Tuesday, April 16, 2019 @ 8 p.m.Segerstrom Center for the Arts Renée and Henry Segerstrom Concert Hall

Pacific SymphonyMurry Sidlin, conductorJohn Rubinstein, actor (“Rafi Schächter”)David Prather, actor (“The Lecturer”)Aga Mikolaj, sopranoAnn McMahon Quintero, mezzo-sopranoEdgaras Montvidas, tenorNathan Stark, bass-baritoneRita Sloan, pianoPacific Chorale—Robert Istad, artistic director

2019 APRIL4 0 t h s e a s o n

D e f I a n t R e q u I e M : V e R D I a t t e R e z Í nSPECIAL CONCERT

RequIeM Mass Requiem and Kyrie Dies Irae Offertorio Sanctus Agnus Dei Lux aeterna Libera me

Verdi

This concert will be performed without intermission.

offICIaL hoteL offICIaL tV statIon offICIaL MusIC statIon offICIaL ConCeRt sPonsoR

Presented by arrangement withThe Defiant Requiem Foundation.

This concert is generously sponsored byJewish Federation & Family Services of Orange County.

Their sponsorship is made possible by theAlbert Weissman and Rhoda Yvette Weissman Estate.

This concert is generously sponsored by members ofPacific Symphony’s Joshua’s Horn Society.

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RequIeM Mass Requiem and Kyrie Dies Irae Offertorio Sanctus Agnus Dei Lux aeterna Libera me

“Defiant Requiem:Verdi at Terezín” Defiant Requiem: Verdi at Terezín is a unique concert-drama that commemorates the remarkable story of courageous Jewish prisoners in the Theresienstadt Concentration Camp (Terezín) during World War II, who performed the ambitious Verdi Requiem while enduring the depths of human degradation. Rafael Schächter (1905-1945), a graduate of the Prague Conservatory, using a smuggled score and single piano, organized a 150-person Jewish choir that performed Verdi’s celebrated Requiem 16 times between 1943 and 1944. Schächter selected this highly dramatic composition by the great Italian composer because of the power of both the music and its Latin text. This is not an ordinary performance of the Verdi Requiem, but a concert-drama created by Murry Sidlin as a tribute to the inspired leadership and courage of Rafael Schächter and the Terezín choir. It combines the magnificent music of Giuseppe Verdi’s Requiem with video testimony from survivors of the original chorus, and segments of the Nazi propaganda film made at Terezín in 1944, used to deceive the world about the living conditions of Jews in the camp. The performance also includes actors who speak the words of conductor Rafael Schächter and others. The text of the Requiem is part of the living liturgy of the Catholic Church. But for Schächter and the Terezín Jews, it was their act of defiance; a temporary solace from their brutal confinement and likely deportation, an assurance of God’s presence and a desire to express a collective spiritual belief in their own humanity amidst the unspeakable

PROGRAM NOTESviolations perpetrated against them. The longest section of Verdi’s score, the Dies irae (“Day of Wrath”), was seen by Schächter and the choir as a certainty of what awaited their Nazi oppressors: “nothing shall remain unavenged.” Singing these words to the Nazis gave the prisoners the courage to persevere and to defy Nazi brutality, however temporarily. Schächter told the members of the choir: “We will sing to the Nazis what we cannot say to them.” Following the deportation of close to 470 Jews from Denmark to Theresienstadt, at the urging of the Danish King, the Nazis agreed to permit a delegation from the International Red Cross to visit Theresienstadt. The Nazis made elaborate and cunning efforts in advance of the visit to deceive the delegation and the world. On June 23, 1944, the International Red Cross and members of the Nazi high command came to Theresienstadt for an “inspection.” Rafael Schächter and his choir were ordered, under duress, to entertain the delegation with what became their last, and most bittersweet, performance of the Requiem. On October 16, 1944, four months after the final performance, Schächter and most of the choir were deported to Auschwitz. The majority were immediately murdered in the gas chambers. Schächter survived Auschwitz, but in the spring of 1945, at age 39 and with a great career ahead of him, he most likely perished on a death march. A month later, Czechoslovakia was liberated. The concert this evening honors the memory of Rafael Schächter, his choir, and the performances of Verdi’s Requiem in Terezín. This concert celebrates Schächter’s moral courage and the transcendent power of the arts and humanities. Resonating throughout the performance is the universal message

that the human spirit can be elevated in the most oppressive conditions, that hope and resilience are indomitable, that mankind can rise above bondage and horror. Schächter and his fellow Jewish prisoners demonstrated that it is possible to respond to the worst of mankind with the best of mankind. The lessons of Terezín are powerful, dramatic and inspirational, with a contemporary message of hope for all who are caught up in conflict and who hear this story.

