the philadelphia orchestra

Saratoga Performing Arts Center

The Philadelphia OrchestraAugust 04 - 14, 2021

THE PHILADELPHIA ORCHESTRA RETURNS

JOSHUA BELL RETURNS! YANNICK NÉZET-SÉGUINConductor and PianoJOSHUA BELLViolin PRICE/arr. GrayAdoration, for solo violin and string orchestraWorld premiere of arrangement BEETHOVENViolin Concerto in D major, Op. 61I. Allegro ma non troppoII. Larghetto—III. Rondo: Allegro MOZARTSymphony No. 25 in G minor, K. 183I. Allegro con brioII. AndanteIII. Menuetto—Trio—Menuetto da capoIV. Allegro Please turn off cell phones and disconnect electronic signals on watches or pagers before the start of theperformance. The Philadelphia Orchestra’s 2021 residency is supported, in part, by Lisa Kabnick and John McFadden in honor ofSPAC staff and board for their heroic efforts to bring music back to the stage this summer.

ARTISTS AND COMPOSERS


Yannick Nézet-Séguin

Music Director

Walter and Leonore Annenberg Chair

Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025–26 season, asignificant long-term commitment. Additionally, he became the third music director of New York’s MetropolitanOpera in 2018. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of ThePhiladelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundlessenthusiasm have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,”adding that “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.”

Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents ofhis generation. He has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since2000, and in 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director ofthe Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was principal guest conductorof the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s mostrevered ensembles and at many of the leading opera houses. Yannick signed an exclusive recording contract withDeutsche Grammophon in 2018. Under his leadership The Philadelphia Orchestra returned to recording with ninereleases on that label. His upcoming recordings will include projects with the Philadelphians, the MetropolitanOpera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue torecord for ATMA Classique.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’sConservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studiedchoral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are anappointment as Companion of the Order of Canada; an Officer of the Order of Montreal; Musical America’s 2016Artist of the Year; and honorary doctorates from the University of Quebec, the Curtis Institute of Music,Westminster Choir College of Rider University, McGill University, the University of Montreal, and the University ofPennsylvania.

Joshua Bell

Violinist

With a career spanning almost four decades, Joshua Bell is one of the mostcelebrated violinists of his era. Having performed with virtually every majororchestra in the world, he continues to maintain engagements as soloist,recitalist, chamber musician, conductor, and music director of the Academyof St Martin in the Fields.

When COVID-19 shut down the majority of live performances, Mr. Bell joined the movement to bring world-classperformances online. On August 16, 2020, PBS presented “Joshua Bell: At Home with Music,” a nationwidebroadcast directed by Tony- and Emmy-award winner Dori Berinstein. The program included core classical materialas well as new arrangements of beloved works, including a West Side Story medley. The special featured guestartists Larisa Martínez, Jeremy Denk, Peter Dugan, and Kamal Khan.

Born in Bloomington, Indiana, Mr. Bell began violin lessons at age four, and at age 12 began studies with hismentor, Josef Gingold. At age 14 he debuted with Riccardo Muti and The Philadelphia Orchestra and at age 17made his Carnegie Hall debut with the St. Louis Symphony. At age 18 he signed with his first label, London Decca,and received the Avery Fisher Career Grant. In the years following, he has been named 2010 “Instrumentalist ofthe Year” by Musical America, a 2007 “Young Global Leader” by the World Economic Forum, was nominated for sixGRAMMY® awards, and received the 2007 Avery Fisher Prize. He has also received the 2003 Indiana Governor’s


Arts Award and a Distinguished Alumni Service Award in 1991 from the Jacobs School of Music. In 2000 he wasnamed an “Indiana Living Legend.”

Mr. Bell has performed for three American presidents and the sitting justices of the Supreme Court of the UnitedStates. He participated in former President Barack Obama’s Committee on the Arts and Humanities’ first culturalmission to Cuba, joining Cuban and American musicians on a 2017 Live from Lincoln Center Emmy nominated PBSspecial, Joshua Bell: Seasons of Cuba, celebrating renewed cultural diplomacy between Cuba and the UnitedStates.

