Sunday, April 26, 2015 3:00 PM North Shore Center for the Performing Arts in Skokie

Musical Theater and Opera Francesco Milioto, Musical Director

Guest Singers

Carla Janzen, Soprano Juliet Petrus, Soprano Emily Price, Mezzo-Soprano John Concepcion, Tenor Bill McMurray, Baritone Overture to The Marriage of Figaro ..............................Wolfgang Amadeus Mozart (1756–1791) Vengeance Aria from The Magic Flute ..................................................Wolfgang Amadeus Mozart “La donna è mobile” from Rigoletto ....................................................Giuseppe Verdi (1813–1901) Song to the Moon from Rusalka .........................................................Antonín Dvořák (1841–1904) Toreador Song from Carmen ....................................................................Georges Bizet (1838–1875) West Side Story Selections for Orchestra .....................................Leonard Bernstein (1918–1990) “The light in the piazza” from The Light in the Piazza ................................ Adam Guettel (1964–) “Bring him home” from Les Misérables ...................................Claude-Michel Schönberg (1944–) “Some enchanted evening” from South Pacific ............................ Richard Rodgers (1902–1979) “Glitter and be gay” from Candide ...........................................................................Leonard Bernstein INTERMISSION Musical Theater and Opera

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Sound of Music Selections for Orchestra .................................................................. Richard Rodgers “Three little maids from school are we” from The Mikado .......... Arthur Sullivan (1842–1900) Modern Major-General’s Song from The Pirates of Penzance ............................... Arthur Sullivan Memory from Cats ................................................................................Andrew Lloyd Webber (1948–) “I could have danced all night” from My Fair Lady .......................Frederick Loewe (1901–1988) “Dein ist mein ganzes herz” from The Land of Smiles ........................... Franz Lehár (1870–1948) Merry Widow Waltz from The Merry Widow........................................................................ Franz Lehár Musetta’s Waltz from La Bohème .......................................................Giacomo Puccini (1858–1924) “Don’t rain on my parade” from Funny Girl .................................................Jule Styne (1905–1994) The Impossible Dream from The Man of la Mancha .............................Mitch Leigh (1928–2014) This concert is supported in part by The Village of Skokie, Niles Township, The Daniel F. and Ada L. Rice Foundation, and the Illinois Arts Council

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PROGR A M NOTES Today’s concert features a marvelous and varied assortment of music from the seemingly parallel worlds of opera and musical theater, which begs the question: what is the difference between the two? One critic has sarcastically quipped, “About $50,” while another identifies “snobbery” as the defining variance. Witticisms aside, the two forms are, in fact, quite similar, making use of many of the same elements and constituent parts. Space here does not allow a detailed examination of the defining characteristics of each genre. But a brief survey of some of the more important components of the two genres, within the context of a historical overview, may help to shed some light on this perplexing issue. Let us start at the beginning (to paraphrase Maria von Trapp), in the 17th century, with the first component of any musical theater piece, the overture. In the opera houses of yesteryear, devoid as they were of modern conveniences such as dimmer switches for lowering the lights or public address systems to sound gong-like signals announcing the beginning of a performance, audiences were called to attention by brief fanfares from the orchestra. Over time, these “curtain-raisers” grew into more significant preludes, often called sinfonias, but remained decidedly disconnected from the opera that was to follow. Mozart was one of the first composers to create musically significant overtures that were in some way related to the stage drama. A perfect example is his overture to the farce Le Nozze di Figaro (The Marriage of Figaro). In just four minutes, this bustling music sets the stage perfectly for the sophisticated and witty four act opera that is to follow. Written in a matter of hours just before the opera’s first performance, Mozart’s main concern appears to have been to give his audience an immediate indication of the opera’s pace, and of the hectic events of the boisterous comedy that they were about to witness. Though the overture quotes no material from the opera itself, its breakneck tempo and bubbling high spirits perfectly echo the quick wits of the hero Figaro and his young wife Susanna, in dealing with their lecherous overlord, Count Almaviva. The overture out of the way, the opera proper begins with a series of musical numbers, called arias. Arias were different from the more speech-like recitatives – broadly, the latter tended to carry the story-line, the former carried more emotional freight and became an opportunity for singers to display their vocal talent. By the 18th century the nature and allocation of the arias to different singers/roles was highly formalized, as can be observed in the following passage from Carlo Goldoni, a leading librettist of the period: The three principal personages of the drama ought to sing five arias each; two in the first act, two in the second, and one in the third. The second actress and the second soprano can only have three, and the inferior characters must be satisfied with a single aria each, or two at the most. The author of the words must take care that two melancholy arias do not succeed one another. He must distribute with the same precaution the bravura arias, the arias of action, the inferior arias, and the minuets and rondeaus. He must, above all things, avoid giving impassioned arias, bravura arias, or rondeaus, to inferior characters. Over time, composers and librettists attempted to organize libretti so that arias had a more organic part in the drama rather than merely interrupting its flow. Nonetheless, show-stopping arias for star singers remained focal attractions, and they continued to play a major role in opera through the 19th and early 20th centuries.