Giuseppe VerdiBorn: 1813. Le Roncole, Italy Died: 1901. Milan, Italy

Requiem

Composed: 1874

World premiere: May 22, 1874, in Milan’s San Marco church

Most recent Pacific Symphony performance: Nov. 3, 2013, with John Alexander conducting

Instrumentation: 3 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 4 bassoons; 4 horns, 8 trumpets (with 4 offstage), 3 trombones, tuba; timpani, percussion; strings; solo soprano, solo alto, solo tenor, solo bass, chorus

estimated duration: 1:24

Mark Rulison is a seasoned arts administrator with over two decades of experience in concert production, artistic planning, collective bargaining and chorus and orchestra management. In 2002, while on the staff of the Oregon Symphony, Mark produced the premiere performances of Murry Sidlin’s Defiant Requiem: Verdi at Terezín. He has been directly involved in producing every performance since and joined the staff of The Defiant Requiem Foundation as its first full-time employee in 2013.

thanK You:

Lobby Curation Provided by the Rodgers Center for Holocaust Education—Chapman University

Dr. Marilyn Harran, Director

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I. Requiem et Kyrie – Solo Quartet and Chorus

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Kyrie eleison.Christe eleison.Kyrie eleison.

II. Dies irae – Chorus

Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.Quantus tremor est futurus,quando judex est venturuscuncta stricte discussurus.

Tuba mirum – Chorus

Tuba mirum spargens sonumper sepulcra regionumcoget omnes ante thronum.

Mors stupebit – Bass

Mors stupebit et natura,cum resurget creatura,judicanti responsura.

Grant them eternal rest, O Lord,and let everlasting light shine upon them.A hymn, O God, becometh Thee in Sion,and a vow shall be paid to Thee in Jerusalem.Hear my prayer;before Thee all flesh shall come.Grant them eternal rest, O Lord,and let everlasting light shine upon them.

Lord, have mercy upon us.Christ, have mercy upon us.Lord, have mercy upon us.

The day of wrath, that daywill dissolve the world in ashes,as David prophesied with the Sibyl.How great a terror there will bewhen the Judge shall comewho will thresh out everything thoroughly!

The trumpet, scattering a wondrous soundthrough the tombs of every land,will gather all before the throne

Death and nature shall stand amazedwhen creation rises againto answer to the Judge.

LIBRETTO

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Liber scriptus – Mezzo-soprano and Chorus

Liber scriptus profereturin quo totum continetur,unde mundus judicetur.

Judex ergo cum sedebit,quidquid latet apparebit,nil inultum remanebit.

Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

Quid sum miser – Soprano, Mezzo-soprano, and Tenor

Quid sum miser tunc dicturus?Quem patronum rogaturus,cum vix justus sit securus?

A written book will be brought forthwhich contains everythingfor which the world shall be judged.

And so when the Judge takes his seatwhatever is hidden shall be made manifest,nothing shall remain unavenged.

The day of wrath, that daywill dissolve the world in ashes,as David prophesied with the Sibyl.

What shall I, a wretch, say then?Whom shall I ask to plead for me,when scarcely the righteous are safe?

LIBRETTO

Rex tremendae – Quartet and Chorus

Rex tremendae majestatis,qui salvandos salvas gratis,salva me, fons pietatis

Recordare – Soprano and Mezzo-soprano

Recordare, Jesu pie,quod sum causa tuae viae,ne me perdas illa die.Quaerens me, sedisti lassus,redemisti crucem passus;tantus labor non sit cassus.

Juste judex ultionis,donum fac remissionisante diem rationis

King of dreadful majesty,who freely saves the redeemed,save me, O Fount of Pity.

Recall, merciful Jesus,that I was the reason for Thy journey:do not destroy me on that day.Seeking me, Thou didst sit down weary,Thou didst redeem me, having endured the Cross: let not such great pains have been in vain.

Righteous Judge of vengeance,give me the gift of redemptionbefore the day of reckoning.

