E X P E R I E N C E M U S I C A L M A G I C

Q U E E R U R B A N O R C H E S T R A

P R E S E N T S

S U N D A Y N O V E M B E R 1 S T

4 : 0 0 P . M .

W I T C H E S A N D W A R L O C K S

J U L I E D E S B O R D E S , A R T I S T I C D I R E C T O RI A N S H A F E R , A S S I S T A N T C O N D U C T O R

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T I C K E T S A T

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C H U R C H O F T H E H O L Y A P O S T L E S

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W I T C H E S A N D W A R L O C K S

S U N D A Y N O V E M B E R 1 S T , 4 P M

P R E S T O C H A N G E - O

S A T U R D A Y D E C E M B E R 1 9 T H , 8 P M

S U N D A Y D E C E M B E R 2 0 T H , 4 P M

Q U O T E T S : C H A M B E R C O N C E R T I

S A T U R D A Y F E B R U A R Y 6 T H , 8 P M

A L A K A Z A M !

S A T U R D A Y A P R I L 1 6 T H , 8 P M

Q U O T E T S : C H A M B E R C O N C E R T I I

S A T U R D A Y M A Y 1 4 T H , 8 P M

S P E L L B O U N D : P R I D E G A Y - L A

S A T U R D A Y J U N E 2 5 T H , 8 P M

F A C E B O O K . C O M / Q U R B O T W I T T E R . C O M / Q U E E E R U R B A N O R C H Y O U T U B E . C O M / Q U E E R U R B A N O R C H E S T R A

Abracadabra!Q U E E R U R B A N O R C H E S T R A

P R E S E N T S

J U L I E D E S B O R D E S , A R T I S T I C D I R E C T O RI A N S H A F E R , A S S I S T A N T C O N D U C T O R

presents

Abracadabra!Experience Musical Magic

Witches and WarlocksJulie Desbordes, conductor

Danse Macabre, Op. 40 Camille Saint-SaënsPhong Ta, violin

Symphony No.93 in D major Franz Joseph Haydn I. Adagio - Allegro assai II. Largo cantabile III. Menuetto (Allegretto) - Trio IV. Finale (Presto ma non troppo)

Intermission

Uirapurú Heitor Villa-LobosPatrick Terry, featured magician

Phong Ta, violinophone

L’apprenti Sorcier (Sorcerer’s Apprentice) Paul Dukas

Patrick Terry, host and magician2

From Our Board PresidentHello pumpkins,

Welcome to our first-ever Halloween concert! I know we’re a day late to the party, but I hope you have some holiday spirit left to enjoy the afternoon of drama and mystique we’ve prepared for you, from Saint-Saëns’ “dance of death” (Danse macabre) to Dukas’ familiar tale of magic and terror (L’apprenti sorcier).

With so much magic happening today, we’re excited to be joined by magician Patrick Terry who will host our show! He’ll take you from piece to piece, adding his own magic along the way. He has plenty of tricks in his bag to show you, particularly during Uirapurú immediately after intermission!

Halloween is a great time to start our season of magic. The rest of the year will feature such enchanting delights as Mozart’s The Magic Flute, Ravel’s Mother Goose, Dvorák’s Water Goblin, and a pair of Holst’s Planets just to name a few. We’re also thrilled to welcome back brilliant pianist and composer James Adler to perform one of his own works with QUO.

If you like the afternoon timing of this concert, we’ll be doing it again next month on Sunday, December 20th, so bring the family! If you preferred our old time, we’ve got one for you too on Saturday, December 19th at 8pm, so bring your fellow night owls! The complete list of dates and times for our 2015-2016 Abracadabra! concert season is on the inside front cover.

If this concert makes you tingle with pride, I hope you’ll consider making a gift before you go, or at our website at home. We’re in our seventh year and there’s plenty of growing still to do. A donation to our percussion equipment fund could go a long way to purchasing a few timpani, for example. Please help us realize our dreams! No gift is too small!

Thank you for closing out your Halloween weekend with us, as we open our seventh season. Enjoy the show!