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Today, we hear several contrasting examples from the vast aria repertoire, beginning with “Der Hölle Rache“ from Mozart’s final opera, Die Zauberflöte. Based on a fantastic tale crafted by librettist Emanuel Schikaneder, the opera is set in a mythical land between the sun and the moon inhabited by an assortment of creatures, serpents, and magical figures, along with the requisite star-crossed lovers, Tamino and Pamina, daughter of the Queen of the Night. In the opera’s second act, the Queen sings her signature aria, in which she displays vengeful rage towards her rival, Sarastro, and entreats Pamina to destroy him. This fiendishly difficult bravura showpiece, was originally sung by Mozart’s sister-in-law, soprano Josepha Hofer, and has remained a favorite of modern audiences. Lacking the darker elements of Die Zauberflöte, but cast in a similarly whimsical vain, is Dvorak’s Rusalka, drawn from the world of fairy tales and Czech mythology. As the opera opens, we are introduced to Rusalka, a water nymph, who has fallen in love with a handsome prince and wishes to become human in order to know the bliss of union with him. In “Song to the Moon” she expresses the secrets of her longing to her lunar confidant. By the middle of the 19th century such fantastic, complex, often incomprehensible libretti were being abandoned in favor of realistic stories that would resonate with contemporary audiences. This trend towards naturalism – verismo – was marked by melodramatic, often violent plots that had characters drawn from everyday life. One of the earliest examples is Verdi’s Rigoletto, a drama of political and sexual corruption so shocking that Victor Hugo’s Le roi s’amuse, the play on which it is based, was banned for 50 years after one performance. Verdi’s adaptation centers on Rigoletto, the hunchbacked court jester who attempts to protect his innocent daughter Gilda from the lecherous Duke of Mantua. In his famous aria, “La donna e mobile” the notoriously immoral Duke, laments the fickle nature of women while failing to recognize his own inconstancy. The catchy, playful, almost folk-like nature of the tune belies the serious consequences that are to result from the Duke’s cavalier nature and his deplorable treatment of his feminine conquests. Similar themes – the depictions of proletarian life, immorality and lawlessness, sexual promiscuity, and the tragic death of a main character on stage – are also explored in Bizet’s Carmen. A female version of Verdi’s Duke, Carmen is a seductress who toys with men. She lures the naïve soldier Don José away from his military duty as well his longtime lover, only to jilt him in favor of the suave, glamorous toreador, Escamillo. We are introduced to Escamillo in the famous aria, “Votre toast, je peux vos le rendre” or