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Ingemisco - Tenor

Ingemisco tanquam reus, culpa rubet vultus meus,supplicanti parce, Deus.Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti.Preces meae non sunt dignae,sed tu, bonus, fac benigne,ne perenni cremer igne.Inter oves locum praesta,et ab haedis me sequestra,statuens in parte dextra.

Confutatis – Bass and Chorus

Confutatis maledictis,flammis acribus addictis,voca me cum benedictis.Oro supplex et acclinis,cor contritum quasi cinis,gere curam mei finis.

Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

Lacrimosa – Solo Quartet and Chorus

Lacrimosa dies illa,qua resurget ex favillajudicandus homo reus.Huic ergo parce Deus,pie Jesu Domine,dona eis requiem. Amen.

I groan as one guilty,and my face blushes with guilt.spare the suppliant, O God.Thou who didst absolve Mary [Magdalene]and hear the prayer of the thief,hast given me hope as well.My prayers are not worthy,but Thou, O good one, show mercy,lest I burn in everlasting fire.Give me a place among the sheep,and separate me from the goats,placing me on Thy right hand.

When the damned are confoundedand consigned to scarring flames,call me to be with the blessed.I pray, suppliant and kneeling,a heart as contrite as ashes,take Thou my ending into Thy care.

The day of wrath, that daywill dissolve the world in ashes,as David prophesied with the Sibyl

That day is one of weepingon which shall rise again from the ashesthe guilty man, to be judged.Therefore spare this one, O God,merciful Lord Jesus.Grant them rest. Amen.

LIBRETTO

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LIBRETTO

III. Offertorio – Solo Quartet

Domine Jesu Christe, rex gloriae,libera animas omnium fideliumdefunctorum de poenis inferniet de profundo lacu.

Libera eas de ore leonis,ne absorbeat eas tartarus,ne cadant in obscurum;sed signifer sanctus Michaelrepraesentet eas in lucem sanctam,quam olim Abrahae promisisti,et semini ejus.

Hostias et preces tibi,Domine laudis offerimus.Tu suscipe pro animabus illis,quarum hodie memoriam facimus;fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti, et semini ejus.

IV. Sanctus – Chorus I and Chorus II

Sanctus, sanctus, sanctus,Dominus Deus Sabaoth!Pleni sunt coeli et terra gloria tua.Hosanna in excelsis!Benedictus qui venit in nomine Domini.Hosanna in excelsis!

Lord Jesus Christ, King of Glory,deliver the souls of all the faithfuldeparted from the pains of helland from the bottomless pit.

Deliver them from the jaws of the lion,that hell may not swallow them up,and they may not fall into darkness;but may the holy standard-bearer Michaelbring them into the holy light,as Thou didst promise of old toAbraham and his seed.

We offer unto Thee, O Lord,sacrifices and prayers of praise.Do Thou receive them on behalf of those souls whom we commemorate this day.Allow them, Lord, to pass from death to life,as Thou didst promise of old to Abraham and his seed.

Holy, holy, holy,Lord God of Hosts!Heaven and earth are full of Thy glory.Hosanna in the highest!Blessed is he that cometh in the name of the Lord. Hosanna in the highest!

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IV. Agnus Dei – Soprano, Mezzo-soprano, and Chorus

Lux aeterna luceat eis, Domine,cum sanctis tuis in aeternum,quia pius es.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis;cum sanctis tuis in aeternum,quia pius es.

VII. Libera me – Soprano and Chorus

Libera me, Domine, de morte aeternain die illa tremenda;quando coeli movendi sunt et terra.Dum veneris judicare saeculum per ignem.

Tremens factus sum ego et timeo,dum discussio venerit atque ventura ira.

Quando coeli movendi sunt et terra.

Dies irae, dies illa, calamitatis et miseriae,dies magna et amara valde.

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

Libera me, Domine, de morte aeternain die illa tremenda.

Let everlasting light shine on them, O Lord,with Thy saints forever,for Thou art merciful.Grant them eternal rest, O Lord,and let everlasting light shine upon them;with Thy saints forever,for Thou art merciful.

Deliver me, O Lord, from eternal deathon that awful daywhen the heavens and earth shall be moved.When Thou shall come to judge the world with fire.

I am seized with trembling and I fearthe time when the trial shall approach, and the wrath to come.

When the heavens and the earth shall be shaken.

The day of wrath, that day, of calamity and misery,a dreadful and exceedingly bitter day.

Grant them eternal rest, O Lord,and let everlasting light shine upon them.

