1Spanish Themes

Francesco Milioto, Music Director and Conductor

Sunday, February 19, 2012 3:00 P.M.

North Shore Center for the Performing Arts in Skokie

Cuban Overture (1932) ................................................................................ George Gershwin (1898 - 1937)

La Maja y el Ruiseñor (1911) .........................................................................Enrique Granados Michelle Areyzaga, soprano (1867 – 1916)

Poema en Forma des Canciones (1917) .......................................................... Joaquín Turina I Dedicatoria (1882 - 1949) II Nunca olvida III Cantares IV Los dos miedos V Las locas por amor

Michelle Areyzaga, soprano

Fantasy on Bizet’s Carmen, Op. 25 (1883) ............................................... Pablo de Sarasate (1844 - 1908)

Aurelien Fort Pederzoli, violin

-INTERMISSION-

Bachianas Brasileiras #5 ................................................................................ Heitor Villa-Lobos I Aria (Cantilena) (1938) (1887 - 1959)

Michelle Areyzaga, sopranoCello Section

Suite Española # 1 (1886) ........................................................................................Isaac Albéniz I Castilla (1860 – 1909) II Granada Orchestration by: III Sevilla Rafael Frühbeck de Burgos IV Asturias V Aragon

This concert is partially supported by a grant from the Illinois Arts Council, a state agency.

Skokie Valley Symphony Orchestra gratefully acknowledges the Village of Skokie, Niles Township,

AdvantEdge Healthcare Solutions, the Bruning Foundation, the Daniel F. and Ada L. Rice Foundation,

Kathryn Canny, Dr. Lee and Bonnie Malmed, and Mrs. Jason Sharps.

2 Skokie Valley Symphony Orchestra

PROGR A M NOTES

George Gershwin – Cuban OvertureIn 1932, during the height of his popularity, George Gershwin travelled to Cuba for a brief vacation. While there he enjoyed clubbing and dancing in the fabled nightspots of Havana, later describing “two hysterical weeks in Cuba where no sleep was had.” Despite the revelry, he also found time to enjoy and study the local music, especially the ever-present street musicians and the Cuban songs/dances played in the clubs. He thoroughly enjoyed the unfamiliar music and be-came intrigued by several native percussion instruments not then well-known in the U.S., and brought home claves (what he called Cuban Sticks), bongos, maracas, and a gourd. He put these instruments to good use in a new work originally titled Rumba, which was premiered in New York at an All-Gershwin concert held in Lew-isohn Stadium. Gershwin wrote that this concert, which was to become an annual event, was “the most exciting night I have ever had ... 17,845 people paid to get in and just about 5,000 were at the closed gates trying to fight their way in.”

Re-titled Cuban Overture, the work was intended to “embody the essence of the Cuban dance.” Indeed, it is dominated by Caribbean rhythms and unique orches-tral colors evocative of Latin music. Its main theme was based on a current hit song, Échale Salsita, by Cuban musician Ignacio Piñeiro, Gershwin also evidently wanted to teach Americans about Cuban percussion; he drew pictures of the four Cuban percussion instruments on the opening page of the score.

Enrique Granados – La Maja y el RuiseñorAfter exhibiting enormous innate musical talent as a child, Enrique Granados spent his formative years studying piano and composition in Barcelona. There he came under the tutelage of several fine teachers, including Felipe Pedrell, a re-nowned musicologist and an ardent nationalist, who inspired his pupil to explore and utilize native Spanish music in his own compositions. Around this time the young musician also developed an appreciation for the paintings of Francisco Goya. His admiration for the artist was boundless, permeating his whole imagina-tive and creative activity, to the extent that he even undertook to make his own drawings in the style of the great master. In 1911 these two threads – burgeon-ing nationalism and a love of Goya – were brought together in Goyescas, a suite for piano based upon scenes from Goya in which elements of traditional Spanish music were used to tremendous atmospheric effect.

The work was immediately popular, so much so that the composer was encour-aged to expand it into an opera. Since the six individual pieces (each one based upon a painting) making up the original piano version already formed a simple narrative – a beautiful young girl is pursued by an amorous bullfighter – it took rather little effort to fashion a libretto. In adapting the music, Granados utilized almost the entire piano suite, providing new material when necessary. He made surprisingly few changes to the piano music when transcribing it to the operatic genre. The melody line was simply transferred to the voice, while the accompani-ment was given to the orchestra. Indeed, the piano part of the vocal score bears an astonishing resemblance to the piano version itself.