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“Toreador Song.” As he recounts his escapades in the bullring, the seeds of Carmen’s betrayal of Don José – and her ultimate downfall – are planted. Perhaps the most famous of all verismo operas is La Boheme, Puccini’s heart-rending depiction of bohemian life in 19th century Paris. Though the plot focuses on the dying Mimi, Puccini’s story is multi-dimensional, dealing with issues of poverty, social injustice, and, once again, sexual impropriety. The latter is embodied in the character of Musetta, a poor, struggling singer who, by Act 2 has grown tired of her current lover, the elderly Alcindoro, and hopes to regain the affections of her former sweetheart, Marcello. In the risqué “Quando me’n vo” she toys with both men but succeeds in winning Marcello back. This happy interlude stands in stark contrast to the tragedy about to unfold in the ensuing scenes. While the extreme states of emotion and sober subjects of the verismo resonated with some audiences, the growing desire for a less serious form of operatic entertainment led to the development of the operetta in the mid-19th century. Operettas were relatively short, light works that tended towards comedy. Initially popularized in France by Jacques Offenbach, they were soon taken up by German composers including Johann Strauss II, Franz von Suppe, and, most notably, Franz Lehar. Lehar, a military bandmaster turned theatrical composer, found enormous success with a string of popular works including Das Land des Lächelns (The Land of Smiles) and Die lustige Witwe (The Merry Widow). The former relates the tale of Lisa, a young Viennese aristocrat, who marries a Chinese prince and accompanies him to his far-off kingdom. Unhappy in her strange new surroundings, she longs to return home, prompting Prince Sou-Chong to declare his undying love for her in the famous aria, “Dein ist mein ganzes Herz” (Yours is my heart alone”). Less exotic in its setting, but no less popular, is The Merry Widow, in which the citizens of the Grand Duchy of Pontevedro attempt to find a suitable Pontevedrian husband for the wealthy widow Hanna Glawari, thereby keeping her substantial fortune in the country and saving it from bankruptcy. The matchmaking machinations of the meddling locals are eventually brought to fruition as the typically madcap plot culminates in a final love duet (“The Merry Widow Waltz”) between Hanna and her new-found lover, Count Danilo. Just as Lehar was captivating Viennese audiences with sparkling operettas, Gilbert and Sullivan achieved a similar popularity in England with a string of beloved comic operas. W.W. Gilbert, who wrote the words, created fanciful “topsy-turvy” worlds for these operas where each absurdity is taken to its logical conclusion—fairies rub elbows with British lords, flirting is a capital offence, gondoliers ascend to the monarchy, and pirates turn out to be noblemen who have gone wrong. Arthur Sullivan composed the music, contributing memorable melodies that could convey both humor and pathos. Like Lehar, Sullivan wrote tunes that were unpretentious, attractive, and appealing – a far cry from the bravura showpieces and dramatically overwrought arias of previous operas. From The Mikado we hear the delightfully frivolous “Three Little Maids from School” followed by the “Major General’s Song” from The Pirates of Penzance, representing a specialty of Gilbert and Sullivan: the patter song. The light operas of Gilbert and Sullivan along with the operettas of Lehar and his cohorts, represent a midway point between opera and the Broadway musical. According to director Jeffrey Kin, “An operetta is the missing link between classic opera and contemporary musical theater - somewhere between the two, but not quite one or the other. Musical Theater and Opera

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The trend away from opera towards the musical was given a boost from clever lyrics written by talented wordsmiths such as P.G. Wodehouse, Cole Porter and Lorenz Hart. Suddenly we notice the words. Yet these lyrics of the 1920s draw attention themselves, rather than contributing towards character building. Only with Showboat did America’s first musical dramatist arrive on the scene. Jerome Kern and Oscar Hammerstein achieved what no previous musical managed: they built a coherent drama where music, words and story integrate. Hammerstein was soon teamed with composer Richard Rodgers, resulting in one of the most innovative, influential, and successful partnerships in the annals of American musical theater. Together they created a string of popular Broadway musicals in the 1940s and 1950s, initiating what is considered the “golden age” of musical theatre. Among the many accolades their shows (and film versions) garnered were thirty-four Tony Awards, fifteen Academy Awards, two Grammy Awards, and the Pulitzer Prize. The Pulitzer came for the 1950 hit South Pacific, one of the first shows of their mature period. Based on James Michener’s Tales of the South Pacific, it contains several songs that have become standards, including “Bali Ha’i,” “Younger than Springtime,” and “Some Enchanted Evening,” originally sung by Ezio Pinza to Mary Martin’s Nellie Forbush. Rodgers and Hammerstein’s final collaboration was The Sound of Music in 1959. The Sound of Music probably contains more hit songs than any other Rodgers and Hammerstein musical, including the title song, “Do-Re-Mi”, “My Favorite Things”, “Climb Ev’ry Mountain”, “So Long, Farewell” and “Sixteen Going on Seventeen,” and “Edelweiss,” the last song that Rodgers and Hammerstein wrote together. Robert Russell Bennett’s masterfully arranged several of these songs for full orchestra. Several heirs-apparent to the Rodgers and Hammerstein throne emerged in the 1950s-60s, including the teams of Alan Jay Lerner and Frederick Loewe and Bob Merrill and Jule Styne. Lerner and Loewe’s important shows include Brigadoon, Paint Your Wagon, Camelot, Gigi, and My Fair Lady. Adapted from George Bernard Shaw’s Pygmalion, My Fair Lady was a momentous hit, setting a record for the longest-running musical theater production in history. It was hailed by critics as “A felicitous blend of intellect, wit, rhythm and high spirits. A masterpiece of musical comedy, it ” contained such memorable songs as “I Could Have Danced All Night,” sung by heroine Eliza Doolittle as she expresses her exhilaration and excitement after an impromptu dance with her tutor Henry Higgins. Merrill and Styne’s Funny Girl, based on the life story of legendary entertainer Fanny Brice, helped launch the career of a then unknown Barbara Streisand. Her tour-de-force in Act 1, “Don’t Rain on My Parade” emerged as one of the show’s major hits. In 1957, the musical West Side Story, conceived, directed and choreographed by Jerome Robbins, with music by Leonard Bernstein and lyrics by Steven Sondheim brought the integration of song, dance, and drama to even greater levels. As a tragedy, it also challenged the appropriateness of calling the show a “musical comedy”, and helped begin the slow shift to calling the genre “musical theatre” or simply “musicals”. West Side Story updated Shakespeare’s story of warring Renaissance Italian families to New York City’s upper west side, and it demonstrated the racial hatred and gang violence of New York City in the 1950s, with a degree of realism and ultimate despair that had yet to be seen on the musical stage. Many of the show’s popular songs, including “I Feel Pretty,” “Maria,” “Tonight,” “One Hand One Heart,” and “America” are heard in Jack