Deliver me, O Lord, from eternal deathon that awful day.

LIBRETTO

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Murry Sidlin, a conductor with a unique gift for engaging audiences, continues a diverse and distinctive musical career. He is president and creative director of The Defiant Requiem Foundation, an organization that sponsors live concert performances of Defiant Requiem: Verdi at Terezín and Hours of Freedom: The Story of the Terezín Composer; as well as other projects including the documentary film, Defiant Requiem; a new docudrama called Mass Appeal, 1943; and The Rafael Schächter Institute for Arts and Humanities at Terezín. In addition, he lectures extensively on the arts and humanities as practiced by the prisoners in the Theresienstadt (Terezín) Concentration Camp. Sidlin began his career as assistant conductor of the Baltimore Symphony under Sergiu Comissiona and then was appointed resident conductor of the National Symphony Orchestra by Antal Doráti. He has served as music director of the New Haven and Long Beach

symphonies, the Tulsa Philharmonic and the Connecticut Ballet. For eight years, he was resident conductor of the Oregon Symphony and, from 2002 to 2010, he served as dean of the School of Music at The Catholic University of America in Washington, D.C. He has conducted more than 300 concerts with the San Diego Symphony and conducted 18 consecutive New Year’s Eve Gala concerts at the John F. Kennedy Center for the Performing Arts in Washington, D.C., with the National Symphony Orchestra. For 33 years, Sidlin was resident artist/teacher and associate director of conducting studies at the Aspen Music Festival where, with conductor David Zinman, he developed the American Academy of Conducting. Sidlin has also appeared as guest conductor around the world. In the U.S. he has conducted the Atlanta, New Mexico, New Orleans, Pittsburgh, Seattle and St. Louis symphony orchestras; the Colorado, Honolulu, Houston, San Antonio, San Francisco and Utah symphonies; the Florida and Minnesota orchestras; the Chicago Philharmonic; and the Boston Pops. In Canada, he has led orchestras

in Edmonton, Quebec, Vancouver and Victoria. Foreign orchestras Murry Sidlin has worked with include the Czech National, Iceland, Jerusalem, Lithuanian National, MAV (Budapest) and Spanish Radio and Television (Madrid) symphony orchestras; the George Enescu Philharmonic; the Hungarian State Opera Orchestra; I Solisti Veneti; the Konzerthaus Orchester Berlin; the Monte-Carlo Philharmonic Orchestra; the Orquestra Gulbenkian (Lisbon); and the Orchester Wiener Akademie, among many others. In 1987, Sidlin collaborated with the celebrated American composer Aaron Copland to orchestrate a new chamber ensemble version of Copland’s full-length opera The Tender Land. Later, he created a suite from the opera to serve as a companion work to Copland’s chamber version of Appalachian Spring. Sidlin studied with the legendary pedagogues Leon Barzin and Sergiu Celibidache. He was appointed by Presidents Ford and Carter to serve on the White House Commission of Presidential Scholars. He won national acclaim for the television series Music Is…, a 10-part series about music for children that was seen on PBS for five years. In 1997, the National Association of Independent Schools of Music recognized Sidlin as Educator of the Year. He has been featured on NBC’s Today Show, ABC’s Good Morning America, CBS Sunday Morning, and CNN International. In May 2011, Sidlin received the Distinguished Alumnus Award from the Peabody Conservatory of Johns Hopkins University, his alma mater. In September 2011, the Archbishop of Prague presented him with the medal of St. Agnes of Bohemia for his dedication to illuminating the legacy of Terezín. In January 2013, Sidlin was nominated to the International Board of Governors of the Jerusalem Academy of Music and Dance. Sidlin received the Simon Wiesenthal Center’s Medal of Valor on June 11, 2013, for his extraordinary efforts to keep alive the memory of Rafael Schächter.

MurrY SiDLin creator & guest conductor

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roBert iStaD artistic director of Pacific Chorale

Robert Istad became artistic director of Pacific Chorale in the 2017-18 50th Season, after serving as the Chorale’s assistant conductor since 2004. He has conducted both Pacific Chorale and Pacific Symphony and has prepared choruses for a number of America’s finest conductors and orchestras, including:Gustavo Dudamel and the Los Angeles Philharmonic, Carl St.Clair and Pacific Symphony, Esa–Pekka Salonen and the Los Angeles Philharmonic, Nicholas McGegan and the Philharmonia Baroque Orchestra, and Keith Lockhart and the Boston Pops Esplanade Orchestra, as well as conductors Vasilly Sinaisky, Sir Andrew Davis, Bramwell Tovey, Thomas Wilkins, John Williams, Eugene Kohn, Steven Mercurio, Richard Kaufman, Eric Whitacre, William Lacey, Giancarlo Guerrero, Marin Alsop, George Fenton, Case Scaglione, Robert Moody, John Alexander, William Dehning and David Lockington.