This technique is clearly demonstrated in the aria La Maja y el Ruiseñor, which is practically a verbatim vocal transcription of its piano counterpart. Here, the young maiden, Rosario, has gone to a garden to meet her lover, Fernando. As nightin-gales sing evocatively in the trees, a tenderly passionate love scene is played out. It is one of Granados’ most personal and poetic utterances. It is an entirely original melody containing few, if any, elements of traditional Spanish music and has no obvious national basis. Nonetheless, of this piece it has been said that “rarely has the Spanish soul manifested itself so clearly in music.”

3Spanish Themes

Joaquín Turina – Poema en Forma des CancionesEven more so than his countryman Granados, Joaquín Turina was a devoted nationalist. For a time, while studying in France, his style tended towards that of Franck and Fauré but, upon meeting Albéniz, he was encouraged instead to find inspiration in the popular music of Spain. Returning from Paris to Madrid in 1914, he worked as a composer, performer, critic, and teacher, becoming one of his country’s most popular and well-known musicians. However, despite success at home, Turina’s global notoriety was somewhat limited due to his “provincial” Spanish style. His European and American contemporaries often looked down upon nationalist music and its composers as being inferior to more serious or “weighty” concert music. Nonetheless, Turina was a prolific composer, producing works in almost all genres.

Poema en Forma des Canciones (Poems in the Form of Songs) is a collection of four songs on texts by the 19th century Spanish poet Ramón de Campoamor, who was notable for his rather sentimental expression of contemporary social attitudes. Beginning the cycle is “Dedicatoria,” an instrumental prelude that helps to estab-lish the folk-like tone of the following songs. Folk elements heard here include Spanish dance rhythms, Andalusian melodic effects such as abrupt shifts between major/minor modes, and guitar-like figurations in the accompaniment. The songs themselves contain extreme emotions highlighted by intense rhythms and lyrical melodies, and are marvelous examples of Turina’s sensitivity to text setting.

Poema en Forma des Canciones was completed in 1917. Originally scored for voice with piano accompaniment, it was quickly transcribed for orchestra by the com-poser himself. It remains one of his most popular compositions.

Pablo de Sarasate – Fantasy on Bizet’s CarmenOn the same day that crowds of thrill-seekers dash through the streets of Pam-plona ahead of charging bulls, more sedate, music-loving residents of the city celebrate a fiesta in honor of one of their favorite sons, violinist and composer Pablo de Sarasate. A gifted virtuoso, Sarasate began concertizing while still in his teens, eventually travelling throughout Europe, North and South America. He was noted for a charismatic style, purity of tone, and flawless technique that “left criticism gasping miles behind him.” So formidable was his talent that a number of works were written for him, including Lalo’s Symphonie Espagnole, Saint-Saëns’ First and Third Violin Concertos, and Bruch’s Second Violin Concerto and Scot-tish Fantasy. In his maturity, Sarasate played these works and others from the standard repertoire but, in his youth, largely performed his own compositions designed expressly to showcase his extraordinary skills. Among the most popular of these works was Zigeunerweisen, an original composition for violin and orches-tra, as well as arrangements/adaptations of operas that he called opera fantasies, including Don Giovanni, La Forza del Destino, Faust, and Carmen. The latter is the only one that still finds its way onto the concert stage with any regularity.

The Carmen Fantasy was written in 1883. Divided into five sections, it begins with a prelude based on the Entr’acte to Act IV. The following section is an adaptation of the famous “Habanera” sung by Carmen in Act I. A slow interlude serves as a welcome break from the active music all around it, but is soon interrupted by the lively “Seguidilla” from Act I. The “Gypsy Dance” from Act II brings the work to a close with a display of raw virtuosity.

Heitor Villa-Lobos – Bachianas Brasileiras No. 5Though largely self-taught and lacking in formal training, Heitor Villa-Lobos emerged as Brazil’s most important composer as well as the best-known and most

PROGR A M NOTES (c o n t.)

