Pacific Symphony • 1

Claudedebussy syrinx,l129 (1862–1918) Benjamin Smolen

Claudedebussy PremièreRhapsodie,l116 (1862–1918) Benjamin Lulich Orli Shaham

MauRiCeRavel ChansonsMadécasses,Op.78 (1875–1937) Nahandove aoua ilestdoux Benjamin Smolen Timothy Landauer Susana Poretsky Orli Shaham

GabRielFauRé PianoQuartetNo.1inCMinor,Op.15 (1845–1924) Raymond Kobler Robert Becker Timothy Landauer Orli Shaham

iNTeRMissiON

Feb.12SEGERSTROM CENTER FOR THE ARTS

samueliTheaterConcertbeginsat3p.m.

chamber series

presents

Orli Shaham•PiaNOaNdhOsT|Benjamin SmOlen•FluTeBenjamin lulich•ClaRiNeT|raymOnd KOBler•viOliN|rOBert BecKer•viOla

timOthy landauer•CellO|SuSana POretSKy•MezzO-sOPRaNO

2011–2012 CAFÉ LUDWIG CHAMbER SERIES

2 • Pacific Symphony

N O T e s by michael clive

FRENCH IMPRESSIONS

Thatsound!Thatsinuous,sensuous,seductiveFrenchsound.WhatisitaboutFrenchclassicalmusicofthelate19thandearly20thcenturiesthatmakesitsodistinctivelyFrench?

datesalonetellmuchofthestory.ClaudedebussyandMauriceRavel,theanchorcomposersoftheimpressionistmovementinFrenchmusic,werebornin1862and1875,respectively,andbothsurvivedwellintothe20thcentury.Theywereexperimenterswhosoughttofindnewmodesofmusicalexpressionatatimewhenmusicwasbeingtransformed.RichardWagner,TheComposerWhoChangedeverything,wasbornalmost50yearsearlierthandebussy;bythetimethenewcenturydawned,thesecondvienneseschoolwouldshocktheworldwithitsexplorationsofatonalityandserialism.ThoughGabrielFauréwassomewhatolder(bornin1845),allthreematuredinamusicalworldinflux.

bycontrast,Gounodandsaint-saëns—thegrandoldmenoftheFrencholdguardinclassicalcomposition—werebornnotlongafterWagner(1818and1835,respectively).TheywereactiveatthesametimeasWagner,butworkedoutsidetheinfluenceofhisrevolutionaryideas.somecriticswouldcontendthattheywerelookingbackwardswhileWagnerwasattheheightofhispowers,duringtheveryyearswhendebussyandRavelwereprodigiesabsorbingthemusicaroundthem.bythetimetheybegantheiradvancedmusicaleducationWagnerhaddied,buthisimpactwaseverywhere;themusicalworldseemedtobesayingadieutoRomanticism,andmodernismlaydeadahead.atthesametime,startinginthe1870s,impressionismwasrockingthefoundationsofFrenchpainting.

Nowhereinthemusicalworld—notinvienna,oranywhereelse—isthetrainingmorerigorousorstyle-consciousthaninParis.debussyandRavel,liketheirpredecessorsinFrenchcomposition,hadgreatreservesoftheoryandtechniquetodrawupon,andtheirworksexhibitthetraditionalFrenchvirtuesofelegance,economyofexpressionandasuperbsenseoforchestralcolor.buttheysetoutinnewdirectionswhenitcametotheuseofmodes,harmonies,rhythmsandexoticethnicinfluences.Theirdeploymentofnewscalesandcrystallineharmoniesinthecreationoftranslucenteffectshasforeverlinkedthemwiththeimpressionistpainters.JustasthegenerationofpaintersnurturedbyCamillePissarro—onceconsidereddaringlyexperimental—dazzletoday’sviewerswiththeirexpressiveness,sodebussyandRavelequippedagenerationofFrenchcomposerstobringimpressionismintomusic,andequippedtherestofustolisten.

Thestylisticparallelsarestriking:whileimpressionistpaintersseemedtorecreatetheworldthroughcolorandlightratherthanthesolidityofobjects,impressionistcomposersfoundnewwaystocreatesensualeffectssuffusedwithlight,textureandmotion.Theyseemtodomorewithless,conjuringshimmeringtexturesandcontourswithastonishingdelicacyofmeans.Thescalesandintervalscansoundunfamiliaratfirst,buttheyquicklyseducetheear.