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Mason’s arrangement for orchestra. Claude-Michel Schönberg has dealt with similar gritty subjects in Martin Guerre, Miss Saigon, and Les Misérables. “Bring Him Home” from the latter, is Jean Valjean’s impassioned plea to God to spare the youthful and idealist revolutionary, Marius, and return him to his lover, Cosette. Sung from beginning to end without spoken dialogue, Les Misérables once again seems to blur the line between musical theater and opera.

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In 2003 this trend was taken a step further with Adam Guettel’s Light in the Piazza, the story of a wealthy Southern woman and her daughter who spend a summer in Italy. The score breaks from the 21st century tradition of pop music on Broadway – established by shows such as Rent, Tommy, and the numerous scores of Andrew Lloyd Weber -- by moving into the territory of Neoromantic classical music and opera, with unexpected harmonic shifts and extended melodic structures, and it is more heavily orchestrated than most Broadway scores. Many of the lyrics are in Italian or broken English, as many of the characters are fluent only in Italian. Additionally, several of the songs are aria-like in TEit.RAn example is that they are static; they do not propel the action, rather they reflectNon the title song, “Light in the Piazza,” which is heard in the final act as daughter of Clara Eerupts NC in a torrent of feeling concerning the nature of love. LE

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BIOGR APHIES John Concepcion Lyric tenor John Concepcion, past recipient of The American Prize in Vocal Performance in Opera and a finalist in the Bel Canto Regional Voice Competition, is in constant demand as a performer, teacher and musical artist. He maintains a busy performance schedule on both the concert and operatic stages. Most notably, Lyric Opera of Chicago, Grant Park Symphony, Santa Fe Opera, Minnesota Orchestra, Milwaukee Symphony, Hawaii Symphony, Tulsa Opera, Cleveland Opera, Hawaii Opera Theatre, Portland Opera, Des Moines Metro Opera, and the Pine Mountain Music Festival. Recent appearances include Seven Deadly Sins with Grant Park Symphony, world premier of The Leader, with the Latino Music Festival in Chicago, West Suburban Symphony (Verdi’s Requiem, A Night of Lerner & Loewe and A Night of Rodgers & Hammerstein), and a series of recitals and Opera Gala performances, performed around the Chicago area. Currently a full-time chorus member at Lyric Opera of Chicago and the Grant Park Festival Chorus, John is also a member of the Advisory Board for The Center for Performing Arts at Governors State University in University Park, IL, where he initiated a popular series of operatic programs called “Opera UpClose”. Carla Janzen Soprano Carla Janzen is showing promise as an up and coming lyric soprano in opera, concert and recital performances throughout the United States. Ms. Janzen has performed extensively throughout the Chicago area including performances with Chicago Opera Theatre, Chicago