4 Skokie Valley Symphony Orchestra

influential Latin American composer to date. Abandoning any ideas of a traditional musical education while still in his youth, Villa-Lobos turned instead to indigenous Brazilian cultures for his primary inspiration, blending this with an appreciation for elements of the European classical tradition gained through early exposure and self-exploration. This unique fusion of disparate styles gave his music a strikingly unique sensibility, as exemplified in works such as the Bachianas Brasileiras.

Bachianas Brasileiras is a series of nine suites for various combinations of instru-ments and voices written between 1930 and 1945. Inspired by his lifelong admi-ration of the music of Johann Sebastian Bach, Villa-Lobos adapted a number of Baroque harmonic and contrapuntal procedures to Brazilian music. Most of the movements in each suite have two titles: one “Bachian” (Preludio, Fuga, etc.), the other Brazilian (Embolada, Catira batida, etc.).

The Bachianas Brasileiras No. 5 has become the most popular of the composer’s works. Scored for the unusual combination of soprano and eight cellos, it exhibits qualities of the Baroque suite and those of Bach in particular. The first movement, an adagio aria, is marked by a lyrical expressiveness somewhat reminiscent of Bach’s famous “Air on the G-string” from the Orchestral Suite No. 3.

Isaac Albéniz – Suite Española No. 1The first Spanish composer to make his mark on the global music scene was Isaac Albéniz. After travelling broadly in his youth and eventually earning a degree from the Brussels Conservatory in 1879, he returned to Spain to establish himself as an accomplished piano virtuoso and composer. Though he worked in various musical genres and, for a time found enormous success writing for the stage, it was as a composer of music for the piano that Albéniz was most highly regarded. For this instrument he wrote his most original and inspired compositions, turning out literally hundreds of piano pieces, particularly in his early years. Among them are those that comprise the Suite Española No. 1.

The Suite is a collection of eight individual pieces, likely composed in 1885-86, which were brought together in 1887 to honor the Queen of Spain. Each piece represents a specific region of Spain and is cast as a dance, song, or musical form characteristic of that particular place. For example, the set opens with “Castilla” which evokes the seguidilla, a triple-time song and dance of southern Spain that is noted for its rhythmic intensity. “Granada,” the last bastion held by the Moors in Spain, is predictably Moorish in feel. Here, a sultry melody adorned by decora-tive turns and flourishes captures the essence of the serenata, a languid, exotic evening dance. “Sevilla” is characterized by the dance form named for the city, the sevillanas, a flamenco-styled dance of Andalusian origin, in which a lyrical melody is heard against the insistent flamenco rhythm. “Asturias” makes use of a hypnotic melody heard against a repetitive rhythmic ostinato. This is interrupted by haunt-ing recitative-like passage that gives way to the return of the opening melody. “Aragon” is the longest and most virtuosic piece of the suite. A rhythmic fantasia alternates with a slower central section that is marked by guitar-like figurations.

Though originally conceived for piano solo, the Suite Española achieved such popularity that it has been transcribed for a number of instruments, most notably guitar. The version for orchestra performed today was orchestrated by the Span-ish conductor Rafael Frühbeck de Burgos.

by Michael Vaughn, PhD

*If you use any of these program notes, please give attribution Dr. Vaughn

PROGR A M NOTES (c o n t.)

5Spanish Themes

FR ANCESCO MIL IOTO, MUSIC D IRECTOR AND CONDUCTOR

The Chicago Tribune names Francesco Milioto “one of the best young conductors working in the Chicago area.” Since his debut in the Chicago area just over a decade ago, he now balances a busy career conducting a wide range of orchestral and operatic repertoire while maintaining a full schedule as a pianist and vocal coach. He currently holds the positions of Music Director of the Skokie Valley Symphony Orchestra as well as the Chicago Cultural Center Summer Opera, Co-founder/Conductor of the New Millennium Orchestra, Principal Conductor of the Highland Park Strings, and Artistic Director/Conductor of Access Contemporary Music. Mr. Milioto is an assistant conductor/rehearsal pianist/prompter for the Ravinia Festival where he works closely with Maestro James Conlon. This season Mr. Milioto will return to Los Angeles Opera as first assistant conductor following a successful debut last season. During both the 2009 and 2010 Chicago Opera Theater seasons he served as an assistant conductor/rehearsal pianist, and also chorus master. Mr. Milioto makes regular appearances as a guest conductor with Opera Elgin and Opera on the James in Lynchburg, VA.