CriticalconsensusholdsthatGabrielFauréisnotquiteanimpressionistcomposer,butratheralate-Romanticmaster.still,hewasprogressiveenoughtobeinfluencedbytheemergenceofimpressionisminhismusic,whichdisplaysanappealingmixtureofnewfreedomandtraditionaltechnique.

Syrinx, L129

D ebussycomposedSyrinxin1913asincidentalmusictobeplayedoffstageduringPsyché,aplaybyGabrielMourey.ThetitlereferencesanymphpursuedbyPan,thewoodsy

classicalgodwhowasneverwithouthispipesandhisinsatiablelibido.infact,theplaywasoriginallytobecalledFlûte de Pan,whichsupportsdebussy’schoiceoftheinstrumentasacentraldramaticelementintheplay.unfortunately,Mourey’splaywasnevercompleted.

Wethinkofgods,nymphsandflutes,withtheirbreathysensuality,asfiguringprominentlyindebussy’smusic—especiallyinthefamousintroductiontohisApres midi d’un faune.soitisremarkabletoconsiderthatSyrinxwasthefirstmajorworkforsoloflutewrittensinceC.P.e.bach’ssonatainaminor,whichdatesbackto1763,precedingdebussy’sworkbyacenturyandahalf.Thoughtheplaywasneverfullyproduced,debussy’smusicvividlycapturesitsmagical,eroticqualitiesinamusicalnarrativeinwhichtheirasciblePanisattractedtosyrinx,abeautifulnymphwhoisloyaltoartemisthehunter.afterfailingtowooher,hechaseshertoariverbankwhere,strandedbetweentheamorousPanandtherushingwaters,shecallsouttoherfriendsforhelp.Rescuedbyfaithfulwaternymphs,syrinxleavesthebereftPanwithabreathtakingimage:justashebelieveshehasherwithinhisembrace,heisleftwithonlyanarmfulofreeds.

unaccompaniedworksforsolofluteremainscarce,andSyrinxisthefirstsuchcompositionforthemoderntransverseflute.inthisworkaswellastheopeningbarsofApres midi —onearhapsodic,self-containedcomposition,theotherasolopassagelastingmereseconds—debussyputsthefluteatthecenterofanintenselyromanticdramathataffordstheflutistroomforinterpretivefreedomandvirtuosicdisplay;infact,itisunclearwhethertheoriginalperformingedition’sbarlinesandbreathmarkswereprovidedbydebussyhimself,orlefttothesoloist’sdiscretionandaddedlaterby

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Pacific Symphony • 3

N O T e sflutistMarcelMoyseorthework’sdedicatee,louisFleury.

eitherway,Syrinxisacornerstoneofthemodernfluterepertory.itsetherealairofenchantmentisachievedthroughrelaxed,pliantrhythms,softlycontouredlines,andambiguousharmoniesthatsuggesttoneandmoodwithouteverquiteresolving.indeed,debussymightwellhavehadSyrinxinmindwhenhewrote,“myfavoritemusicisthosefewnotesanegyptianshepherdplaysonhisflute:heisapartofthelandscapearoundhim,andheknowsharmoniesthataren’tinourbooks.”

suchcommentscanmakethemagicalqualitiesofdebussy’snarrativesoundeasy,buttheyareachievedonlywithprecise,sophisticatedcraft.PartofSyrinx’sexoticismstemsfromdebussy’sextensiveuseofthewhole-tone,or“perfect”scaleconsistingonlyofsevenwholestepsperoctave.youcantrythisathomeonyourpianokeyboardbyplaying,forexample,C/d/e/F-sharp/G-sharp/a-sharp/C.asalittlemoreexperimentationwillprove,thishighlyemotivescale,whichlackssimpleintervalssuchasfifths,isdevilishlydifficulttoworkwith.

Première Rhapsodie, L116

T houghitisrelativelybriefandintimatelyscaled,thismasterlychamberwork—writtenasanexaminationpiecefortheParisConservatory—signalsdebussy’srising

internationalsuccessasacomposer.