ORCHESTRA

The Philadelphia Orchestra

2020–2021 Season Yannick Nézet-SéguinMusic Director Walter and Leonore Annenberg Chair Nathalie StutzmannPrincipal Guest Conductor Designate Gabriela Lena FrankComposer-in-Residence Erina YashimaAssistant ConductorLina Gonzalez-GranadosConducting Fellow Charlotte Blake AlstonStoryteller, Narrator, and Host Frederick R. HaasArtistic AdvisorFred J. Cooper Memorial Organ Experience First ViolinsDavid Kim, ConcertmasterJuliette Kang, First Associate ConcertmasterJoseph and Marie Field ChairMarc Rovetti, Assistant ConcertmasterBarbara GovatosRobert E. Mortensen ChairJonathan BeilerHirono OkaRichard AmorosoRobert and Lynne Pollack ChairYayoi NumazawaJason DePueLarry A. Grika ChairJennifer HaasMiyo Curnow


Elina KalendarovaDaniel HanJulia LiWilliam PolkMei Ching Huang Second ViolinsKimberly Fisher, PrincipalPeter A. Benoliel ChairPaul Roby, Associate PrincipalSandra and David Marshall ChairDara Morales, Assistant PrincipalAnne M. Buxton ChairPhilip KatesDavyd BoothPaul ArnoldJoseph Brodo Chair, given by Peter A. Benoliel Dmitri LevinBoris BalterAmy Oshiro-MoralesYu-Ting ChenJeoung-Yin KimChristine Lim ViolasChoong-Jin Chang, PrincipalRuth and A. Morris Williams ChairKirsten Johnson, Associate PrincipalKerri Ryan, Assistant PrincipalJudy Geist Renard EdwardsAnna Marie Ahn PetersenPiasecki Family ChairDavid NicastroBurchard TangChe-Hung Chen Rachel KuMarvin MoonMeng Wang CellosHai-Ye Ni, PrincipalPriscilla Lee, Associate PrincipalYumi Kendall, Assistant PrincipalRichard HarlowGloria dePasqualeOrton P. and Noël S. Jackson ChairKathryn Picht ReadRobert CafaroVolunteer Committees ChairOhad Bar-DavidJohn KoenDerek BarnesAlex Veltman BassesHarold Robinson, PrincipalCarole and Emilio Gravagno Chair


Joseph Conyers, Acting Associate PrincipalTobey and Mark Dichter ChairNathaniel West, Acting Assistant PrincipalDavid FayDuane Rosengard Some members of the string sections voluntarily rotate seating on a periodic basis. FlutesJeffrey Khaner, PrincipalPaul and Barbara Henkels ChairPatrick Williams, Associate PrincipalRachelle and Ronald Kaiserman ChairOlivia StatonErica Peel, Piccolo OboesPhilippe Tondre, PrincipalSamuel S. Fels ChairPeter Smith, Associate PrincipalJonathan BlumenfeldEdwin Tuttle ChairElizabeth Starr Masoudnia, English HornJoanne T. Greenspun Chair ClarinetsRicardo Morales, PrincipalLeslie Miller and Richard Worley ChairSamuel Caviezel, Associate PrincipalSarah and Frank Coulson ChairSocrates VillegasPaul R. Demers, Bass ClarinetPeter M. Joseph and Susan Rittenhouse Joseph Chair BassoonsDaniel Matsukawa, PrincipalRichard M. Klein ChairMark Gigliotti, Co-PrincipalAngela Anderson SmithHolly Blake, Contrabassoon HornsJennifer Montone, PrincipalGray Charitable Trust ChairJeffrey Lang, Associate PrincipalHannah L. and J. Welles Henderson ChairChristopher DwyerJeffry KirschenErnesto Tovar TorresShelley Showers TrumpetsDavid Bilger, PrincipalMarguerite and Gerry Lenfest ChairJeffrey Curnow, Associate PrincipalGary and Ruthanne Schlarbaum Chair


Anthony Prisk TrombonesNitzan Haroz, PrincipalNeubauer Family Foundation ChairMatthew Vaughn, Co-PrincipalBlair Bollinger, Bass TromboneDrs. Bong and Mi Wha Lee Chair TubaCarol Jantsch, PrincipalLyn and George M. Ross Chair TimpaniDon S. Liuzzi, PrincipalDwight V. Dowley ChairAngela Zator Nelson, Associate Principal PercussionChristopher Deviney, PrincipalAngela Zator Nelson Piano and CelestaKiyoko Takeuti KeyboardsDavyd Booth HarpElizabeth Hainen, Principal LibrariansNicole Jordan, PrincipalSteven K. Glanzmann Stage PersonnelJames J. Sweeney, Jr., ManagerDennis Moore, Jr.