Now in his fifth season as Music Director of the Skokie Valley Symphony Orchestra, Mr. Milioto will lead programs celebrating the

organizations 50th Anniversary. This season will feature repertoire played by the SVSO in its first year of existence. Our next two programs will feature Mozart’s Clarinet Concerto, Mendelssohn’s Symphony No. 4 “Italian”, and an entire program of Spanish-flavored repertoire with soprano Michelle Areyzaga. The 50th Anniversary

season will end with two concerts, one featuring Mahler’s

Fourth Symphony, with soprano Stacey Tappan, and a final Symphonic Jazz program featuring legendary Chicago blues man Corky Siegel on Harmonica and piano playing “Symphonic Blues” a piece commissioned by the San Francisco Symphony. Mr. Milioto has enjoyed an enthusiastic response to his unique musicianship and wide range of repertoire. In addition to building on the history of high quality performances, the past seasons have seen a successful return to concert opera, and the creation of free concerts for local school children.

The Skokie Valley Symphony Orchestra looks forward to celebrating its 50th Anniversary Season (2011-2012) with Maestro Milioto.

ROBERT W. GEHRKE, P.C.

Robert W. Gehrke, CPA, JD

phone (847) 680 - 1021fax (847) 680 - 1022e-mail taxguyone@aol.com

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7Spanish Themes

MICHELLE AREYZAGA , SOPR ANO

Following a “Stunning” (Opera Maga-zine) debut in The Kaiser of Atlantis for Chicago Opera Theatre, Michelle Areyzaga has demonstrated her vocal diversity in a variety of operatic roles including Cunegonde, Pamina, Susanna, Sophie (Werther), Musetta, Lauretta, Adele, Zerlina, Despina, Serpina, and Belinda. She has performed with companies including Chicago Opera Theater, Lyric Opera of Chicago’s “In the Neighborhoods,” Opera Theatre North, DuPage Opera Theatre, Chicago Light Opera Works, and Orquesta Sinfónica del Estado de México. She re-prised the role of Zerlina for her Opera Birmingham début, and sang Pamina as part of Chicago’s Silk Road Initiative, a production which aired on public television.

Recent concert engagements include The New York Festival of Song, Pou-lenc’s Gloria with the Flint Michigan Symphony, Gustavo Leone’s Mundo at the Grant Park Music Festival, and “Bernstein on Broadway” with both the Cleveland Orchestra at the Blossom Festival and at the Tilles Center in Long Island, NY. She traveled to Costa Rica for that country’s first ever perfor-mance of J. S. Bach’s Mass in B Minor under the baton of John Nelson. She performed Adina in L‘Elisir d’Amore with DuPage Opera Theatre, and is scheduled for Shostakovich’s Seven Romances with the Amelia Piano Trio, and appearances with the symphonies of Northwest Indiana, Wichita, and the Rhode Island Philharmonic. Upcom-ing engagements include Mozart’s Susanna with Opera Birmingham.

Ms. Areyzaga made her European concert début as soloist in Vaughan Williams’ Mass in G Minor at England’s York Minster Cathedral, Ely Cathedral, and St. Mary’s Church in Oxford. In Paris, she received standing ovations as solo-ist in the Lord Nelson Mass with the

orchestra of London’s Royal Academy of Music and the St. Charles Singers.

As a recording artist, Ms. Areyzaga’s CD, The Sun Is Love was released on the Proteus label with The American

Record Guide stating: “This album’s appeal owes much to the singing

of Michelle Areyzaga, who has a sweet,

unaffected voice and meticulous diction just

right for these appeal-ing tunes.” Her CD of

the songs of Lita Grier was recently released by Cedille

Records and a CD of the songs of William Ferris well

be released soon.

A frequent recitalist for the live programs of Classical Radio WFMT, Ms. Areyzaga was named by Pioneer Press as Chicago’s “Artist of the Year” for 2006.