Theyearsjustprecedingdebussy’scompositionoftherhapsodyin1910,whenhewasinhismid-40s,wereaperiodofmatureartistryandmajorcompositionforthecomposer.hismostimportantbreakthroughasacomposercamein1909,when—havingbeencoollyreceivedatits1902premieresevenyearsearlier—hisoperaPelléas et MélisandewasrapturouslyreceivedatCoventGarden,whereitwasrecognizedasanimportantmasterpiece.FollowingsuccessfulperformancesofLa merandL’après-midi d’une faunethepreviousyear,thesuccessofhisgreatoperaconfirmeddebussy’sstatusasacomposerofinternationalstature.

hisstrongertiestotheprestigiousandstatus-consciousParisConservatorywerearesultofthisgrowingrecognition,andthePremière rhapsodieforclarinetandpianoarosefromthehappycircumstanceofhisappointmenttotheboardofdirectorsoftheParisConservatorybyitsdirector,GabrielFauré.asadirector,debussywasimmediatelyfacedwiththeresponsibilityofcomposingtwoworksforthefollowingyear’sclarinetexaminations,andtherhapsodywaswrittentosatisfythisdemand.itwasusedintheexaminationsinthesummerof1910initsoriginalpiano-and-clarinetscoring.debussy’sfascinatingcommentariessurviveregardingboththeperformancesandthequalityofthecompositionitself,andhisseriousnessonthesesubjectsindicatesthesubstantialeffortthatbothcomposerandpupilslavishedonthiscommission.

“Theclarinetcompetitionwentextremelywell,”hewrotetohiseditorJacquesdurand,“andtojudgebytheexpressionsonthefacesofmycolleagues,therhapsodywasasuccess…Oneofthecandidates,vandercruyssen,playeditbyheartandverymusically.

Therestwerestraightforwardandnondescript.”Thefollowingyeardebussypublishedhisownorchestratedversionoftherhapsodyinthefamiliarperformingeditionweknowtoday,anduponhearingitspremiereperformancebyclarinetistProsperMimart,themaestrodeclareditoneofthemostpleasingpieceshehadeverwritten.

Thoughthedesignation“premiere”suggestsheintendedtowriteanothersuchrhapsody,andperhapsmorethanone,hedidnotsurvivetofulfillthisambition.

Chansons Madécasses, Op. 78

O neofthegloriesofimpressionistmusicisitsdazzlinglydescriptivetone-paintingofforeignlocationsandexoticclimes.MauriceRavel,ofcourse,lovedsunlitlandscapes

andseemedtohavespaininhisblood.butthisremarkablesuiteofsongs,scoredforvoice,flute,celloandpiano,issetinamoredistant,southerly,andartisticallychallenginglocation:Madagascar.Theexoticismoftheafricanisland-nation’slocationnotonlyengagesRavel’spowersofatmosphericdescription,butalsoseemstoengageasenseofFrance’shistoryasacolonialpower;thesettingrepresentsboththespecificenvironmentofMadagascarandthegeneralsenseofthelessdeveloped,colonializedlocalecoloredbyakindofgeneralizedethnicexoticism.Thetexts,adaptedfromthe18th-centuryCreolepoetevariste-désirédeParny,seemtoconfirmthisview—especiallyinthesecondsong,whichexpressesarathermodernanti-colonialfeelingandhasbeencalleda“cryforfreedom”bymorethanonecritic.

Whateverelsetheymaybe,thesesongsarebeautiful.Oftenliquidandlanguorous,theyevokeastrongsenseofplaceyetstandontheirownasartsongs.TheymayalsorankamongRavel’smostprogressivecompositions,atleastjudgingfromhisownassessment.“iamquiteconsciousofthefactthatmyChansons madécassesare

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4 • Pacific Symphony

N O T e sinnowayschoenbergian,”hesaidofthem,referencingthegiantofviennesemodernismandatonality.“butidonotknowwhetherishouldhavebeenabletowritethemhadschoenbergneverwritten.”

Piano Quartet No. 2

G abrielFauréwrotetwochamberworksintheconventionalcombinationofpiano,violin,violaandcello.Ofthese,hisNo.1inCminorisbyfarthemorewidelyadmired

andprogrammed.despiteitsminorkeysignature,apositivetonepredominatesinthiswork,withmajor-keydevelopmentsandanoverallqualityofwarm,dreamylyricism.

Faure’sworkonthequartetcoincidedwithhiseffortfulcourtshipofMarieanneviardot,daughterofthecelebratedoperastarPaulineviardot:hebeganthequartetinthesummerof1876andbecameengagedtoMarieannein1877,afterwooingherforfiveyears.buttheirengagementwasseveredafteronlyfourmonths,andevidenceofitsemotionaltolliscitedbysomeanalystsofthequartet.

