st. louis symphony broadcast program, may 11, 2013

7/30/2019 St. Louis Symphony Broadcast Program, May 11, 2013

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CONCERT PROGRAMMay 9-12, 2013

David Robertson, conductor

Susanna Phillips, soprano

Kelley OConnor, mezzo-soprano

Joseph Kaiser, tenorCorey McKern, baritone

St. Louis Symphony Chorus

Amy Kaiser, director

BRUCKNER Motet: Christus factus est (1884) (1824-1896)

St. Louis Symphony Chorus


Performed without pause

BERG Act III fromWozzeck, op. 7 (1917-22) (1885-1935)

Scene 1: Maries roomScene 2: Forest path by a poolScene 3: A low tavern

Scene 4: Forest path by a poolScene 5: Street beore Maries door

Corey McKern, baritone (Wozzeck)Susanna Phillips, soprano (Marie)Kelley OConnor, mezzo-soprano (Margret)Keith Boyer, tenor (Hauptmann)Mark Freiman, bass (Doktor)St. Louis Symphony Chorus


INTERMISSION

BEETHOVEN Symphony No. 9 in D minor, op. 125 (1822-24)(1770-1827)

Allegro ma non troppo, un poco maestosoMolto vivace

Adagio molto e cantabilePresto; Allegro assai

Susanna Phillips, sopranoKelley OConnor, mezzo-sopranoJoseph Kaiser, tenorCorey McKern, baritoneSt. Louis Symphony Chorus



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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Amy Kaiser is the AT&T Foundation Chair.

The concert of Thursday, May 9, is underwritten in part by a generous gift fromMr. and Mrs. Walter L. Hawkins, Jr.

The concert of Friday, May 10, is made possible with support from Merrill Lynch.

The concert of Friday, May 10, is underwritten in part by a generous gift fromKaren and Bert Condie III.

The concert of Saturday, May 11, is underwritten in part by a generous gift fromMr. and Mrs. Stuart A. Keck.

The concert of Sunday, May 12, is underwritten in part by a generous gift fromMr. Richard G. Engelsmann.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are presented by the Thomas A. Kooyumjian Family Foundation.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of MosbyBuilding Arts and are located at the Customer Service table in the foyer.


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TIMELINKS

1822-24BEETHOVENSymphony No. 9 inD minor, op. 125Romantic English poet

Percy Shelley drowns inItaly

1884BRUCKNERMotet: Christusfactus estEdgar Degas begins serieso paintings o dancers

1917-22BERGAct III fromWozzeck, op. 7Germany suers deeatin World War I

Vienna, whose musical legacy to the world is

the focus of nine programs performed by the St.Louis Symphony this season, was home to someof the worlds great composers for more than150 years. At no time during this period was theAustrian capital musically still. However, it wasparticularly important at three times. The rstcame during the decades around 1800, whenHaydn, Mozart, Beethoven, and Schubert wereactive there. Toward the end of the 19th century,

the presence of Brahms and Bruckner revivedViennas standing as a center of compositionalcreativity. Finally, the early decades of the 20thcentury saw the emergence of what becameknown as the Second Viennese School, whosenotable members included Alban Berg.

Our program includes work from each ofthese periods of Viennese musical eforescence.

Anton Bruckners motet Christus factus est isan intimate piece by a composer best known forhis mighty symphonies. Alban Berg used theradically new harmonic language of the SecondViennese School to compose searing operas.His masterpiece is Wozzeck, and its third actmarries a haunting scenario to ingeniousmusical invention.

In contrast to both the orthodox piety of

Christus factus est and the tragedy ofWozzeck,Beethovens Symphony No. 9 is a magnicentexpression of humanist hope and aspiration.Beginning with intimations of struggle, the workmoves inexorably toward its jubilant conclusion,where instruments alone no longer sufce toexpress Beethovens sense of joy.