Folks Operetta, the Skokie Valley Symphony, New Millennium Orchestra, Access Contemporary Music, and also as a featured soloist with the Chicago Symphony Orchestra and Chorus in the beautiful Serenade to Music by Ralph Vaughn-Williams. Ms. Janzen has been featured as the soprano soloist in Handel’s Messiah and the Faure Requiem as well as in concerts of opera and operetta excerpts throughout the US and Germany. Her signature roles include Mimi in La Bohéme, Cio Cio San in Madama Butterfly, Fiordiligi in Cosi Fan Tutte, and Female Chorus in The Rape of Lucretia. In addition to her solo work, Ms. Janzen sings in the choruses of Lyric Opera Chicago, the Chicago Symphony Orchestra, and the Grant Park Symphony. A native of Bartlesville, Oklahoma, Ms. Janzen earned both her Bachelor’s and Master’s degrees at the University of Cincinnati CollegeConservatory of Music.  Bill McMurray With more than thirty operatic roles to his credit, Bill McMurray has been described by the Durham Herald Sun as, “a baritone with warm, rich tones and superb stage presence”. He has appeared as a concert soloist throughout the country and has achieved success in oratorio works such as The Messiah, which he recently recorded on CD, Elijah and the Mozart Requiem. In 2005 Bill sang the lead role of “Prospero” in Lee Hoiby’s The Tempest with Longleaf Opera in NC, while the composer himself was in attendance and he received outstanding reviews for his performance. He has also appeared in opera roles with Florida Grand Opera, Opera North, Knoxville Opera, The Opera Company of NC, Mobile Opera, Opera Carolina, Central City Opera, Chicago Opera Theater, Opera on the James and Elgin Opera where he has sung leading Musical Theater and Opera

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Curtain Call Join the Skokie Valley Symphony Orchestra for our 54th concert season – four concerts from October 2015 to April 2016 featuring the music of Beethoven, Brahms, Dvorak, Faure, Haydn, Mozart, Mussorgsky, Ravel, and Salieri. Call the Skokie Valley Orchestral Association office at 847.679.9501 x3014 to receive series details and subscription offers. Or, visit one of our ticket tables in the lobby today in order to receive even more savings!

Francesco Milioto, Music Director

For more information go to svso.org. 10

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roles such as Figaro, Escamillo, Dulcamara, Count Almaviva and Schaunard. Mr. McMurray has also performed several times with the Lyric Opera of Chicago’s “Opera in the Neighborhoods.” Bill recently traveled to Italy where he was a featured soloist at St Peter’s Basilica in Rome with the combined choirs of St John Cantius Church and St Joseph College. He also debuted with Harbor Country Opera in the role of Marcello in their production of La Boheme. Future engagements include the role of Dr. Dulcamara in L’elisir d’amore with Summer Garden Opera in Virginia, solo performances with the Ravinia Festival and his debut with both the Northwest Indiana Symphony and Chicago Civic Orchestra. Bill also sings regularly with the Grammy award winning Chicago Symphony Orchestra and Chorus where has also been featured as a soloist. Juliet Petrus Juliet Petrus, soprano, spends her time in opera and concert work worldwide and is thrilled to return with the SVSO and Maestro Milioto. Since her last appearance with the SVSO, Juliet made her Lincoln Center and Carnegie Hall debuts. Most recently, she made her premiere to great acclaim with the St. Louis Symphony singing the soprano solos in Carmina Burana, and her debut solo recital in Shanghai, China. Juliet has recently sung with Austin Lyric Opera in Texas (Queen of the Night) , Glimmerglass Opera (Eurydice, Orpheus in the Underwold, and La Musica, L’Orfeo), Michigan Opera Theatre (Mrs. Nordstrom, A Little Night Music; Giannetta, L’elisir d’amore), Union Avenue Opera, St. Louis (Galatea, Acis and Galatea). Juliet is also an accomplished violist and former musical theater