PerhapsonlyhistherapistcouldhearFaure’slovelifeinthequartet,buthismusicalinfluencesseemlessuncertain.CriticscitetheverydisparatefiguresofsaintsaënsandbrahmsfortheirimpactonFauré—saint-saënsforhislimitlessinvention,superbcraftandFrenchstyle;andtheveryun-Gallicbrahmsfortheorganic,flowingqualityofhischambermusicandhisstructuralmastery.TheimpactofRavelanddebussywasyettobefelt(RavelwasbornjustayearbeforeFaurébegancomposingthequartet).

NocritichassurpassedCarldahlhaus’descriptionofthequartet’sfirstmovement,withits“almostopulentcantabileandextremerefinementoftexture.”Theflowingfirstthemecontrastswithasecondthemewithlightlystressedoff-beats.inthesecondmovement,abuoyantscherzomarkedallegrovivo,Fauréallows

hisinstrumentaliststoindulgeinabitofshowingoff:thescherzobalancesthemoreunderstatedpassagesofthequartetwithbrilliantlyvirtuosicwriting—rapidarticulationsofpizzicatoandbowednotes.

Followingtheenergeticgoodcheerofthesecondmovementcomesanadagiopervadedwithsadnessconveyedthroughtruncatedharmonicprogressionsandascendingmelodicfragmentsthatseemtoexpressunfulfilledyearning.isthisthelamentoftherejectedlover?ThecriticstephenJohnsonthinksso,assertingthatthemovementprovides“morethanahint”ofFaure’sresponsetohisbrokenengagement.buthenotesthat“theemotionisalwaysnoblyrestrained,withnoteventheslightesthintofself-indulgence.”andFauréreturnstohismoreupbeatemotionalforminthebriskfinalmovement,inwhichtheinitialtheme,introducedinCminor,isunitedwithasecondthemethatresolvesinCmajor,concludingthequartetonanaffirmativenote.

Michael Clive is editor-in-chief of the Santa Fe Opera and blogs as The Operahound for Classical TV.com.

Be our friend! Facebook • Twitter • www.PacificSymphony.org

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DON’T MISS OUR FINAL CAFÉ LUDWIG CONCERT OF THE 2011-12 SEASON!

Czech Matesunday,May13,2012,3p.m.

Orlishaham-pianoRaymondKobler-violin•bridgetdolkas-violinRobertbecker-viola•Timothylandauer-cello

Janácek:Pohadka(FairyTale)Martinu:ThreeMadrigalsdvorák:Quintet

Janácekwrote“Pohádka”inhisearly60s,beginningaperiodofrenewedproductivitythatresultedinseveralmasterpieces.Martinualsowroteanumberofexquisitepieces,amongthem“ThreeMadrigals.”dvorák,renownedforhissymphoniesandconcertos,alsowrotedelightfulchambermusicandwassurelyaninspirationtohiscountrymen.

Pacific Symphony • 5

meet the guest artists

Aconsummatemusicianrecognizedforhergrace,subtletyandvitality,Orlishahamhasestablishedanimpressiveinternationalreputationasoneoftoday’smostgiftedpianists.hailedbycriticsonfourcontinents,shahamisindemandforherprodigiousskillsand

admiredforherinterpretationsofbothstandardandmodernrepertoire.The St. Louis Post-Dispatchrecentlypraisedher“wit,passion,delicacyandhumor,”andlondon’sGuardianhascalledshaham’splaying“perfection.”

shahamhasperformedwithmostmajororchestrasintheunitedstates,aswellaswiththebbCsymphonyOrchestra,Filarmonicadellascala,israelPhilharmonicOrchestra,stockholmPhilharmonicandthesydneysymphonyOrchestra,amongothers.sheisafrequentguestatnumeroussummerfestivalsfromMostlyMozarttoverbier,andhasgivenrecitalsatCarnegiehall,TheKennedyCenter,amsterdam’sConcertgebouw,andmanymorearoundtheworld.shehasworkedwithmanyeminentconductorsincludingsirNevilleMarriner,sirRogerNorrington,Christopherhogwood,davidRobertson,Wolfgangsawallisch,leonardslatkin,RobertspanoandGerardschwarz.