VIENNA IN TWO CENTURIESBY PAUL SCHIAVO


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ANTON BRUCKNERMotet: Christus factus est

OLD AND NEW Scored for unaccompaniedchorus, this piece is remarkable for its fusion

of old and new. On one hand, the melodic linesgenerally are redolent of ancient ecclesiasticalchant, and the contrapuntal echoes betweendifferent voices are a venerable feature of churchmusic. As a result, this work seems to belong notso much to the 19th century, with its Romanticcurrents, as to a timeless tradition of churchcomposition. At the same time, some of Brucknersharmonic shifts, as well as the piercing climax towhich the music briey rises, sound surprisinglymodern, a harbinger of the innovations of Bergand other 20th-century composers.

ALBAN BERGAct III fromWozzeck, op. 7

A SOLDIERS TALE Woyzeck, the fragmentarydrama by Georg Bchner (1813-1837), wasproduced in Vienna for the rst time in May1914. Among those who saw the play at this timewas Alban Berg, who found himself transxed bythe tale of a hapless soldier in a heartless world.Almost at once he began forming ideas for an operabased on the play. Using the same early editionof Bchners work that had been performed in

Vienna (and preserving its misspelling of the titleand title character), Berg adapted his own librettofor the opera. Service in the Austrian army duringWorld War I delayed the project, and Wozzeck didnot reach completion until 1922.

The operas title character is a downtroddenEveryman. Poor and unsophisticated, Wozzeckis preyed upon by his regimental captain and

doctor and betrayed by Marie, the unwed motherof his young child. He reacts to browbeating fromhis ofcer and physician with stoic passivity, butMaries agrant dalliance with a handsome drummajor pushes him to despair and smoldering rage.

TRAGIC CONCLUSION As Act III opens, Marie isin her room, reading the biblical story of MaryMagdalene, whose position as a fallen woman

BornSeptember 4, 1824,Anselden, near Linz, Austria

DiedOctober 11, 1896, Vienna

First PerformanceNovember 9, 1884, in Vienna

STL Symphony PremiereThis week

ScoringUnaccompanied chorus

Performance Timeapproximately 5 minutes

BornFebruary 9, 1885, Vienna

DiedDecember 24, 1935, Vienna


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parallels her own. The scene shifts to a path neara pond, where Marie and Wozzeck walk together.As Wozzeck recalls their past together, Mariegrows increasingly uneasy. She tries to ee, butWozzeck draws a knife and kills her.

In a tavern, Wozzeck tries to drown his guiltin drink. A folk song he sings only reminds himof Marie, as does a song by Margret, Mariesneighbor. Margret notices blood on Wozzeckshand, impelling him to ee.

Wozzeck returns to the pond, hoping toretrieve his knife. There he stumbles againstMaries corpse. Imagining himself covered with

blood, he wades into the pond and drowns. Afterthe captain and doctor pass by, the scene returnsto the quiet of nature. The opera concludesoutside Maries house, where her son is playing.Another child brings news that his mother isdead. Uncomprehending, he continues playing ahopping game.

MUSIC AND DRAMA By the time he composed

Wozzeck, Berg had largely abandoned traditionalharmony. The loss of that musical elementcompelled the composer to seek new ways oforganizing his music, and in Wozzeck he didthis with remarkable ingenuity. Each scene inthe opera is based on some well-establishedcompositional procedure: sonata, rondo, fugue,etc. In Act III, the scene in Maries room ismusically constructed as a theme with variations.The scene of her death is built around a singlepitch reiteratedby different instruments in theorchestras high, low, and middle registersfrom start to nish. The scene of Wozzecksdrowning unfolds through continual variationof a complex chord.

Berg acknowledged these devices butdownplayed their importance. The essential

thing, he insisted, is the musics role in bringingthe drama to life. From the moment the curtainrises until it falls for the last time, Berg wrote,there must be no one in the audience whonotices all these diverse fugues and inventions,suites and sonatas, variations and passacagliasno one who is aware of anything but this operasidea, which transcends the fate of Wozzeck.