Istad also serves as professor of music and director of choral studies at California State University, Fullerton, where he conducts the University Singers and Women’s Choir in addition to teaching courses in conducting, advanced interpretation and literature. He and his singers were featured at the 2013 ACDA National Conference in Dallas, and the 2012 ACDA Western Division Conference in Reno. Istad’s University Singers also performed for the 2013 National Collegiate Choral Organization National Conference in Charleston. Istad and the CSUF University Singers have performed all over the world, including a 2015 residency and performances in Paris, engagements at the 2012 Ottobeuren Festival of Music in Germany, the 2012 Eingen Festival of Music in Germany, a 2010 performance for UNESCO in Pisa, Italy, and in 2008 at the world-famous Liszt Academy of Music in Budapest, Hungary.

Istad received his bachelor’s degree in music from Augustana College in Rock Island, Ill., his master’s degree in choral conducting from CSUF and his doctor of musical arts in choral music at the University of Southern California. He studied conducting with William Dehning, John Alexander and Jon Hurty. Istad is president of the California Choral Directors Association, and is in demand as an adjudicator, guest conductor, speaker and clinician throughout the nation.

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Founded in 1968, the Pacific Chorale is internationally recognized for its exceptional artistic expression, stimulating, American-focused programming and influential education programs. The chorale presents a season at Segerstrom Center for the Arts and performs regularly with the nation’s leading symphonies. It has infused an Old World art form with California’s innovation and cultural independence, developing innovative new concepts in programming and expanding the traditional concepts of choral repertoire and performance. The Pacific Chorale comprises 140 professional and volunteer singers. In addition to its longstanding partnership with Pacific Symphony, the Chorale has performed with such renowned American ensembles as the Los Angeles

Philharmonic, Boston Symphony Orchestra, National Symphony Orchestra, San Diego Symphony, Los Angeles Chamber Orchestra, Philharmonia Baroque Orchestra and Musica Angelica Baroque Orchestra. Other collaborations within the Southern California community include performances with the Hollywood Bowl Orchestra and the Long Beach, Pasadena and Riverside symphonies. The Chorale has toured extensively in Europe, South America and Asia, and has collaborated with the London Symphony Orchestra, Munich Symphony Orchestra, Orchestre Lamoureux, Orchestre de Saint-Louis-en-l’Île, National Orchestra of Belgium, China National Symphony Orchestra, Hong Kong Sinfonietta, Estonian National Symphony Orchestra and Argentine National Symphony Orchestra. The Pacific Chorale can be heard on

numerous recordings, including American Voices, a collection of American choral works; Songs of Eternity by James Hopkins and Voices by Stephen Paulus, featuring Pacific Symphony; Christmas Time Is Here; a live recording of Rachmaninoff’s Vespers; the world premiere recording of Frank Ticheli’s The Shore for chorus and orchestra; and the world premiere recording of Jake Heggie’s choral opera The Radio Hour. The Chorale also appears on six recordings released by Pacific Symphony: Elliot Goldenthal’s Fire Water Paper: A Vietnam Oratorio, Richard Danielpour’s An American Requiem and Toward a Season of Peace, Philip Glass’ The Passion of Ramakrishna, Michael Daugherty’s Mount Rushmore, and William Bolcom’s Prometheus with pianist Jeffrey Biegel—all conducted by Carl St.Clair.