Preliminaries$40.00 per person

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Grand Prize Evening$75.00 per person

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Sat. Apr. 21 – 6:30

Bravo Awards$60.00 per person

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Sun. May 20 – 5:30

For Reservations call 773-588-2515

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39th Opera Contest Season

8 Skokie Valley Symphony Orchestra

AURELIEN FORT PEDER ZOLI , V IOLIN

Born in 1982 in Nancy, France, Aurelien Pederzoli began to study violin at the age of three. At the age of seven, he gave his first concert as soloist with the Philharmonic Orchestra in Nancy. One year later, he played his first recitals in Paris and Lyon. Mr. Pederzoli has performed extensively in Europe and the U.S. After studying in Paris, Bern and New York, Mr. Pederzoli was invited to study with Shmuel Ashkenasi in Chicago. Mr. Pederzoli has played under such conductors as Pierre Boulez, Kent Nagano, Daniel Barenboim, Valery Gergiev, Cliff Colnot, Alan Gilbert, Alan

Heatherington, Emmanuel Krivine, and Lorin Maazel. Mr. Pederzoli is a founding member of the ANAPHORA Ensemble and one of the violinists of the Spektral quartet.

Mr. Pederzoli holds a soloist diploma from the Bern Hochschule, a Master’s Degree inViolin Performance from DePaul University and a Master’s degree in American Music from the University of Metz. Mr. Pederzoli plays on a Carlo Bergonzi violin on generous loan from Francis Akos.

9Spanish Themes

SKOKIE VALLEY SYMPHONY ORCHESTR A

1st ViolinAurelien Fort Pederzoli, ConcertmasterMargarita Solomensky, Assistant

ConcertmasterAndrea Ferguson, Mittenthal String ChairMarianne FriedmanOlena HirnaIris SeitzWally Pok Hon YuRuth Zumstein

2nd ViolinMichael Kleinerman, PrincipalWarren GrabnerBeth HafterAlysa IsaacsonDavid RatnerFran ShermanMary StoltzGwen Weiner

ViolaMichael Rozental, Principal, Dr. Lee

Malmed ChairTess KeoughJeanette KrstolichRick NeffLisa PhilipJason RosenSid SambergDesi Tantchev

CelloEmily Hu, PrincipalLucy ColmanHoward MillerSheryl NussbaumSarah RitchMike TaberTess Van Wagner

BassConner Hollingsworth, PrincipalBrett BentelerBeverly Schiltz Nick Steffan

FluteKaren Frost, PrincipalBarb AustinAngela Reynolds

PiccoloBarb AustinAngela Reynolds

Alto FluteAngela Reynolds

OboeJennifer Stucki, PrincipalKenneth AdamsAllison Guessner

English HornAllison Guessner

ClarinetWalter Grabner, PrincipalIrwin Heller

Bass ClarinetScott Thomas

BassoonElizabeth Heller, PrincipalJen Speer

Contra BassoonBill Dawson

TrumpetJordan Olive, PrincipalPaul GilkersonMatt Bain

French HornValerie Whitney, Principal, Jack Shankman

ChairDafydd BevilErika HollenbackLaurel Lovestrom

TromboneAdam Houk, PrincipalTom ParkJohn Alberts

TubaBeth Lodal

TimpaniJay Renstrom

PercussionBarry GrossmanSam DenovAdam MormelsteinEmily Saltz

HarpPhyllis Adams

Join us for a concert celebrating the retirement offormer Chicago Symphony piccoloist

Walfrid Kujalaafter 50 years as Professor of Flute at Northwestern University

A world premiere performance commissioned in honor of Wally’s retirement:

TAKING CHARGE, trio for flute/piccolo, piano and percussion

by

Joseph Schwantner

Guest artists:Mindy Kaufman (New York Philharmonic)Erinn Frechette (Charlotte Symphony) Lindsey Goodman (Pittsburgh New Music Ensemble)Robert Cronin (Atlanta Symphony) Zart Dombourian Eby (Seattle Symphony)Jonathan Keeble (Professor of Flute, University of Illinois)