Andrew BermanPresident, QUO

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1ST VIOLINPhong Ta, concertmaster Andrew Holland, asst. concertmaster Lorenzo Espiritu Brian Harrington Nick JohnsonNavida SteinLiann Wadewitz

2ND VIOLINChristopher Minarich, principal Alva Bostick, section leader Dan Bauman Evan Dice Andre Gillard Mark PetersChristina Rose Rahn Reyenne Schiowitz Brian Verdi

VIOLAMarvin Li, principalThomas Lai, asst. principal Andrew Acquaviva, section leader James Di Meglio Frederick Hodges Dan Makula

CELLOBjorn Berkhout, principal, sec. leaderJillian BloomAlex HumeskyJasmine Rault

BASSRodney Azagra Carlos Barriento Rika Buonincontri Adrienne Lloyd

FLUTECraig Devereaux, principal, sec. leaderJenn Forese Scott Oaks

PICCOLOScott Oaks

OBOEIan Shafer, principal Matthew Hadley, section leaderAlan Hyde

ENGLISH HORNMatthew Hadley, principal

CLARINETFran Novak, principalTravis Fraser, section leader BASS CLARINETAaron Patterson

SOPRANO SAXOPHONEAaron Patterson

BASSOONDavid Lohman, principalDarcy Leon, asst. principalCharlie Scatamacchia, section leader

CONTRABASSOONNorma Kerlin

FRENCH HORNEric Hayslett, principalSteven Petrucelli, section leaderMary Helander Nathan Quist

TRUMPETRon Nahass, principalErin Kulick, section leader Sandy Coffin Scott Kulick

TROMBONEAlex Arellano Matthew Kastellac Jim Theobald

TUBADan Perry

HARPMarion Ravot

PIANOLigia Mie Sakurai

PERCUSSIONAndrew Berman, section leaderClint Arndt Seth BedfordSean Foradori Álvaro Rodas

Queer Urban Orchestra Julie Desbordes, Artistic DirectorIan Shafer, Assistant Conductor

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Artistic Director, Julie DesbordesOriginally from Limoges, France, Julie Desbordes is a fast rising conductor known for her engaging style, energetic interpretations and emotional communication with her musicians and audiences. Currently Artistic Director of QUO (the Queer Urban Orchestra) in New York City, her recent international appearances as a guest conductor include concerts in Venezuela, Canada, Hong Kong and Macau. She is also Associate Conductor of Education and Outreach for The Chelsea Symphony (NYC).

Ms. Desbordes has a special passion for educational outreach, and is known for

creating interesting programs that bring a wider and more diverse audience into concert halls. She served for many years as Site Director and Orchestra Director for New York’s The Harmony Program (El Sistema USA), and in this capacity was named “New Yorker of The Week” by Columbia University. She was one of two finalists for the Directorship of the Los Angeles Philharmonic’s El Sistema Youth Orchestra program (YOLA), and has been a featured guest at El Sistema programs nationwide, most recently in Los Angeles, Baltimore, Hawaii and Connecticut.

Julie is featured in an upcoming documentary about El Sistema USA by Jamie Bernstein (daughter of Leonard Bernstein) entitled “Crescendo! The Power of Music,” to be released on Netflix in 2015. She also has been noted in El Sistema pieces by PBS, ABC and CBS.

Julie’s love for music began from the moment she picked up the cornet at age 8 in her native France. Soon after, she was identified as a talent with the baton as well, leading to her winning conducting prizes including 1st Prize, 2nd named at the French National Conducting Competition in Paris (DADSM). She was named Co-Director of the Harmonie Municipale de Limoges at the age of 21.

Ms. Desbordes holds multiple degrees in both conducting and trumpet from each of the following: Conservatoire de Musique Limoges, Conservatoire de Musique Bordeaux and Conservatoire de Musique Montreal. Her conducting teachers include Raffi Armenian and Gustav Meier.

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Assistant Conductor, Ian ShaferIan Shafer is a passionate, multifaceted musician. He has held positions as a conductor, an oboist, chamber music coach, and teacher. He made his public conducting debut at 13 years old, conducting the world premiere of his composition, Beau Terre for wind ensemble. In addition to the Assistant Conductor of QUO, he has been the Music Director of the Trappe Chamber Players, (PA); the Greater Philadelphia Honors Orchestra, the orchestras of the Cresecndo Chamber Music Festival; the Winter-term Opera and Orchestras of the Oberlin Conservatory of Music; and

the Assistant Conductor of the Northern Ohio Youth Orchestra. Mr. Shafer was the cover conductor of Oberlin’s Contemporary Music Ensemble and conducted Ancient Voices of Children at the “George Crumb Festival” while at Oberlin. Additionally, he prepared the cast and orchestra for the performance and recording of Starbird, an opera, by Henry Mollicone.