Robert Istad Artistic Director & conDuctor

John Alexander Artistic Director emeritus

Nate Widelitz AssistAnt conDuctor & chorusmAster

Andrew Brown PresiDent & ceo

Thomas A. PridonoffBoArD chAir

SOPRANO

Barbara Kingsbury, Rita Major Memorial Chair

Rachel BlairVictoria BolerSharon M. ChangChelsea Chaves-TanLauren Nicole GrahamRebecca HasquetHannah KimKathryn LillichCorinne LinzaSarah LonsertJenny ManciniKatie MartiniShannon MillerHien NguyenKris OcaSophia ParkFatima RizviMeri Irwin RogoffJoslyn Amber SarshadJacqueline Taylor

ALTO

Lindsay Patterson AbdouJanelle BurrisKathryn A. Cobb-WollDenean R. DysonJacline EveredMarilyn ForsstromKathleen GremillionGenie HossainStacey Y. KikkawaAriel Lambrecht-MayKaii LeeSabina M. LuckePat NewtonRachel OneKathleen PrestonBonnie PridonoffGrace K. ShenJane Hyunjung ShimDiana WoolnerAngel Yu McKay

TENOR

Nicholas A. Preston, Roger W. Johnson Memorial Chair

Carl W. Porter,Singers Memorial Chair

Daniel AlvarezDaniel Coy BabcockMichael Ben-YehudaDavid BunkerJames CahillPhil EnnsMarius EvangelistaDavid EveredAlan GarciaJohnny G. GonzalesVincent HansSteven M. HoffmanCameron Barrett JohnsonCraig S. KistlerDavid López AlemánGerald D. McMillanThomas MooneyDavid MoralesJesse NewbyGabriel RatinoffEmilio Sandoval

BASS

Karl Forsstrom, Singers Memorial Chair

Ryan Thomas AntalJake BurnettDylan CarlsonRandall GremillionMark HamiltonMatthew KellawayYannick LambrechtMedeon E. MaraonJackson McDonaldMartin MinnichKi-Hong ParkSeth PeelleRyan RatcliffGeorge ReissRobert RifeThomas RinglandWilliam ShelleyJosh StansfieldTanner Wilson

PaCIfIC ChoRaLe

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The 2018-19 season marks Music Director Carl St.Clair’s 29th year leading Pacific Symphony. He is one of the longest-tenured conductors of the major American orchestras. St.Clair’s lengthy history solidifies the strong relationship he has forged with the musicians and the community. His continuing role also lends stability to the organization and continuity to his vision for the Symphony’s future. Few orchestras can claim such rapid artistic development as Pacific Symphony—the largest-budgeted orchestra formed in the United States in the last 50 years—due in large part to St.Clair’s leadership. During his tenure, St.Clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. In April 2018, St.Clair led Pacific Symphony in its Carnegie Hall debut, as the finale to the Hall’s yearlong celebration of pre-eminent composer Philip Glass’ 80th birthday. He led Pacific Symphony on its first tour to China in May 2018, the orchestra’s first international tour since touring Europe in 2006. The orchestra made its national PBS debut in June 2018 on “Great Performances” with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair. Among St.Clair’s many creative endeavors are the highly acclaimed

American Composers Festival, which began in 2000; and the opera initiative, “Symphonic Voices,” which continues for the eighth season in 2018-19 with Puccini’s Madame Butterfly, following the concert-opera productions of The Magic Flute, Aida, Turandot, Carmen, La Traviata, Tosca and La Bohème in previous seasons. St.Clair’s commitment to the development and performance of new works by composers is evident in the wealth of commissions and recordings by the Symphony. The 2016-17 season featured commissions by pianist/composer Conrad Tao and Composer-in-Residence Narong Prangcharoen, a follow-up to the recent slate of recordings of works commissioned and performed by the Symphony in recent years. These include William Bolcom’s Songs of Lorca and Prometheus (2015-16), Elliot Goldenthal’s Symphony in G-sharp Minor (2014-15), Richard Danielpour’s Toward a Season of Peace (2013-14), Philip Glass’ The Passion of Ramakrishna (2012-13), and Michael Daugherty’s Mount Rushmore and The Gospel According to Sister Aimee (2012-13). St.Clair has led the orchestra in other critically acclaimed albums including two piano concertos of Lukas Foss; Danielpour’s An American Requiem and Goldenthal’s Fire Water Paper: A Vietnam Oratorio with cellist Yo-Yo Ma. Other commissioned composers include James Newton Howard, Zhou