FLORENCE PRICE

Composer

Born in Little Rock, Arkansas, April 9, 1887

Died in Chicago, June 3, 1953


LUDWIG VAN BEETHOVEN

Composer

Born in Bonn, probably December 16, 1770

Died in Vienna, March 26, 1827

WOLFGANG AMADÈ MOZART

Composer

Born in Salzburg, January 27, 1756

Died in Vienna, December 5, 1791

PROGRAM NOTES

ADORATION (ARR. BY JIM GRAY)Composed in 1951 FLORENCE PRICEBorn in Little Rock, Arkansas, April 9, 1887Died in Chicago, June 3, 1953 In 1943 Florence Price reached out to Serge Koussevitzky, the prominent conductor of the Boston SymphonyOrchestra, about programming some of her music. She wrote that she had “two handicaps—those of sex and race.I am a woman; and I have some Negro blood in my veins. I should like to be judged on merit alone.” Nearly 80years later this wish is becoming more of a reality as her music has proved one of the most notable musicaldiscoveries of recent times. It has been a discovery in two senses: of a remarkable composer whose works hadlargely been forgotten, and of a process abetted by the literal discovery in 2009 of a treasure trove of unpublishedscores long thought lost. Some pieces are still missing. Price composed four symphonies, but the whereabouts ofthe perhaps unfinished second is unknown, at least for now. The full score of her Piano Concerto in One Movementwas missing and therefore reconstructed from various sources. In 2018, however, the manuscript was found andlast season The Philadelphia Orchestra with soloist Michelle Cann gave the first North American performance in its


original orchestration since the composer’s lifetime. Indeed, Yannick Nézet-Séguin and the Philadelphians havebeen at the forefront of bringing Price’s music greater recognition and have recorded her symphonies for futurerelease. Price came to national prominence in 1933 when the Chicago Symphony Orchestra premiered her Symphony No. 1,the first such work written by an African-American woman performed by a leading orchestra. She was 46 years oldat the time, with two decades more to live. Price was born in Little Rock, Arkansas, where her mother was her firstmusic teacher. At age 16 she headed to Boston’s New England Conservatory to study composition, organ, andpiano, and also took private lessons with the distinguished American composer George Whitefield Chadwick. Pricethen taught for some years back in Little Rock and in Atlanta. She married, had two daughters, and, shaken bylynchings in the Jim Crow South, moved in 1927 to Chicago. She divorced her abusive husband, continuedcompositional studies, and saw her career begin to blossom. Her compositions garnered attention as she publishedsongs, piano pieces, and pedagogical works. She won prizes, most notably $500 in the 1932 WanamakerFoundation Award for her First Symphony, which brought the piece to the attention of Frederick Stock, musicdirector of the Chicago Symphony Orchestra. He programmed the work as part of Chicago’s A Century of ProgressInternational Exposition in June 1933. The attention led to some other orchestral performances and furtheropportunities. Price composed a wide range of works, including some popular and commercial ones that she released under apseudonym. Her arrangements of African-American spirituals and her art songs were championed by celebratedsingers, preeminently Marian Anderson. But she found getting performances of her large-form pieces, such asconcertos and symphonies, more difficult. Most of them remained unpublished, which was why the 2009 discoveryof many manuscripts in what had been her abandoned former summer house in St. Anne, Illinois, was such animportant addition to her catalog. Price was trained as an organist and early in her career accompanied silent films on the instrument in movie halls.She composed a fair number of pieces for the “king of instruments,” including Adoration near the end of her life; itwas published in 1951. The piece unfolds leisurely in a literal ABA form with coda, the middle section beingsomewhat slower. As with most of her compositions, the musical vocabulary is lushly Romantic and tonal. (In someof her works she also calls upon African-American traditions.) In the original organ version, a beautiful song-likemelody is underpinned by sustained chords and long pedal points, melody and spare accompaniment thattransfers idiomatically to a violin soloist over a string orchestra as we hear in tonight’s world premiere performanceof Jim Gray’s arrangement. —Christopher H. Gibbs VIOLIN CONCERTO IN D MAJOR, OP. 61Composed in 1806 LUDWIG VAN BEETHOVENBorn in Bonn, probably December 16, 1770Died in Vienna, March 26, 1827 As he entered his 30s at the turn of the 19th century, Beethoven’s personal life dramatically changed, and so, too,did his music. In letters dating from the fall of 1801 he revealed for the first time the secret of his loomingdeafness. Despite ever growing professional successes, he lamented how “that jealous demon, my wretchedhealth, has put a nasty spoke in my wheel; and it amounts to this, that for the past three years my hearing hasbecome weaker and weaker.” The following spring Beethoven moved to the Vienna suburb of Heiligenstadt, where he penned the remarkable“Heiligenstadt Testament,” an unsent letter to his brothers in which he poured out his heart. After describingvarious social, personal, and professional consequences of his condition, such as that he could no longer hear thesounds of nature, he confessed: “Such incidents brought me almost to despair; a little more and I would haveended my life. Only my art held me back. It seemed to me impossible to leave the world until I had produced allthat I felt was within me.” The challenges Beethoven faced at this crucial juncture in his life can be sensed in many of the compositions hewrote over the next decade, usually labeled as his “heroic” period. He talked of writing in a “completely new