As an oboist, he enjoys a very active performance career as a freelance artist in New York and abroad. His playing has been described as, “sinuous, refined... and refreshing, with facility,” ([Q]on Stage). This season, Mr. Shafer made is Carnegie Hall debut to a very enthusiastic crowd where he gave the world premiere of Mohammed Fairouz’s Locales a work written for him on commission. He has also given the world premieres of several other works: Elegy and Impromptu by James Adler; Layers of Earth, by Lars Graugaard, to be released this spring on CD; Langanaich-Taragto; a seven-minute improvised solo to Elizabeth Hoffman’s digital score, which later expanded to Improvisational Spirals for oboe, dancer, and DJ premiered at the NYSoundCircuit; Noor Al Salam (Light of Peace) and ResoNations at two “Concerts for Peace” for the delegates of the United Nations.

Mr. Shafer is on faculty at the Manhattan School of Music in the Precollege divisions of Oboe performance, Music Theory and Ear-training. holds a M.M. in Oboe performance from NYU, and B.M. from the Oberlin Conservatory of Music in Composition and Musicology. He has worked with Robert Spano, Louis Lane, Jorma Panula, Alfred Gershfeld and Jonathan Coopersmith for conducting and Bert Lucarelli, Ray Still, and Jonathan Kelly for oboe. He has studied composition with Richard Hoffmann, a former student of Arnold Schoenberg and has several compositions to his credit, Fugue for Four Trombones, which was premiered by members of the Chicago Symphony, Dreams for Woodwind Quintet, by the Sarasota Orchestra’s wind quintet, and Russian Games, by the Oberlin Wind Ensemble.

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Host and Magician, Patrick TerryFor nearly 20 years, Patrick Terry has travelled the world as a magician and mind reader, performing at corporate parties, private events, and charity functions. Recently he’s entertained President Jimmy Carter, the Royal Family of Kuwait, the cast of Mad Men and Jimmy Fallon.

Terry hosts “Wondershow: Acts of Magic, Mischief, and Mystery,” recently at the Cutting Room in Manhattan and the Brooklyn Muse. “The acts rank among the most talented in the business, and comedy is strongly infused with the evening’s spirit of mystery and mischief.” (axs.com)

Photo by Wolfgang Wesener

Patrick Terry

www.ptmagichour.com

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Program NotesParis-born Camille Saint-Saëns (b. 1835) was a tremendously versatile composer. He wrote in virtually all genres, including operas, symphonies, concertos, songs, sacred and secular choral music, solo piano music, and chamber music. He wrote many audience favorites including Piano Concerto No. 2, Symphony No. 3 (“Organ”), the symphonic poem Danse macabre, the opera Samson et Dalila, and his most widely-performed work, The Carnival of the Animals. Saint-Saëns was one of history’s most gifted young musicians; blessed with perfect pitch, he began piano lessons at age two-and-a-half and composed his first work at three. When he was ten, he gave a concert that included Beethoven’s Third Piano Concerto and Mozart’s B-flat Concerto, K. 460, and in 1848 at the age of thirteen he entered the Paris Conservatoire to studied organ and composition. By his early twenties his compositional genius had won the admiration and support of 19th-century Europe’s most important musical minds including Berlioz, Liszt, Gounod, and Rossini. In 1875, Saint-Saëns married a young woman named Marie Truffot and began a family. Tragically, their two children died within six weeks of each other and their marriage subsequently collapsed. This difficult period of Saint-Saëns’ life resulted in some of his most enduring works, including Danse macabre. While Saint-Saëns only professionally taught for a few years, some of his students went on to become very successful composers themselves, including Gabriel Fauré. Saint-Saëns found little success in his homeland yet was hailed as France’s greatest living composer by most of Europe as well as the United States, where he toured in 1915. He died in Algeria in 1921 at the age of eighty-six, only a few months after playing his farewell piano performance in Paris.