Monday, June 4, 2012 Pick Staiger Concert Hall 7:30 PM Northwestern University

Photo: Jonathan Roob

11Spanish Themes

CHAIR ENDOWMENT AND SPONSORSHIPS

Kathryn Canny, Chair Endowment—Concertmaster ChairAdvantEdge Health Care Solutions—partial sponsorship of

Dec 5th children’s concertsThe Leo Krakow Community Endowment Fund—Concert

Elizabeth and E. Harris Krawitz Endowment—ConcertHarvey E. Mittenthal Scholarship Fund—Mittenthal String Chair

Daniel F. and Ada L. Rice Foundation—Young Artist Competition and ConcertsCharles and Cyd Sandleman Chair Endowment—Assistant Concertmaster Chair

2011-2012 SVSO DONATIONS

Sustaining: $2500+Kathryn CannyIllinois Arts CouncilDr. Lee & Bonnie MalmedNiles TownshipDaniel F. and Ada L. Rice

FoundationVillage of SkokieMr. & Mrs. Blaine

Yarrington

Benefactor: $1,000 - $2,499AdvantEdge Healthcare

Solutions, Inc.The Bruning FoundationMrs. Jason Sharps

Patron: $500 - $999Steven Jay Blutza, Ph.D.Jack and Leslie

ShankmanR. Paul Urbanick, DMA

Sponsors: $250 - $499John AlbertsBarbara BrownDr. & Mrs. Richard

ChessickDavid EcclesRoger HirschEthel MittenthalRichard MittenthalThomas & Barbara

RosenweinDr. & Mrs. Don SingerCarolyn Smith, in memory

of Janet MazurScott and Sandra

WilliamsPeter P. Thomas

Donors: $100 - $249Mark BaratsLouis & Loretta BeckerMaurice & Ruth EttlesonBernard & Marilyn

FriedmanSandor JankovichRuth L. KatzJoseph D. KramerMilton & Miriam LevinJerome & Lillian MannEdward S. & Phyllis E.

MerkinEleanor ParkerRonald & Shirley

PregozenGeorge RimnacMr. & Mrs. Henry

RosenbaumMarvin RudmanJerome & Carolyn

Sauvage, in memory of Noreen Giles

Harold & Rita SelzThelma SkaletskyJanet Thau, in honor of

Barry GrossmanHarlean VisionIzzie (Avram) WeinzweigCharlene Wiss

Friends: $25 - $99Jules & Sharon AbelmanRuth BarrashAnne BollDr. & Mrs. Richard

Chessick, in memory of Noreen Giles

Muriel CohenUlrich & Carol Conrad

Arkady DimentArline DubowMr. & Mrs. Aaron GolubAlysa IsaacsonGilbert & Elaine Kanter,

in honor of Bonnie Malmed

Terese KlingerJane KornblithAlvan LebovitzSidney LevineMr. & Mrs. Elmer LipstadtRochelle MagidSherwin & Trude MarksEarl MeltzerArthur & Lois MillsMichael ModicaSheldon MostovoyJoseph OttSaul PattJanice RossMichael RothMilton SalmansohnJanet SchatzRita SchreierLarry & Rhoda SchumanAnne SeeferMichael & Serna ShatzHarold C. SilvermanWarne & Delores StaussFlorence T. SteinHerb & Roberta Sweetow,

in memory of Dr. Robert Komaiko

Tess Van WagnerGeorge VassSandra Lynn WeissSheldon S. WeissDorothea Wolf,

in honor of Bonnie Malmed

Olga Wolz

Supporting the SymphonyThe concert you hear today was made possible by the generous donors

you see listed in our program. To find out how you can contribute, please contact the SVSO office.

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13Spanish Themes

2011-2012 BOARD OF D IRECTORS

Kathryn Canny, PresidentKaren L. Frost, Artistic Vice President

Roger Hirsch, Administrative Vice PresidentSteven Jay Blutza, Ph.D., Treasurer

John Alberts, Secretary

Barbara E. BrownDavid F. Eccles

Bonnie MalmedLee Malmed, M.D.Ethel MittenthalJack Shankman

R. Paul Urbanick, DMASandra Williams, Ph.D.

Honorary Board MembersSiobhan DrummondLucinda KaspersonThomas RosenweinDonald Singer, M.D.