manner” and of a “new path,” producing music that proved increasingly challenging both for performers andaudiences. The Third Symphony, the monumental “Eroica,” is a key work in this respect, but his first twosymphonies had already been greeted with some skepticism. “Bizarre”—the word is the same in German—crops upmore and more often in reviews. Beethoven initially played it somewhat safer with the genre of the concerto, partly because, as for his modelMozart before him, they were meant for his own use as a virtuoso soloist. While he held off writing a symphony,concertos came early and his involvement extends beyond the canonic five piano concertos; the “Triple” Concertofor piano, violin, and cello; and the Violin Concerto. During his student years in his native Bonn, and then aftermoving to Vienna at age 21, Beethoven experimented with concertos for piano, for violin, and even one for oboe,but these early works are either incomplete or lost. Around 1800 he composed two attractive Romances for violinand orchestra. Beethoven played the violin, but he was far from the virtuoso that Mozart had been with theinstrument. Beethoven’s Violin Concerto challenged the expectations of his contemporaries, who were more accustomed toflashy entertainment in such pieces than to works of sustained substance. It took several decades for the piece toenter the standard repertoire. Beethoven composed it in 1806 in an extremely short time, apparently about amonth, for Franz Clement, an important figure in Vienna’s musical scene whom he had long admired. Clement wasfirst violinist at the Theater an der Wien, a position that gave him the opportunity to present an annual concert forhis own benefit. On April 7, 1805, he played his own Violin Concerto in D on a program that also included the firstpublic performance of the “Eroica” Symphony. It was for Clement’s concert the next year, given on December 23,that Beethoven wrote his Violin Concerto, which he allegedly completed just before the premiere. Beethoven establishes an unusually meditative mood at the outset of the Concerto with an expansive orchestralintroduction featuring one of his most lyrical themes (Allegro ma non troppo)—indeed, a lovely lyricism andsoaring melodies in the highest registers characterize much of the movement. The following Larghetto opens witha hymn-like theme for muted strings before horns and clarinet take over and the violin provides decorativecommentary. This movement, in a modified variation form, leads without pause to the lively and dance-like Rondofinale that more overtly showcases virtuosic playing for the soloist. —Christopher H. Gibbs SYMPHONY NO. 25 IN G MINOR, K. 183Composed in 1773 WOLFGANG AMADÈ MOZARTBorn in Salzburg, January 27, 1756Died in Vienna, December 5, 1791 Mozart did not number his symphonies. If he had been asked after composing his last one—the monumental“Jupiter”—how many he had written to that point, his answer might well have been well off the mark. Indeed thequantity and chronology of his symphonies remains confusing to this day, even after more than two centuries oftrying to get things straight. The first complete publication, issued by the Leipzig firm of Breitkopf & Härtel in the19th century, included 41. But some of them were not in fact by Mozart (No. 37, except for a short introductorypassage, was actually written by Michael Haydn, younger brother of Joseph); still others have surfaced since, andmore than a dozen should probably also be included but were not because they adapted earlier Mozart works(usually overtures). And so, by some accounts, Mozart wrote more than 50 symphonies, beginning at the age ofeight and culminating with the miraculous final trio from the summer of 1788. Truth be told, we rarely hear the first two dozen or so symphonies, those Mozart wrote before the age of 17. HisFirst Symphony, K. 16, sometimes appears on concerts, but mainly as a curiosity, to display what Mozart could dobefore most of us can do much of anything. The mania for completeness has led record companies to release all ofMozart’s music—there are a number of impressive sets, for example, of the complete symphonies—but the latesymphonies deservedly get most of the attention. Tonight we hear the earliest symphony of Mozart’s that regularly appears in performance and on recordings: the“Little” Symphony in G minor, K. 183 (the tag distinguishes it from his well-known Symphony No. 40 in the samekey, K. 550). This work has been particularly popular since the mid-1980s when the movie Amadeus prominently