The tone poem Danse macabre, op. 40 was completed by Saint-Saëns in 1874. His setting of the “dance of death,” a folkloric tradition with roots in medieval history, is but one of many such works throughout Western music including pieces by Britten, Berlioz, Shostakovich, Liszt, and Crumb: no matter one’s social standing in life, all are united in death – the king with the pauper, the pope with the laborer, the old man with the child. Danse macabre began as an art song with text by French poet Henri Cazalis but Saint-Saëns reworked the piece, replacing solo vocalist with solo violinist, the A string tuned a half-step lower (scordatura) to create a tritone to A-flat: the devil’s interval. The work depicts the story of Death appearing at midnight on Halloween, playing his demonic fiddle to wake the spirits of the dead. The ghostly apparitions join Death in his frenzied festivities, only returning to their eternal graves with the rooster’s first crow of approaching dawn. Danse macabre premiered the year it was written, one of only four symphonic tone poems by Saint-Saëns. Despite its less-than-favorable reviews at that time – critics lambasted it “deformed...screeching” and “hypnotic” – it has become a Halloween staple of contemporary times. The work was first performed by the New York Philharmonic in 1901 under the direction of Walter Damrosch.

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Yamaha Artist Services presents

IntrospectionsA celebration of the Albany Records Release

James Adler will be QUO’s guest soloist next April,but you can hear him perform works from his newestCD on November 3 at the Yamaha Piano Salon.

The concert of solo piano and chamber works featuresworks by James Adler, QUO’s own Seth Bedford,Kevin Cummines, and Paul Turok. Guest performersinclude David R. Babich, Will Berman, VirginiaBrewer, Emerson Head, and Eugene Moye, Jr.

Tuesday, November 3 at 7:30Yamaha Piano Salon689 5th Avenue, 3rd Floor (enter on east 54th)Tickets $20/$10 at www.adleroaksmusic.com

“This is certainly a triumph.” — INFODAD

“Adler is a sensitive man who uses music to gobeyond the small human feelings thatsometimes unwittingly determine our ownlives.” — Sonograma

“James Adler excels as performer­pianist.” —Gapplegate Classical­Modern Music Review

“A simple, accessible approach to music is heldup by continual invention and development ofideas melodic and rhythmic.” — AmericanRecord Guide

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Franz Joseph Haydn, born in Rohrau, Austria in 1732, stands as one of Western music’s most seminal composers, particularly as “Father of the Symphony.” His most renowned pupil was Ludwig van Beethoven, and his formal developments influenced the works of nearly all 19th-century symphonic composers including Schubert, Mendelssohn and Brahms. As a child, Haydn sang at St. Stephen’s Cathedral in Vienna. He also played violin and keyboard and studied counterpoint and harmony. His talents did not go unnoticed by his mentor, composer Nicola Porpora, who helped introduce the young man to important figures. Haydn was named Kapellmeister (head court musician) for the royal Esterházy family in 1761. Many of his 104 symphonies were written for the Esterházy court orchestra; however, several were written abroad including the so-called Paris symphonies of 1785-1786 and the twelve London symphonies (nos. 93-104). Other Haydn works include oratorios – most significantly, The Creation and The Seven Last Words of Christ – dozens of string quartets, piano trios, sonatas, and operas. He passed away in 1809 at the age of seventy-seven, leaving behind the foundational musical architecture of a century to come.

Haydn’s Symphony No. 93 in D major was completed in 1791, written for his first of two very successful concert tours to London. The symphony is in a standard, straightforward, four-movement form, although the second movement – largo cantabile – showcases Haydn’s cheeky sense of humor, much like the second movement of his famous “Surprise” Symphony (Symphony No. 94). A close friend of Mozart, Haydn included a melodic snippet from Don Giovanni in the fourth movement. Symphony No. 93 was first performed by the New York Philharmonic in 1932, under the direction of Sir Thomas Beecham.

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Born on March 5, 1887 in Rio de Janeiro, Brazilian composer-conductor-educator Heitor Villa-Lobos grew up in a richly diverse environment of Portuguese, indigenous-Brazilian, Latin-American, western-European, and African music and dance. As a child he helped support his family by playing cello, guitar, and clarinet in street bands and at the local cinema. Villa-Lobos preferred to find his musical inspirations in his surroundings; he never once studied music professionally despite the prodigious lifetime output of over two-thousand pieces of music. In the early 1920s Villa-Lobos traveled to France where he met many important artistic luminaries of the age. Upon return to Brazil and over the next thirty-five years, he composed an abundantly imaginative body of works including concertos, symphonies, string quartets, chamber pieces, tone poems, songs, piano solos, and a film score. When he passed away on November 17, 1959 at the age of seventy-two, he received a full state funeral, eulogized as “the single most creative figure in 20th century Brazilian art music.”