First PerformanceDecember 14, 1925, in Berlin,Erich Kleiber conductedmembers o the BerlinStaatsoper

STL Symphony PremiereJanuary 7, 1949, VladimirGolschmann conductedscenes rom the opera, withsoprano Judith Doniger

Most Recent STL SymphonyPerformanceNovember 17, 1967, EleazarDe Carvalho conducted aconcert version o the ull

opera, eaturing sopranoEvelyn Lear (Marie), mezzo-soprano Natasha Kimmel(Margret), and baritone JohnShirley-Quirk (Wozzeck)

ScoringWozzeck: baritoneMarie: sopranoMargret: mezzo-sopranoHauptmann: tenor

Doktor: basschorus4 futes4 piccolos4 oboesEnglish horn4 clarinetsE-fat clarinetbass clarinet3 bassoons

contrabassoon4 horns4 trumpets4 trombonestubatimpanipercussionharpupright pianocelesta

stringsPerformance Timeapproximately 25 minutes


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LUDWIG VAN BEETHOVENSymphony No. 9 in D minor, op. 125

THE SYMPHONIST SILENT Between 1800 and1812, Beethoven transformed the symphony as

no other composer had or has done. His rst twoworks of this kind, written in 1800 and 1802,summarized the Classical-period symphony,which had been his inheritance from Mozart andHaydn, the great symphonists of the late 18thcentury. With his Symphony No. 3, the epochalSinfonia eroica of 1804, Beethoven expandedboth the musical and emotional scope of thegenre, imparting to it the heroic spirit that wouldbecome a hallmark of 19th-century Romanticism.The works that followed proved Beethovenssymphonic style capable of expressing all that hefound in nature, both the nature of the Viennawoods and human nature, in others and in histempestuous self.

Then, beginning in 1813, no symphonycame from Beethovens pen for more than a

decade. Much of this period saw a markeddecrease in the composers output and hisprogressive withdrawal from most socialcontact. He was, during this time, embroiled inemotional and legal turmoil engendered by thecustody of his troubled nephew. Moreover, hewas now almost completely deaf and bereft ofintimate companionship.

These difcult personal circumstances

might alone have explained the relative silence ofthe recently so prolic composer. But the workof Beethovens nal years suggests that he waspassing through a creative crisis as well, for whenthe ow of compositions at last resumed, themusic was distinct from anything their authorhad done before.

INNOVATION AND CONTINUITY In his latecompositions, Beethoven seems to be reachingin opposite directions at once. His tone is moreintimate, more personal, yet the scale on whichhis ideas take form has once again expanded.There is a greater feeling of maturity in hismusical utterances, but his melodies often havethe simplicity of folk tunes. And although heclearly is formulating new concepts of musical

BornDecember 16, 1770, Bonn

Died

March 26, 1827, Vienna

First PerformanceMay 7, 1824, in Vienna.Beethoven, who was bythis time almost completelydea, was nominally theconductor; the orchestraand chorus ollowed MichaelUmlau, music director o theAustrian imperial theater.

STL Symphony PremiereDecember 21, 1928, withsoprano Helen Traubel,contralto Viola Silva, tenorLaurance Wole, baritoneJerome Swinord, Apollo-Morning Choral Clubs, EmilOberhoer conducting

Most Recent STL Symphony

PerformanceMay 10, 2009, with sopranoHeidi Grant Murphy, mezzo-soprano Jennier Dudley,tenor Brandon Jovanovich,bass-baritone JonathanLemalu, St. Louis SymphonyChorus under the directiono Amy Kaiser, DavidRobertson conducting


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design and harmonic syntax, he takes pains toincorporate such anachronisms as fugal texturesin his compositions.

Nowhere are the contradictions thatinformed Beethovens late music more evident

than in his Symphony No. 9, completed in1824. And nowhere, in either his own earliersymphonies or those of other composers, arethere precedents for the grandeur and fervor ofthis work, or for the extraordinary conception ofthe symphonys choral nale.