choreographer. When not singing Western repertoire, Juliet is in high demand singing in Chinese. She spent the summers of 2011 and 2012 with the I Sing International Program making her National Center for the Performing Arts debut in Beijing, as well as concerts in Tianjin, Suzhou, and on Hangzhou and Hunan TV. As a result of her study of Chinese music and language, in 2014, she was awarded a Confucius Institute scholarship to study Mandarin in Shanghai. She is preparing to record her solo debut album this May - a CD of Chinese and American art song, previously unrecorded by a Western artist. To support the CD and learn more about her passion for Chinese music, please visit igg.me/at/ julietpetrusCD. Emily Price Mezzo-soprano Emily Price is a graduate of Northwestern University and enjoys performing in opera, choral and musical theater productions. In Chicago she sings with Chicago a cappella, Grant Park Chorus, Music of the Baroque and the Lyric Opera. Internationally, she has performed in over 35 countries as a soloist with the Voices of Baha International Choir in venues such as Carnegie Hall, the Vienna Konzerthaus, and the National Theaters of Spain, Catalonia, and India. She has also performed with the Czech National Symphony, Budapest Symphony Orchestra, and the Warsaw Philharmonic. Favorite theater productions include the premiere of RESPECT! A Musical Journey of Women (Cuillo Center/CCPA) and Rona in The 25th Annual Putnam County Spelling Bee (Drury Lane Watertower). She can be heard on a number of recordings, including The Voices of Baha at Carnegie Hall and RESPECT! The Original Cast Album.

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F R A N C E S C O M I L I O TO, C O N D U C TO R A N D M U S I C D I R E C TO R Since his debut in Chicago just over a decade ago, Francesco Milioto 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 Co-founder/ Conductor of the New Millennium Orchestra, Music Director of the Skokie Valley Symphony Orchestra, Principal Conductor of the Highland Park Strings, and Artistic Director/Conductor of Access Contemporary Music. Mr. Milioto opened the 2014-15 concert season with a production of Macbeth by Bloch for Chicago Opera Theater, where he recently led successful productions of Giovanna d’Arco, The Emperor of Atlantis and The Clever One. Immediately following his work with COT, he returned to the Lyric Opera of Chicago as cover conductor for Sir Andrew Davis for Strauss’ Capriccio, as well as Puccini’s Tosca. As an assistant conductor, Mr. Milioto has worked at Ravinia Festival, Los Angeles Opera, Portland Opera, and Chicago Opera Theater. His duties have encompassed the roles of rehearsal pianist, prompter, coach, and chorus master. At Ravinia Festival, he has been involved in many opera, orchestral and recital projects, working alongside Daniel Barenboim, James Conlon, and several others. For Chicago Opera Theater, he worked as an asst. conductor/rehearsal pianist on both Jake Heggie’s Three Decembers and Peter Brook’s version of Bizet’s Carmen, before returning as asst. conductor/chorus master for Rossini’s Mosé in Egitto. Mr. Milioto served as first asst. conductor to both James Conlon and Patrick Summers with the Los Angeles Opera for Rigoletto and La Bohème. Now in his eighth season as Music Director of the Skokie Valley Symphony Orchestra, Mr. Milioto selected repertoire that featured special collaborations with guest soloists as well as other artistic ensembles.

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S K O K I E VA L L E Y S Y M P H O N Y O R C H E S T R A Violin 1 Jeff Yang, Concertmaster Fran Sherman Margarita Solomensky Iris Seitz Wally Pok Hon Yu Venus Fu Vitaly Briskin Henry Zheng

Cello Alyson Berger, Principal Daniel Kaler, Mittenthal Chair Howard Miller Mike Taber Steve Turini Marcia Chessick Bonnie Malmed

Violin 2 Michael Kleinerman, Principal David Ratner Iris Turk Mary Stoltz Nataliya Temkova Nona Lee Joe O’Leary

Bass Doug Johnson, Principal Douglas Bistrow Haley De Boom Bev Schiltz

Viola Bruno Vaz DaSilva, Principal Dr. Lee Malmed Chair Michael Rozental Jason Rosen Lee Malmed Sara Morrow Omar Maradiaga

Flute Karen Frost, Principal Barbara Holland Sandra Rowland Clarinet Walter Grabner, Principal Alessandro Tenorio Bucci Bass clarinet Scott Thomas Oboe Jennifer Stucki, Principal Kelsey O’Brien Bassoon Beth Heller, Principal Jennifer Speer

Trumpet Brian Bean, Principal Kelly Dennis Evan Foley Horn Matthew Oliphant, Principal Jack Shankman Chair Ericka Hollenback Colin Bianchi Matthew James Trombone Adina Salmansohn, Principal Tom Park Bass Trombone Antonio Portela Tuba Beth Lodal Harp Phyllis Adams Timpani Jonathan Goldstein Percussion Barry Grossman Emily Saltz