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Villa-Lobos completed his Amazonian tone poem Uirapurú (‘The Enchanted Bird’) in 1917. Evocative of Brazil’s dense and exotic rainforests, the work tells the story of jungle natives’ search for a legendary magical bird that brings good fortune to its captor. An enchanting flute solo recreates the mystical sounds of the South American organ wren (Cyphorhirius arada) – also known by its Indian name, “wirapu’ru.” Additional forest sounds are provided by imaginative use of violin, English horn, soprano saxophone, Latin percussion, harp, and piano. The piece was not publicly performed until 1935, premiered during the Brazilian president’s visit to Buenos Aires. It made its New York Philharmonic debut in 1949 and has only been subsequently performed twice.

French composer, critic, and scholar Paul Dukas was born in Paris on October 1, 1865. The second son of a Jewish banker and his pianist wife, Dukas showed no particular aptitude in music until he began composing as a teenager whilst recovering from a serious illness. He entered the Paris Conservatoire at age sixteen and quickly became friends with another budding composer, Claude Debussy. While much of Dukas’ music showed promise, his overwhelming need for creative perfection led him to destroy most of his compositional output including overtures and an opera. He found simpler personal satisfaction in his work as a Wagner music critic and as a conductor. One large-scale work that survived is Dukas’ Symphony in C major, composed in 1895-6; historian Irwin Schwerke considered it an “opulent expression of modernism in classical form.” It was Dukas’ next major work, however, that cemented his fame, much to his chagrin: The Sorcerer’s Apprentice. So popular was this tone poem - even during Dukas’ lifetime - that his colleagues lamented that the piece would become far better known than its creator. Only a handful of notable works followed in the early 20th century, including a piano sonata dedicated to Saint-Saëns, a second opera, and a ballet. By the 1920s Dukas had switched his focus from writing music to teaching composition, at both the Paris Conservatoire and Ecole Normale de Musique. Some of his students were the next generation’s most important composers including Messiaen, Chavez, and Duruflé. Although he began a symphonic poem based upon Shakespeare’s The Tempest and teamed with his friend and colleague Saint-Saëns to complete an unfinished Guirard opera, Dukas never finished another work. He died at the age of sixty-nine in 1935, in Paris.

The tone poem L’apprenti sorcier (The Sorcerer’s Apprentice) was completed in 1897 and subtitled “Scherzo after a ballad by Goethe.” It premiered later that year. Dukas took his inspiration from the famed German poet’s work of the same name from a century earlier. Both versions depict the woeful mistakes of a powerful magician’s young assistant who, left to his own devices, nearly drowns himself and his master with the mischievous handiwork of animated and alarmingly-multiplying, bucket-wielding broomsticks. The Sorcerer’s Apprentice was already well-known for nearly forty years before it was famously catapulted into pop culture history by Walt Disney’s 1940 masterpiece,

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Fantasia, conducted by Leopold Stokowski. Unfortunately, Dukas had passed away five years before the film was made and never witnessed his symphonic poem’s commercial success: it is his most-recorded and most-known work. The New York Philharmonic has programmed The Sorcerer’s Apprentice over one hundred times since its first auspicious performance in 1909 under the direction of none other than Gustav Mahler.

Program notes by Dr. Aaron Patterson

Boo!

About QUOFounded in July 2009, the Queer Urban Orchestra (QUO) is a musical organization dedicated to the promotion of fine arts in the New York City metropolitan area whose membership is open to all adult musicians regardless of age, race, religion, sexual orientation, or gender identity. QUO strives to entertain and educate members and audiences alike through performances of classical and contemporary music, promoting equality, understanding, acceptance, and respect.

Come play with usPlay an instrument? Come and join QUO! Membership is open to all adult musicians regardless of age, race, religion, sexual orientation, or gender identity. Chat us up after the concert or email us at membership@queerurbanorchestra.org.

Support QUO by Shopping!Next time you shop at Amazon.com, start here:http://smile.amazon.com/ch/27-1145113

or visit smile.amazon.com and choose “Queer Urban Orchestra.” Amazon will donate 0.5% of your purchase to QUO. (So buy a lot.)

About Our HomeChurch of the Holy Apostles

QUO has made its home at the Church of the Holy Apostles since 2010, but Holy Apostles has been welcoming LGBT groups and parishioners since the beginning of the gay rights movement in New York. “I know of few New York City GLBTQ organizations which did not have a home at some point in their history at the Church of the Holy Apostles,” says Father Rand Frew, 12th Rector of Holy Apostles.