But while the Symphony No. 9 seems inmany ways sui generis, it also represents an

extension and culmination of various artisticconcerns that had preoccupied Beethoventhroughout his career. The triumph of the spirit,the psychological progression from pathos tojoy that had been the theme of the Third andFifth Symphonies, the opera Fidelio and theEgmont Overture, found its greatest expression inBeethovens nal symphonic essay.

Even the use of Friedrich Schillers ode An

die Freude, the Ode to Joy, as the basis of thenale stems from Beethovens youth. As a youngman he had sketched a setting of these verses,and the idea of completing it never left him. Thus,the Ninth Symphony was as much fulllment asbreakthrough, a work that crowned Beethovensefforts to articulate in music the 19th centurysgreat humanist vision, even while it opened newvistas in the eld of symphonic composition.

Program notes 2013 by Paul Schiavo

Scoring2 futespiccolo2 oboes2 clarinets2 bassoons

contrabassoon4 horns2 trumpets3 trombonestimpanipercussionstringssolo soprano, alto, tenor and

bass voiceschorus

Performance Timeapproximately 65 minutes


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson has established himself asone of todays most sought-after American

conductors, and has forged close relationshipswith major orchestras around the world throughhis exhilarating music-making and stimulatingideas. In fall 2012, Robertson launched hiseighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, whilecontinuing as St. Louis Symphony music director,Robertson also will assume the post of ChiefConductor and Artistic Director of the SydneySymphony in Australia.

In September 2012, the St. Louis Symphonyand Robertson embarked on a European tour,which included appearances at Londons BBCProms, at the Berlin and Lucerne festivals, andculminated at Pariss Salle Pleyel. In March2013 Robertson and his orchestra returnedto California for their second tour of the

season, which included an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center for thePerforming Arts, with violinist James Ehnes assoloist. The orchestra also performed at venuesin Costa Mesa, Palm Desert, and Santa Barbara,with St. Louis Symphony Principal Flute, MarkSparks, as soloist.

In addition to his current position with the

St. Louis Symphony, Robertson is a frequentguest conductor with major orchestras andopera houses around the world. During the2012-13 season he appears with prestigious U.S.orchestras such as the New York Philharmonic,Los Angeles Philharmonic, and San FranciscoSymphony, as well as internationally with theRoyal Concertgebouw Orchestra, Vienna Radio

Symphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.Born in Santa Monica, California, David

Robertson was educated at Londons RoyalAcademy of Music, where he studied hornand composition before turning to orchestralconducting.

David Robertson and theSt. Louis Symphony return

to Carnegie Hall with aconcert perormance oBrittens Peter Grimes inNovember 2013.


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SUSANNA PHILLIPS

Alabama-born soprano Susanna Phillips,recipient of the Metropolitan Operas 2010Beverly Sills Artist Award, continues to establish

herself as one of todays most sought-aftersinging actors and recitalists. In the 2012-13 season Phillips took the stage of the Metfor her fth consecutive season, this time toperform Donna Anna in Mozarts Don Giovanni,conducted by Edward Gardner. Her opera seasonin New York City continued with her return tothe Perlman stage at Carnegie Hall for a specialconcert performance, portraying Stella in AndrPrevinsA Streetcar Named Desireopposite ReneFleminga role which she will then perform atLyric Opera of Chicago. Phillips also made hersolo recital debut at Carnegie Hall this season,presenting a program with accompanist MyraHuang in Weill Recital Hall.

Other 201213 operatic highlights includePhillipss return to Santa Fe Opera as the

Countess in The Marriage of Figaro, and a concertproduction of Idomeneo at the Ravinia Festivalunder the direction of James Conlon. Symphonicappearances include Mozarts Requiem withthe Baltimore Symphony Orchestra, theLord Nelson Mass with Music of the Baroquein Chicago, Knoxville: Summer of 1915 withAlabama Symphony, performances with MusicaSacra led by Kent Tritle at Alice Tully Hall, and

Paul Moravecs Blizzard Voices with the OratorioSociety of New York at Carnegie Hall.

