Todd Tanchak

Telpay IncJennifer & Brian ThiessenMary and Robert ThomasPhyllis ThomsonBetsy F Thorsteinson in memory of

Ruth DowseEdith A. ToewsCarol & Neil TrembathCarole UriasJudith & Francisco ValenzuelaThuraya WeedonGerri WeigeldtDiane WeselakeMaryann HudjikJody White in honour of Doug and

Loreen Buss' MarriageWhoDunit? Mystery BookstoreMs. Barbara WiebeGrace M. WiebeDr. Gaynor Jane WilliamsMyra Wolch & Saul CherniackDonna WoodsLibby Yager and Billy BrodovskyArlene Young and Robert O'Kell11 Anonymous

ANNUAL CAMPAIGNThe WSO gratefully acknowledgesthe following patrons whosegenerosity helped to supportorchestral music in ourcommunity. Thank you!

Greg AndersonPat & Harvey AntonMr. Robert BaragarBernice BlakemanJoan BlightHelga & Gerhard BockC Bohemier

Monica BrechkaCrowe & BrownlieLori ButlerCarlyle Printers Service & SuppliesEileen ChabanCon-Pro IndustriesJohn and Ada DucasWayne ForbesLise Laverdure & François GauvinGeorge HandymanMrs. Audrey HarburnCarl & Vi HultinMr. & Mrs. Peter & Rosalind

HusbandMargaret JeffriesDr. Arnold & Mrs. Doreen KapitzUrsula & Sandor KelemenKen KinsleyMarion B KornSarah Kredentser & David HowenKat KupcaMs. Betty LaingMr. Don LawrenceAl & Pat MacklingCynthia MarxSen. Marilou McPhedranMs. Kathleen MichenerM MorawskiD.E. MorrisonYoussef MouzahemMs. Eleanor PayneEllen Peel & Neil BruneauMrs. Edna PoulterCarolynne PresserBeth M. ProvenJessie SawiczBarbara ScheunemanMary Agnes WelchAdriana SedlakRobert Shaw

Louis & Shirley Ann SimkulakPam SimmonsTom ThiessenMs. Marilyn ThompsonMs. Melita TonogaiMs. Andrea TowersPaul TrapnellIra van den Berg & Greg ButterfieldHugo and Anny VeldhuisRezutek Family 30 Anonymous

OTHER DONATIONSBrian & Karen Abrams in honour of

Harvey & Sandra Weisman's60th Anniversary and Harvey's90th Birth

Lucienne Blouw in honour of Peterand Jane Markesteyn

Jackie Brignall in memory ofAndrew Lutz

Anne Downey in memory of PatMutchmore

Barry & Susan Greenberg inmemory of Mayer Rabkin

Nessie & David Greenberg inmemory of Mayer Rabkin

Sharon Love in memory ofJeannine McCallum

Gail Perry & David Firman inmemory of Andrew Lutz

In memory of Mayer RabkinCharlene & Harry Schwartz in

memory of Mayer RabkinEvelyn R. Smith in memory of

Mayer Rabkin1 Anonymous

Listing as of August 18, 2017


1948-51 Hon. Mr. Justice J. T. Beaubien1951-53 Mr. J. M. Sinclair1953-55 Dr. Digby Wheeler1955-57 Mr. W. D. Hurst1957-58 Dr. Hugh H. Saunderson1958-61 Mr. E. W. H. Brown1961-62 Mr. David Slater1962-64 The Hon. Mr. Justice Monnin1964-65 Mr. Norman J. Alexander1965-67 Mr. R. W. Richards1967-69 Mr. W. R. Palmer1969-71 Mr. E. J. Smith1971-73 Dr. M. M. Pierce1973-74 Mr. H. S. Brock-Smith1974-76 Mr. Allan G. Moffatt1976-78 Mr. Julian D. T. Benson1978-79 Mr. John L. Buckworth1979-80 Mr. N. Roger McFallon1980-81 Mr. John F. Fraser1981-82 Mr. William W. Draper1982-83 Mr. John O. Baatz1983-84 Mr. Andrew D. M. Ogaranko, Q.C.

1984-86 Mr. Harold Buchwald, Q.C.1986-88 Mr. Michel Lagacé1988-90 Mr. William H. Loewen1990-92 Mrs. Julia DeFehr1992-94 Mr. Gordon Fogg1994-96 Mrs. Helen Hayles1996-97 Mr. Anthony Brookes1997-98 Mrs. Helen Hayles1998-99 Mr. William NorrieFeb 1999-May 1999 Mr. William LoewenJun 1999-2000 Mr. Bruce MacCormack2000-Feb 03 Mr. Roger KingMar 2003-Dec 2003 Ms. Patti SullivanDec 2003-Jan 2005 Mr. Wally Fox-DecentJan 2005-Jul 2006 Ms. Carol BellringerJul 2006-Nov 2006 Mr. Harvey I Pollock, QC