Francesco Milioto, Conductor and Music DirectorPhyllis Adams, Office Manager

How to Contact UsAddress: 9501 Skokie Blvd., Skokie, IL 60077

Phone: 847-679-9501 x3014 E-mail: info@svso.org

Website: www.svso.org

Can’t wait until showtime?At Footlights.com you can preview the

program before opening night!

James Newcomb, Cynthia Brown Komarek, Grant BirkleyFirst Vice Presidents – InvestmentsWells Fargo Advisors

Woodstock, IL 60098815-338-2550www.thenbbgroup.wfadv.com

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Skokie Valley Symphony Orchestra

Investment and Insurance Products: u NOT FDIC Insured u NO Bank Guarantee u MAY Lose Value

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15Spanish Themes

North Shore Center for the Performing Arts9501 Skokie Blvd., Skokie, IL 60077

ADMINISTRATIVE OFFICE TELEPHONE: (847) 679-9501ADMINISTRATIVE OFFICE FAX: (847) 679-1879

BOX OFFICE TELEPHONE: (847) 673-6300BOX OFFICE FAX: (847) 679-3704

www.northshorecenter.org

General Manager ...................................................................................................... Michael PaukenBox Office Manager ........................................................................................................Ron WeaverBox Office Assistant Manager ...................................................................................Heather PackardBox Office Staff ..........................................................Paul Adams, Tricia Bulaclac, Alison Burkhardt,

Jessica Hester, Jimmy Kaplan, Kaurryne Lev, Myra Levin,Karen Neumann, Maegan Rose, Cyndi Stevens,

Director of Marketing and Sales .........................................................................................David VishEducation and Outreach Manager ...........................................................................Gina M. MartinoEvents Manager ........................................................................................................... Betty BoduchEvents Supervisor/Concessions Manager .......................................................................Anthony MarteHouse Managers .........................................................Yuri Lysoivanov, Susan Robinson, Sherrie WittMarketing & Communications Manager ..................................................................... Joseph AlaimoOffice Manager ..........................................................................................................Carolyn AdamsOperations Manager ..................................................................................................Ardelle WinstonOperations Staff ........................................................................Melvin Berkowitz, Christopher Jones

Luis Narvaez, Hector Perez, Gary Sapperstein, Larry WilliamsReceptionist .................................................................................................................... Jean GeorgeSecurity .....................................................................................................................Greg KwiecinskiTechnical Director ............................................................................................................ Frank RoseTechnical Staff .......................................................Dustin L. Derry, Jake Reich, Jay Stoutenborough

Ushers provided by the Saints, Volunteers for the Performing Arts. For information call (773) 529-5510.

Administrative Office Hours: Monday–Friday 9:00 a.m.–5:00 p.m.Box Office Hours: Monday–Friday, 10:00 a.m.–5:00 p.m. or until curtain;

Saturday, Noon–5 p.m. or until curtain. Sunday: Opens two hours prior to curtain.(summer hours may vary)

The NorTh Shore CeNTer for The PerformiNg ArTS iN Skokie opened in 1996 and operates as part of the Village of Skokie’s plan to provide cultural, literary, and educational programs, benefiting the citizens of Skokie and the North Shore communities.

The North Shore Center is perfect for performances, social occasions and corporate events. For information on space availability and catering options, please contact the Events Manager at (847)679-9501 ext. 3005.

The NorTh Shore CeNTer for The PerformiNg ArTS iN Skokie fouNdATioN was established to support the ongoing programming and capital needs of the North Shore Center for the Performing Arts in Skokie. The mission of the Foundation is to create and sustain the North Shore Center as a preeminent venue for the arts and as a major asset to the communities it serves.

IN CONSIDERATION OF OTHER PATRONS •Latecomerswillbeseatedatthediscretionofmanagement. •Portabletelephones,pagers,cameras,andrecording devices are not allowed inside the theater. Please check them with the house manager. •Infraredassistedlisteningdevicesareavailablefrom the house manager. A valid driver’s license, state identification, or major credit card will be requested.

•LostandFound:pleasecall(847)679-9501ext.3202 for lost items.

Professional Facilities Management, of Providence, R.I,

manages the North Shore Center for the Performing Arts in Skokie.

We have moved to a larger space across the street and one block east of our old location

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