shaham’sinternationalperformanceschedulein2011-12includestheworldpremiereofapianoconcertowrittenforherbystevenMackey,withthest.louissymphonyconductedbydavidRobertson.shahamreleasesthreenewrecordingsin2011-2012:aCdofhebrewMelodies(CanaryClassics),recordedwithherbrother,theviolinistGilshaham;arecordingofthebrahmshornTrioandschubert’slied“aufdemstrom”(albany)featuringRichardKing;andsaint-saëns’“Carnivaloftheanimals”withpianistJonKimuraParkerandthesandiegosymphony(sandiegosymphony).alsoin2011-2012,shahambeginsanewroleashostofthepublicradioseriesamerica’sMusicFestivals,atwo-hourweeklyprogrambroadcastonmorethan100stations.

shaham’shighlyacclaimedclassicalconcertseriesforyoungchildren,“babyGotbach,”continuesinNewyorkCityandaroundthecountry.Forpreschoolers,“babyGotbach”provideshands-onactivitieswithmusicalinstrumentsandconceptsandconcertperformancesthatpromotegoodlisteningskills.

drivenbyapassiontobringclassicalmusictonewaudiences,shahammaintainsanactiveparallelcareerasarespectedbroadcaster,musicwriterandlecturer.in2005,shebeganacollaborationwithClassicalPublicRadioNetworkasthehostof“dial-a-Musician,”afeatureshecreatedespeciallyfortheradionetwork.herprogramhostedover60guestsincludingcomposerJohnadams,pianistsemanuelaxandsopranoChristinebrewer.shahamhastaughtmusicliteratureatColumbiauniversity,andcontributedarticlestoPiano Today, Symphony,andPlaybillmagazinesandNPR’sdeceptiveCadenceblog.shahamhasservedasartistinresidenceonNationalPublicRadio’sPerformance Today.

shahamwasrecognizedearlyforherprodigioustalents.shereceivedherfirstscholarshipformusicalstudyfromtheamerica-israelCulturalFoundationatagefivetostudywithluisayoffeattheRubinacademyofMusicinJerusalem.byage7,shetraveledtoNewyorkwithherfamilytobeginstudywithNancystessin,andbecameascholarshipstudentofherbertstessinatTheJuilliardschoolayearlater.shehasalsowontheGilmoreyoungartistawardandtheaveryFisherCareerGrant,twoprestigiousprizesgiventofurtherthedevelopmentofoutstandingtalent.inadditiontohermusicaleducation,shahamholdsadegreeinhistoryfromColumbiauniversity.shahamlivesinNewyorkandst.louiswithherhusband,conductordavidRobertson,college-agestepsonsPeterandJonathan,andpreschooltwinsNathanandalex.

ORLI SHAHAMPiaNOaNdhOsT

O R l i meet the host

6 • Pacific Symphony

B enjaminsmolenwasappointedprincipalflutistofPacificsymphonyinseptember2011.sincebeginninghisstudiesattheageof10inCharlotte,NorthCarolina,hehaswontopprizesatthehaynesinternationalFluteCompetition,theJamesPappoutsakis

MemorialFluteCompetitionandtheNewyorkFluteClubyoungartistCompetition.hehasalsogivensoloperformanceswiththePrincetonuniversityOrchestra,CharlotteCivicandyouthOrchestras,GardnerWebbsymphonyOrchestra,andonNationalPublicRadio’sFrom the Top withpianistChristopherO’Riley.hisperformanceshavebeenfeaturedonNPR,WGbh-boston,FrenchNationalRadio,andtheNaxosandModerecordlabels.duringthesummer,smolenhasparticipatedintheManchesterMusicFestival,theamericaninstituteofMusicalstudiesFestivalOrchestrainGraz,andtwiceasafellowattheTanglewoodMusicCenter.

smolencompletedhisundergraduatestudiesinthemusicandslavicdepartmentsatPrincetonuniversity,duringwhichtimehealsocompletedaperformancediplomaattheMoscowTchaikovskyConservatory.hesubsequentlyearnedamasterofmusicdegreeinfluteperformanceattheNewenglandConservatoryandaperformancecertificatefromtheuniversityofMichigan.hisprimaryteachersincludePaulaRobison,MichaelParloff,amyPorter,JaynRosenfeldandJenniferdior.