When QUO violinist Joey Plaster discovered that the Gay Activists Alliance had its headquarters at Holy Apostles in the early seventies, we reached out to Fr. Frew for more information. He shared: “The annual Pride March was announced in the bulletin and verbally, and people were encouraged to take part for the expansion of human rights. The Chelsea Gay Association met at Holy Apostles. The late Vito Russo’s documentary, groundbreaking film The Celluloid Closet was first previewed and shown at Holy Apostles with commentary by Mr. Russo. The New York City Gay Men’s Chorus rehearsed and performed at Holy Apostles.”

QUO is just one of several groups at Holy Apostles that spread a message of equality and acceptance through music. We’re happy to share this space with fellow LGBT music performing groups such as The Stonewall Chorale and the Empire City Men’s Chorus.

photo by Carlos Restrepo15

TOPAZ ($500-$749)Jeremy and Jonathan Chin-Shepard

AMBER ($250-$499)Kevin Law Charles Lee Scott Oaks and James Adler

RUBY ($50-$249)

Director’s CircleSpecial thanks to our donors for their financial support.

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James Arnoff Ryan Barlow Andrew BermanStephen Best Joseph CarpaEmile ChungMichele Kaufman & Jo Ellen Fusco Alex Humesky Nick Johnson Chad Longmore

Paul MarsoliniMatthew Oberstein Theresa Pascoe Brian ShawPhong Ta and Joseph Passoni Fiona TaylorBrian Wey George YuanJanet Zaleon

President Andrew BermanVice President Seth BedfordTreasurer Scott OaksFundraising Coordinator Travis FraserMarketing Coordinator Bjorn BerkhoutMembership Coordinator Liann Wadewitz Board Member-at-Large Ian ShaferArtistic Director Julie DesbordesAssistant Conductor Ian ShaferConcertmaster Phong TaLibrarian Alan Hyde

Leadership Team and Staff

Special Thanks To...Rodney Azagra for sound recordingJim Babcock for video recording equipmentDan Bauman, Jeff Haines, Kathryn Lieber, Louisa McMurray, Courtney Pike, and Holly Seefeldt for their help on concert night.Seth Bedford, Julie Desbordes, Travis Fraser, Nick Johnson, Ernesto Lopez, Ron Nahass, Charlie Scatamacchia, Ian Shafer, and Phong Ta for serving on our Gay-La Committee.Seth Bedford, Andrew Berman, Julie Desbordes, Matthew Hadley, Christopher Minarich, Fran Novak, Scott Oaks, Álvaro Rodas, Ian Shafer, Jason Svatek, and Phong Ta for serving on our Repertoire Committee.Andrew Berman for program layout and printingAlva Bostick for always going the extra mileJulie Desbordes, for the instrument side showTravis Fraser, Jason Mogen, and Jarred Small for fundraisingAlan Hyde for managing our music libraryNick Johnson for our delicious concessionsNick Johnson, Brent Reno, and Phong Ta for concert night ambianceMara Kristula-Green for photographyThe Lesbian & Gay Big Apple Corps for the use of their xylophoneTeddy McElhone and Kathryn Lieber for graphic designLuke Melas for website design and consultationScott Oaks for managing our website and program printingMichael Ottley and the staff of the Church of the Holy ApostlesDr. Aaron Patterson for writing our program notesThe members of the Queer Urban Orchestra for providing refreshmentsDavid Segal and David Segal Violins, Ltd. for the violinophonePatrick Terry for his magic and hosting talentsWorld Class Learning Academy for rehearsal space

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THE BLUE HILL TROUPEpresents...

The Theatre at St. Jean’s184 East 76th Street, NYC

A LITTLE NIGHT MUSICMusic and Lyrics by Stephen SondheimBook by Hugh Wheeler

Stage Director & Choreographer – DONALD BRENNER, SDCMusic Director & Conductor – ERIC PETERSON

Tickets $29.50/$39.50/$49.50 ($4 service fee per ticket)

A limited number of premium tickets are available at $75.00

* Running Time approx. 2 1/2 hours including intermission *

All net proceeds benefit the Children’s Cancer & Blood Foundation (CCBF)

Fri. Nov. 13 @ 7:30 pmSat. Nov. 14 @ 7:30 pmSun. Nov. 15 @ 3:00 pm

Wed. Nov. 18 @ 7:30 pmThu. Nov. 19 @ 7:30 pmFri. Nov. 20 @ 7:30 pmSat. Nov. 21 @ 2:00 pm/7:30 pm