Long, Tobias Picker, Frank Ticheli, Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (Pacific Symphony’s principal tubist) and Christopher Theofanidis. In 2006-07, St.Clair led the orchestra’s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark 2005-06 season that included St.Clair leading the Symphony on its first European tour—nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews. From 2008-10, St.Clair was general music director for the Komische Oper in Berlin, where he led successful new productions such as La Traviata (directed by Hans Neuenfels). He also served as general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he led Wagner’s Ring Cycle to critical acclaim. He was the first non-European to hold his position at the GNTS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in America and one of the oldest in Europe. In 2014, St.Clair became the music director of the National Symphony Orchestra in Costa Rica. His international career also has him conducting abroad several months a year, and he has appeared with orchestras throughout the world. He was the principal guest conductor of the Radio Sinfonieorchester Stuttgart from 1998-2004, where he completed a three-year recording project of the Villa–Lobos symphonies. He has also appeared with orchestras in Israel, Hong Kong, Japan, Australia, New Zealand and South America, and summer festivals worldwide. In North America, St.Clair has led the Boston Symphony Orchestra (where he served as assistant conductor for several years), New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic and the San Francisco, Seattle, Detroit, Atlanta, Houston, Indianapolis, Montreal, Toronto and Vancouver symphonies, among many. A strong advocate of music education for all ages, St.Clair has been essential to the creation and implementation of the Symphony’s education and community engagement programs including Pacific Symphony Youth Ensembles, Heartstrings, Sunday Matinées , OC Can You Play With Us?, arts-X-press and Class Act.

CarL St.CLair

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Pacific Symphony, led by Music Director Carl St.Clair for the last 29 years, has been the resident orchestra of the Renée and Henry Segerstrom Concert Hall for over a decade. Currently in its 40th season, the Symphony is the largest-budgeted orchestra formed in the U.S. in the last 50 years and is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own community of Orange County. In April 2018, Pacific Symphony made its debut at Carnegie Hall as one of two orchestras invited to perform during a yearlong celebration of composer Philip Glass’ 80th birthday, and the following month the orchestra toured China. The orchestra made its national PBS debut in June 2018 on “Great Performances” with Peter Boyer’s Ellis Island: The Dream of America, conducted by St.Clair. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 residents—from school children to senior citizens. The Symphony offers repertoire ranging from the great orchestral masterworks to music from today’s most prominent composers. Eight seasons ago, the Symphony launched the highly successful opera initiative, “Symphonic Voices,” which continues in February 2019 with Puccini’s Madame Butterfly. It also offers a popular Pops season, enhanced by state-of-the-art video and sound, led by Principal Pops Conductor Richard Kaufman. Each Symphony season also includes Café Ludwig, a chamber music series; an educational Family Musical Mornings series; and Sunday Matinées, an orchestral matinée series offering rich explorations of selected works led by St.Clair.

Founded in 1978 as a collaboration between California State University, Fullerton (CSUF), and North Orange County community leaders led by Marcy Mulville, the Symphony performed its first concerts at Fullerton’s Plummer Auditorium as the Pacific Chamber Orchestra, under the baton of then-CSUF orchestra conductor Keith Clark. Two seasons later, the Symphony expanded its size and changed its name to Pacific Symphony Orchestra. Then in 1981-82, the orchestra moved to Knott’s Berry Farm for one year. The subsequent four seasons, led by Clark, took place at Santa Ana High School auditorium where the Symphony also made its first six acclaimed recordings. In September 1986, the Symphony moved to the new Orange County Performing Arts Center, and from 1987-2016, the orchestra additionally presented a Summer Festival at Irvine Meadows Amphitheatre. In 2006, the Symphony moved into the Renée and Henry Segerstrom Concert Hall, with striking architecture by Cesar Pelli and acoustics by Russell Johnson—and in 2008, inaugurated the Hall’s critically acclaimed 4,322-pipe William J. Gillespie Concert Organ. The orchestra embarked on its first European tour in 2006, performing in nine cities in three countries. The 2016-17 season continued St.Clair’s commitment to new music with commissions by pianist/composer Conrad Tao and former Composer-in-Residence Narong Prangcharoen. Recordings commissioned and performed by the Symphony include the release of William Bolcom’s Songs of Lorca and Prometheus in 2015-16, Richard Danielpour’s Toward a Season of Peace and Philip Glass’ The Passion of Ramakrishna in 2013-14; and Michael Daugherty’s Mount Rushmore and