Born in Birmingham, Alabama and raisedin Huntsville, Susanna Phillips is grateful for theongoing support of her community in her career.She sang Strausss Four Last Songs and gave herrst concert performances in the title role of Luciadi Lammermoor with the Huntsville Symphony.

Susanna Phillips most recently performedwith the St. Louis Symphony in April 2012.

Susanna Phillips singsthe role o Ellen Orord

in St. Louis Symphonyperormances oPeterGrimes at Powelland Carnegie halls inNovember 2013.


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KELLEY OCONNOR

Possessing a voice of uncommon allure, musicalsophistication far beyond her years, and intuitiveand innate dramatic artistry, the Grammy Award-

winning mezzo-soprano Kelley OConnor hasemerged as one of the most compelling performersof her generation. During the 2012-13 season, theCalifornia natives impressive calendar includedJohn Adamss The Gospel According to the OtherMary in a world premiere staging by Peter Sellarsperformed in America and Europe with the LosAngeles Philharmonic under Gustavo Dudamelsbaton, and a role debut as Suzuki in MadamaButterfy in a new production by Lillian Groag atBoston Lyric Opera.

Concert appearances of the seasonincluded Peter Liebersons Neruda Songs bothwith Christoph Eschenbach and the NationalSymphony Orchestra and with Robert Spanoand the Toronto Symphony Orchestra, DebussysLa Damoiselle lueand the Duru Requiem with

Donald Runnicles and the Atlanta SymphonyOrchestra, Beethovens Symphony No. 9 withManfred Honeck and the Pittsburgh Symphony,Louis Langre and the Cincinnati Symphony, andwith Leonard Slatkin and the Detroit Symphony,as well as Liebersons The World in FlowerwithGrant Gershon and the Los Angeles MasterChorale. The artist is pleased both to return to theCity of Birmingham Symphony Orchestra with

Edward Gardner conducting a program of ElgarsSea Pictures and Brittens Spring Symphony and todebut with the Netherlands Radio PhilharmonicOrchestra with Adamss The Gospel According tothe Other Mary led by Markus Stenz.

Last season, OConnor brought her smokysound and riveting stage presence (The New YorkTimes) to performances as Ursule in Berliozs

Batrice et Bndict with Opera Boston, and to hersignature role as Federico Garca Lorca in a PeterSellars staging of Golijovs Ainadamarat TeatroReal in Madrid.

Kelley OConnor most recently performedwith the St. Louis Symphony in September 2011.

Kelley OConnor openedthe St. Louis Symphonys

2011-12 season perormingStravinskysLes Noces.

ZacharyMaxwellStertZ


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JOSEPH KAISER

Starring as Tamino in the Kenneth Branaghlm adaptation ofThe Magic Flute, conductedby James Conlon and released in 2007, Joseph

Kaiser is recognized by audiences for his beautyof tone, intelligence of programming, and innatesense of style and elegance. He is internationallyacclaimed as one of the most gifted artists ofhis generation and enjoys success in opera,oratorio, and concert throughout NorthAmerica and Europe.

Kaisers 2012-13 season began withperformances as Flamand in Strausss Capriccioat the Opra National de Paris in a productionby Robert Carsen and conducted by PhilippeJordan. Operatic engagements also includedHouston Grand Operas mounting of theFrancesca Zambello production of Showboat asthe leading man Gaylord Ravenal, DominickArgentos The Aspern Papers at the Dallas Opera,Tamino in Robert Carsens production of The

Magic Flutewith Sir Simon Rattle conducting theBerlin Philharmonic at Teatro Real in Madrid,semi-staged performances of Capriccio at theRoyal Opera House, Covent Garden led by SirAndrew Davis, and Christof Loys production ofGlucksAlcesteat the Vienna State Opera in therole of Admte. Concert engagements includedBeethovens Symphony No. 9 with the TorontoSymphony conducted by Ji Blohlvek.