B enjaminlulichwasappointedprincipalclarinetofPacificsymphonyinMayof2007.hehasalsoperformedwiththelosangelesPhilharmonic,TheClevelandOrchestra,KansasCitysymphonyandtheiRisChamberOrchestra.anavidchambermusician,lulichhas

appearedonPacificsymphony’sCaféludwigseriesandhasbeenaguestartistforchambermusicatazusaPacificuniversity,Chapmanuniversity,CaliforniastateuniversityFullerton,anduCla.alsointerestedinnewmusic,lulichwasamemberofthesecondinstrumentalunit,acontemporarymusicensemblebasedinNewyorkCity,wherehetookpartinaconcerthonoringMiltonbabbittatCarnegiehall’sWeillRecitalhall.lulichhaswonconcertocompetitionsattheClevelandinstituteofMusic,interlochenartsacademy,MarrowstoneMusicFestivalandtwiceatMusicacademyoftheWest.hehasalsoperformedforrecordalbumsandfilmscores,includingWater for ElephantsandThe Tourist.lulichoccupiesthehansonFamilyFoundationChair.

V iolinistRaymondKoblerwasappointedconcertmasterofPacificsymphonyin1999.duringhisillustriouscareerhehasappearedassoloistonnumerousoccasionswiththeClevelandOrchestra,baltimoresymphony,zurichChamberOrchestraandsanFrancisco

symphony.inthiscapacity,hehascollaboratedwithsuchconductorsasandréPrevin,lorinMaazel,sirNevilleMarriner,leonardslatkin,Christopheschenbach,NeemiJärvi,andherbertblomstedt.atthefestivitiessurroundingtheopeningofdaviessymphonyhallinsanFranciscoin1980,heperformedthebachdoubleConcertowithyehudiMenuhin.in1995,KoblerwasappointedbysirGeorgsoltitobeconcertmasteroftheWorldOrchestraforPeace,anensemblecomprisedofconcertmastersandprincipalmusiciansfrommajororchestrasaroundtheglobe.KobleroccupiestheeleanorandMichaelGordonChair.

bENjAMIN SMOLENFluTe

bENjAMIN LULICHClaRiNeT

RAyMOND KObLERviOliN

a b O u T the symphony musicians

Pacific Symphony • 7

P rincipalviolaofPacificsymphonysince1982,Robertbeckerwasrecentlyappointedtothepositionoffull-timedirectorofstringstudiesatChapmanuniversity’sConservatoryofMusic.internationallyknownasapedagogueoftheviolaandchambermusicand

founderoftheviolaWorkoutinCrestedbutte,Colo.,heisdedicatedtothetrainingofyoungviolistsandstringplayersforafuturecareerinperforming,teaching,chambermusicandorchestralplaying.

ContinuinghistenureasprincipalviolaofPacificsymphony,heservedasprincipalandsoloviolaforamericanballetTheatre’sWestCoastperformancesatdorothyChandlerPavillionandsegerstromCenterfortheartsin2009-10.beckeroccupiestheCatherineandJamesemmiChair.

P acificsymphonyprincipalcellistTimothylandauerwashailed“acellistofextraordinarygifts”byThe New York TimeswhenhewonthecovetedConcertartistsGuildinternationalawardin1983inNewyork.landaueristhewinnerofnumerous

prestigiousprizesandawards,amongthemtheyoungMusiciansFoundation’sNationalGregorPiatigorskyMemorialCelloaward,thesamuelapplebaumGrandPrizeoftheNationalsoloCompetitionoftheamericanstringTeacher’sassociationandthe1984hammer-Rostropovichscholarshipaward.landauer’sextensiveengagementsincludehishighlyacclaimedrecitalsatCarnegieRecitalhall,theambassadorauditoriuminlosangeles,theOrfordartsCenterinMontreal,theCityhallTheaterinhongKongandinhanover,Germany.

H ailedbytheSan Francisco Chronicleforhavingavoiceof“extraordinarypassionandpower”andher“grandbutemotionallytransparent”characterizations,susanaPoretsky’sfutureengagementsincludeareturntosandiegoOperaasFenenain

Nabuccoandperformancesofverdi’sRequiemwiththeWashingtonChorus.shealsojoinsthesanFranciscoballetforleoniddesyatnikov’sRussian SeasonsasapartofalexeiRatmansky’sDiamond Project,aworkshepremieredinthe2005-06seasonandreprisedthefollowingseasonwiththeNewyorkCityballet.inthe2007-08season,shereturnedtotheroleofPaulineinPique DameatthesaitoKinenFestivalunderthebatonofseijiOzawaaswellassangannainMaria StuardawithsandiegoOpera.shealsojoinedtheRoyaldanishballettoreprisehersought-afterperformancesofleoniddesyatnikov’sRussian Seasons.

RObERT bECKERviOla

TIMOTHy LANDAUERCellO

a b O u T the symphony musicians

SUSANA PORETSKyMezzO-sOPRaNO