The Gospel According to Sister Aimee in 2012-13. In 2014-15, Elliot Goldenthal released a recording of his Symphony in G-sharp Minor, written for and performed by the Symphony. The Symphony has also commissioned and recorded An American Requiem by Danielpour and Fire Water Paper: A Vietnam Oratorio by Goldenthal featuring Yo-Yo Ma. Other recordings have included collaborations with such composers as Lukas Foss and Toru Takemitsu. Other leading composers commissioned by the Symphony include Paul Chihara, Daniel Catán, James Newton Howard, William Kraft, Ana Lara, Tobias Picker, Christopher Theofanidis, Frank Ticheli and Chen Yi. In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventurous Programming. Also in 2010, a study by the League of American Orchestras, “Fearless Journeys,” included the Symphony as one of the country’s five most innovative orchestras. The Symphony’s award-winning education and community engagement programs benefit from the vision of St.Clair and are designed to integrate the orchestra and its music into the community in ways that stimulate all ages. The Symphony’s Class Act program has been honored as one of nine exemplary orchestra education programs by the National Endowment for the Arts and the League of American Orchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble and Pacific Symphony Santiago Strings. The Symphony also spreads the joy of music through arts-X-press, Class Act, Heartstrings, OC Can You Play With Us?, Santa Ana Strings, Strings for Generations and Symphony in the Cities.

PaCifiC SYMPhonY

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Carl St.Clair, Music DirectorWilliam J. Gillespie Music Director Chair

Richard Kaufman, Principal Pops ConductorHal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair

Roger Kalia, Associate ConductorMary E. Moore Family Assistant Conductor Chair

Sections listed alphabetically under principal

FIRST VIOLIN

Dennis KimConcertmaster; Eleanor and Michael Gordon Chair

Paul Manaster Associate Concertmaster

Jeanne SkrockiAssistant Concertmaster;Arlene and Seymour Grubman Chair

Nancy Coade EldridgeChristine Frank Kimiyo TakeyaAyako SugayaAnn Shiau TenneyAi NihiraRobert SchumitzkyAgnes GottschewskiDana FreemanAngel Liu

SECOND VIOLIN

Bridget Dolkas*Elizabeth and John Stahr Chair

Jennise Hwang**Yen Ping LaiYu-Tong SharpAko KojianOvsep KetendjianLinda Owen Sooah KimMarlaJoy WeisshaarAlice Miller-WrateShelly Shi

VIOLA

Meredith Crawford*Catherine and James Emmi Chair

Joshua Newburger**Carolyn RileyJohn AcevedoAdam NeeleyJulia StaudhammerJoseph Wen-Xiang ZhangCheryl GatesMargaret Henken

CELLO

Timothy Landauer*Catherine and James Emmi Chair

Kevin Plunkett**John AcostaRobert VosLászló MezöIan McKinnellM. Andrew HoneaWaldemar de AlmeidaJennifer GossRudolph Stein

BASS

Steven Edelman*Douglas Basye**Christian KollgaardDavid ParmeterPaul ZibitsDavid BlackAndrew BumatayConstance Deeter

FLUTE

Benjamin Smolen*Valerie and Hans Imhof Chair

Sharon O’ConnorCynthia Ellis

PICCOLO

Cynthia Ellis

OBOE

Jessica Pearlman Fields*Suzanne R. Chonette Chair

Ted Sugata

ENGLISH HORN

Lelie Resnick

CLARINET

Joseph Morris*The Hanson Family Foundation Chair

David Chang

BASS CLARINET

Joshua Ranz

BASSOON

Rose Corrigan*Elliott MoreauAndrew KleinAllen Savedoff

CONTRABASSOON

Allen Savedoff

FRENCH HORN

Keith Popejoy*Adedeji OgunfoluKaylet Torrez**

TRUMPET

Barry Perkins*Susie and Steve Perry Chair

Tony EllisDavid Wailes

TROMBONE

Michael Hoffman*David Stetson

BASS TROMBONE

Kyle Mendiguchia

TUBA

James Self*

TIMPANI

Todd Miller*

PERCUSSION

Robert A. Slack*

HARP

Mindy Ball*Michelle Temple

PIANO•CELESTE

Sandra Matthews* 

PERSONNEL MANAGER

Paul Zibits

LIBRARIANS

Russell DiceyBrent Anderson

PRODUCTION & STAGE MANAGER

Will Hunter

STAGE MANAGER & CONCERT VIDEO TECHNICIAN

William Pruett

DIRECTOR OF IMAGE MAGNIFICATION

Jeffery Sells

POPS AND OPERA LIGHTING DIRECTOR

Kathy Pryzgoda

P a C I f I C s Y M P h o n Y

* Principal** Assistant Principal† On Leave

Celebrating or years with Pacific Symphony this season.

The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7.

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