C H A I R E N D OWM E N T A N D S P O N S O R S H I P S Kathryn J. Canny, Chair Endowment – Concertmaster Chair The Leo Krakow Community Endowment Fund – Concert Elizabeth and E. Harris Krawitz Endowment – Concert Harvey E. Mittenthal Scholarship Fund – Mittenthal String Chair Rice Young People’s Endowment Fund/ North Shore Center for the Performing Arts in Skokie Foundation Charles and Cyd Sandleman Chair Endowment – Assistant Concertmaster Chair

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2 014 - 2 015 S V S O D O N AT I O N S Sustaining: $2500+ Kathryn J. Canny Dr. Lee & Bonnie Malmed Niles Township The Pauls Foundation Rice Young People’s Endowment Fund/ North Shore Center for the Performing Arts in Skokie Foundation The Village of Skokie Benefactor: $1,000 $2,499 Steve & Toni Rosen Patron: $500 - $999 Steven Jay Blutza, Ph.D. Melissa Malmed IHO of Bonnie & Lee Malmed Jack Shankman Mrs. Ruth Sharps Sponsors: $250 - $499 John Alberts Alexis Douglas Karen Frost and Walter Grabner Heather Hill Carol & Roger Hirsch Randy Micheletti Ethel Mittenthal Richard A. Mittenthal

Mr. & Mrs. Thomas Rice Adina Salmansohn Michael Vaughn Maureen Wheeler Donors: $100 - $249 Mark Barats Dr. & Mrs. Richard Chessick Bernard & Marilyn Friedman Paul Goodworth Sandor Jankovich Esther Sabbah Korn Eleanor Parker Ronald & Shirley Pregozen George Rimnac Mr. & Mrs. Henry Rosenbaum Milton Salmansohn Dolores Silverman, IHO grandson Jason Rosen Thelma Skaletsky Janet Thau, in honor of Barry Grossman Peter P. Thomas

Friends: $25 - $99 Chris Aleman Ada Barach Robert B. Calvert & Valerie Simosko Sherwin Chapman Maurice & Ruth Ettelson Farr-Rutili Group IHO Lee Malmed’s Birthday Arlene Golub Sue Ellen Klark Rochelle Magid Jerome & Lillian Mann Edward S. Merkin Sima Miller Michael Modica Joseph Ott Susan & Pat Pastin Judy Rosenbaum Lorraine Rosenberg Leonard & Sheila Savitt Carol Schreier Rhoda & Larry Schuman Valentine Shashoua Dolores & Warner Strauss Anita Stein Florence T. Stein Genevieve Szajnecki Suzanne Tish Sadell Tobin Merle Warshausky Janice Ross & Martin Zabin

SUPPORTING THE SYMPHONY The concert you hear today is made possible by the generous donors you see listed in our program. To find out how you can contribute, please contact the SVSO office or go to our website at www.svso.org

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2 014 - 2 015 B OA R D O F D I R E C TO R S John Alberts, President, Development & Executive Committee Chair Steven Jay Blutza, Ph.D., Vice President & Operations Committee Chair Heather Hill, Secretary & Community Relations Committee Chair Maureen Wheeler, CPA, Treasurer & Chair of Finance Committee Alexis Douglas, Communications Committee Chair Roger Hirsch Randy Micheletti, Board Development Chair Ethel Mittenthal Adina Salmansohn, Music & Personnel Committee Chair Dave Southern, Marketing & Audience Development Chair Jodi Santeford Michael Vaughn, Ph.D., Programming Committee Chair Directors Emeritus Kathryn J. Canny, Past President Karen L. Frost  Bonnie Malmed  Lee Malmed, Past President  Honorary Board Members Barbara Brown Lucinda Kasperson Thomas Rosenwein J.D. Jack Shankman, J.D. Francesco Milioto, Conductor and Music Director Valerie Simosko, Office Manager Alison Tatum, Orchestra Librarian Office address: 9501 Skokie Blvd., Skokie, IL 60077 Phone: 847-679-9501 x3014 SVSO Office E-mail: [email protected] Website: www.svso.org Denotes member of the orchestra Musical Theater and Opera

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