His concert schedule has includedperformances of the Berlioz Requiem underMarek Janowski with the combined forces of theTonhalle-Orchester Zrich and the Orchestrede la Suisse Romande as well as with DonaldRunnicles, both with the Atlanta SymphonyOrchestra and the Berliner Philharmoniker;Beethovens Symphony No. 9 with Christoph von

Dohnnyi and the Boston Symphony Orchestra,with Ivor Bolton and the Wiener Symphoniker,and with Christoph Eschenbach and the ChicagoSymphony Orchestra; Stravinskys Pulcinellawith Roberto Abbado and the Saint PaulChamber Orchestra; and Mendelssohns Elijahwith Yannick Nzet-Sguin and the OrchestreMtropolitain du Grand Montral.

Joseph Kaiser makes his St.Louis Symphony debut with

these perormances.

Dario

acoSta


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COREY MCKERN

Award-winning baritone Corey McKern continu-ously earns critical acclaim and accolades inevery appearance he makes. This season, engage-

ments included his debut with Austin LyricOpera as Silvio in I Pagliacci, his role debut asDandini in La Cenerentola with Nashville Opera,the Count in The Marriage of Figaro with SyracuseOpera, Anthony in Sweeney Todd with PensacolaOpera, King Henry II in Becket with Long IslandMasterworks, and Papageno in The Magic Flutewith Opera Omaha and Opera Birmingham.

With the Santa Fe Opera he has performedMarcello in La bohme, Masetto in Don Giovanni,Pallante inAgrippina, The Shoes for the Santo Nino,and the First Shepherd in Daphne. As housefavorite at Opera Birmingham he has performedas Enrico in Lucia di Lammermoor, Escamillo inCarmen, Ping in Turandot, Figaro in The Barber ofSeville, and the Count in The Marriage of Figaro.

An active concert performer, McKern made

his Carnegie Hall debut in the Faur Requiem,and recently returned to the prestigious concerthall for John Rutters Mass of the Childrenand Mozarts Requiem. Other recent concertengagements include Mahlers Rckert-Liederwith the Missoula Symphony, and performanceswith the New Choral Society in Handels Messiah,Brahmss Ein deutsches Requiem, and OrffsCarmina burana, which he also performed with

the Yakima Symphony Orchestra and with theSan Juan Symphony in Colorado. His oratoriocredits include Vaughan Williamss Dona NobisPacem and a concert of operetta highlights withthe Indianapolis Symphony.

McKern is a former grant recipient from theSullivan Foundation, as well as the rst placewinner of Opera Birmingham, Shreveport Opera,

and Mobile Opera competitions. He holds aMaster of Music degree from Indiana University,and Bachelor of Music Education fromMississippi State University. He is also a graduateof the Seattle Opera Young Artist Program.

Corey McKern makes hisSt. Louis Symphony debutthis week.


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AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral directors,Amy Kaiser has conducted the St. Louis

Symphony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young PeoplesConcerts. She has made eight appearances asguest conductor for the Berkshire Choral Festivalin Shefeld, Massachusetts, Santa Fe, and atCanterbury Cathedral. As Music Director of theDessoff Choirs in New York for 12 seasons, sheconducted many performances of major works atLincoln Center. Other conducting engagementsinclude concerts at Chicagos Grant Park MusicFestival and more than fty performances with theMetropolitan Opera Guild. Principal Conductorof the New York Chamber Symphonys SchoolConcert Series for seven seasons, Kaiser also ledmany programs for the 92nd Street Ys acclaimedSchubertiade. She has conducted over twenty-ve

operas, including eight contemporary premieres.A frequent collaborator with Professor PeterSchickele on his annual PDQ Bach concertsat Carnegie Hall, Kaiser made her CarnegieHall debut conducting PDQs Consort of ChoralChristmas Carols. She also led the Professor inPDQ Bachs Canine Cantata Wachet Arf withthe New Jersey Symphony.