(Interim President)Dec 2006-Jun 2007 Dr. Brendan MacDougall2007-2012 Ms. Dorothy Dobbie2012-2016 Mr. Timothy E. Burt, CFA2016- present Mr. Terry Sargeant

Al AlexandrukMal AndersonCarol BellringerMarilyn BillinkoffDoneta BrotchieJohn and Bonnie BuhlerJames CarrEdmund Dawe, D.M.A.Dorothy DobbieGreg DoyleJamie DolynchukJulia De FehrSusan FeldmanBarbara FilukWally Fox-DecentJack FraserEvelyn FriesenElba Haid

Helen HaylesKaaren HawkinsSherrill HershbergIan KayRoger King Bill KnightMichel LagacéZina LazareckGail LeachDr. Hermann LeeNaomi LevineBill LoewenJackie LoweDr. Brendan MacDougallDon MacKenzieBill MarrEd J. MartensMichael Nozick

Harvey I Pollock, QCDr. William PopeJohn RademakerKathleen RichardsonTannis RichardsonLeney RichardsonEd RichmondLorne SharfeWilliam SheadGraeme SiftonJoanne SigurdsonMuriel SmithBonnie Staples-LyonBrenlee Carrington TrepelDennis Wallace

PRESIDENT’S ADVISORY COUNCIL

PRESIDENTS OF THE WINNIPEG SYMPHONY ORCHESTRA

BOARD OF DIRECTORSTerry Sargeant,

PresidentCurt Vossen,

Vice PresidentRob Kowalchuk,

TreasurerMichael Kay,

Corporate SecretaryIda AlboSandra AltnerLucienne BlouwEmily Burt, MBA, CFAJames CohenArlene DahlMarten DuhouxSteven DyerAlan Freeman

ALEXANDER MICKELTHWATE, MUSIC DIRECTORBramwell Tovey, Conductor Laureate Julian Pellicano, Resident ConductorHarry Stafylakis, Composer-in-Residence, WNMF Festival Director

ARTISTIC OPERATIONS & COMMUNITY ENGAGEMENTJean-Francois Phaneuf, VP Artistic Operations &

Community EngagementJames Manishen, Artistic Operations Associate Evan Klassen, Director of Artistic Operations & ProductionSheena Sanderson, Stage ManagerTatiana Carnevale, Operations CoordinatorChris Lee, Orchestra Personnel Manager Greg Hamilton, Principal Librarian Laura MacDougall, Assistant Librarian Lawrence Rentz, Stage SupervisorBrent Johnson, Education & Community

Engagement Manager Shannon Darby, Sistema Winnipeg Manager

FINANCE & ADMINISTRATIONLyn Stienstra, VP Finance & AdministrationSandi Mitchell, Payroll & Accounting AdministratorOscar Pantaleon Jr., Finance & Administration AssistantPat Foot, Administration Assistant

OUR DISTINGUISHED PATRONS

TRUDY SCHROEDER, EXECUTIVE DIRECTOR

EXECUTIVE OFFICELori Marks, Confidential Executive Assistant

SALES & AUDIENCE SERVICESRyan Diduck, VP Sales & Audience Services Desiree La Vallee, Patron Services SupervisorTheresa Huscroft, Group Events Representative Rachel Himelblau, Patron Services CoordinatorAaron Lewis, Sales SpecialistPatron Services Representatives (p/t):

Phil Corrin Melissa HoustonMeg Dolovich Laura Gow Kristie Enns Emma MilnerSandesh Fernandez Paul LongtinShevaun Fortune Emma MilnerJason Hayes

MARKETING & DEVELOPMENTNeil Middleton, VP Marketing & SponsorshipBeth Proven, VP Development Carol Cassels, Development Manager Shenna Song, Development Coordinator Desiree La Vallee, Campaign & Event CoordinatorSarah Panas, Marketing & Communications OfficerMatt Brooks, Designer S.Thompson Designs Inc.

Daniel FriedmanDr. Selena FriesenMicah HeilbrunnRobin HildebrandPeter JessimanMargaret Kellermann

McCullochDr. Maureen KilgourSilvester KomlodiSotirios Kotoulas Dr. Eleanor MacDougallSherratt MoffattRichard TurnerTrudy Schroeder, Executive

DirectorAlexander Mickelthwate,

Music Director

Her Honour the Honourable Janice C. Filmon C.M., O.M.

Lieutenant Governor of ManitobaThe Honourable Brian Pallister,

Premier of ManitobaHis Worship Brian Bowman,

Mayor of the City of WinnipegMr. W.H. Loewen & Mrs. S.E. Loewen,WSO Directors Emeritus

WOMEN'S COMMITTEE EXECUTIVESherratt Moffatt, PresidentWinnifred Warkentin, Vice-PresidentSylvia Cassie, Past PresidentNancy Weedon, TreasurerAgnes Bailey, SecretaryFlorence Bell, Asssistant

CONTACT US: BOX OFFICE: 204-949-3999 [email protected] OFFICE: 204-949-3950 [email protected] wso.ca


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