Kaiser has led master classes in choral

conducting at Indiana University Jacobs Schoolof Music, served as faculty for a Chorus Americaconducting workshop, and as a panelist for theNational Endowment for the Arts. An activeguest speaker, Kaiser teaches monthly classes foradults in symphonic and operatic repertoire andpresents Illuminating Opera for four weeks inApril at Opera Theatre of St. Louis.

Amy Kaiser has prepared choruses for theNew York Philharmonic, Ravinia Festival, MostlyMozart Festival, and Opera Orchestra of NewYork. She also served as faculty conductor andvocal coach at Manhattan School of Music andthe Mannes College of Music. An alumna of SmithCollege, she was awarded the Smith CollegeMedal for outstanding professional achievement.

Amy Kaiser directs theSt. Louis Symphony Chorus

in BrittensPeter Grimes,BachsChristmas Oratorio,Verdis Requiem, and OrsCarmina buranain the2013-14 season.


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Amy KaiserDirectorLeon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport AllisonRev. Fr. Stephan BaljianStephanie A. BallNick BearyRudi J. BertrandAnnemarie Bethel-PeltonPaula N. BittleJerry Bolain

Michael BoumanRichard F. BoydKeith BoyerPamela A. BransonBonnie BrayshawMarella BrionesDaniel P. BrodskyBuron F. Buffkin, Jr.

Leon Burke, IIICherstin ByersLeslie CaplanMaureen A. CarlsonVictoria CarmichaelMark P. CereghinoJessica Klingler CissellRhonda Collins CoatesTimothy A. Cole

Derek DahlkeLaurel Ellison DantasDeborah DawsonZachary DevinMary C. DonaldStephanie M. EngelmeyerLadd FaszoldJasmine J. FazzariHeather Fehl

Robin D. Fish, Jr.Alan FreedMark FreimanAmy GarcsAmy GatschenbergerLara GerassiMegan E. GlassSusan GorisKaren S. GottschalkJacqueline GrossSusan H. Hagen

Clifton D. HardyNancy J. HelmichEllen HenschenJeffrey E. HeylLori HoffmanMatthew S. HoltAllison HoppeHeather HumphreyKerry H. Jenkins

Madeline KaufmanJennifer KlauderElena KorpalskiPaul V. KunnathKendra LeeDebby LennonGregory C. LundbergGina Malone

Jamie Lynn MarbleJan MarraLee MartinAlicia MatkovichDaniel MayoRachael McCreeryElizabeth Casey McKinneyScott MeidrothClaire Minnis

Brian MulderJohanna NordhornDuane L. OlsonNicole OrrHeather McKenziePatterson

Susan PattersonMatt PentecostBrian Pezza

Shelly Ragan PickardSarah PriceValerie ReichertKate ReimannDavid ResslerGregory J. RiddlePatti Ruff RiggleStephanie DianeRobertson

Terree RowbottomPaul N. Runnion

Jennifer RyrieSusan SampsonPatricia ScanlonMark V. ScharffSamantha Nicole SchmidPaula K. SchweitzerLisa SienkiewiczJanice Simmons-JohnsonJohn William Simon

Charles G. SmithShirley Bynum SmithJoshua StantonAdam StefoDavid StephensBenna D. StokesGreg StorkanMaureen Taylor

Michelle D. TaylorJustin ThomasNatanja TomichPamela M. TriplettDavid R. TrumanGreg UpchurchRobert ValentineKevin VondrakSamantha Wagner

Nancy Maxwell WaltherKeith WehmeierNicole C. WeissDennis WillhoitPaul A. WilliamsMary WissingerSusan Donahue YatesCarl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2012-2013


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AUDIENCE INFORMATION

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intermission; Sunday concert days12:30pm through intermission.

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Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

vary, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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st. louis symphony broadcast program, may 11, 2013

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