featured the opening movement. Mozart completed the Symphony in Salzburg on October 5, 1773, not long after returning from more than twomonths in Vienna, where he had gotten to know Haydn’s most recent symphonies. This was the height of Haydn’sso-called Sturm und Drang (Storm and Stress) period, when he wrote many works in minor keys. Musicologist H.C.Robbins Landon has noted the specific similarity between the Mozart Symphony we hear tonight and Haydn’sSymphony No. 39, another G-minor work that features four horns. The additional horns give the work a distinctivecoloring. As musicologist Neal Zaslaw observes, “The special sound of the Symphony’s outer movements is partlythe result of four horns in place of the usual two, which not only impart a certain solidity to the work’s texture, but,as the two pairs of horns are in different keys (G and B-flat), gave Mozart a wider palette of pitches to exploit.” Another influence is apparent in the Symphony, similarly connected with the young composer’s travels. Earlier in1773, Mozart returned from his third and final sojourn in Italy. In Milan he had enjoyed a successful run of his LucioSilla, and something of the drama of that serious opera permeates the Symphony. In the end, the 17-year-oldMozart brilliantly combined his own distinctive dramatic flair with some of Haydn’s innovations to produce his firstreally significant symphony. Mozart infrequently wrote in minor keys for important instrumental works; there are only two piano concertos, twostring quartets, and two symphonies out of a combined total of nearly a hundred pieces in those three genres. Bothsymphonies are in G minor, this “little” one and the great late one, and it was a tonality that elicited some of hismost profound music. Intensity and urgency are words that come to mind when confronting the opening: a loudoboe theme against syncopated octaves in the strings. Both the first (Allegro con brio) and last movements havetwo large-scale repeats (in essence Mozart wants the movements to be played twice), followed by brief codas. The Andante in E-flat major offers some relief from the serious drama of the other movements and is also insonata form. The Menuetto, like the outer two movements, begins with a bare theme stated in octaves, here bythe full orchestra—if this is a dance it is hardly a polite aristocratic one. A calmer gentility comes in the middlesection, a trio in the major that uses only wind and brass instruments. The final Allegro explores some of the samemusical devices as the first movement, particularly syncopation, that lends not only unity to the whole work, butalso helps to sustain the dramatic intensity to the very end. —Christopher H. Gibbs Program notes © 2021. All rights reserved. Program notes may not be reprinted without written permission fromThe Philadelphia Orchestra Association.

ABOUT THE PHILADELPHIA ORCHESTRA

The Philadelphia Orchestra is one of the world’s preeminent orchestras. It strives to share the transformativepower of music with the widest possible audience, and to create joy, connection, and excitement through music inthe Philadelphia region, across the country, and around the world. Through innovative programming, robusteducational initiatives, and an ongoing commitment to the communities that it serves, the ensemble is on a pathto create an expansive future for classical music, and to further the place of the arts in an open and democraticsociety.

Yannick Nézet-Séguin is now in his ninth season as the eighth music director of The Philadelphia Orchestra. Hisconnection to the ensemble’s musicians has been praised by both concertgoers and critics, and he is embraced bythe musicians of the Orchestra, audiences, and the community.

Your Philadelphia Orchestra takes great pride in its hometown, performing for the people of Philadelphia year-round, from Verizon Hall to community centers, the Mann Center to Penn’s Landing, classrooms to hospitals, andover the airwaves and online. The Orchestra continues to discover new and inventive ways to nurture itsrelationship with loyal patrons.

In March 2020, in response to the cancellation of concerts due the COVID-19 pandemic, the Orchestra launched theVirtual Philadelphia Orchestra, a portal hosting video and audio of performances, free, on its website and socialmedia platforms. In September 2020 the Orchestra announced Our World NOW, its reimagined season of concertsfilmed without audiences and presented on its Digital Stage. Our World NOW also includes free offerings:


HearTOGETHER, a series on racial and social justice; educational activities; and Our City, Your Orchestra, smallensemble performances from locations throughout the Philadelphia region.

The Philadelphia Orchestra continues the tradition of educational and community engagement for listeners of allages. It launched its HEAR initiative in 2016 to become a major force for good in every community that it serves.HEAR is a portfolio of integrated initiatives that promotes Health, champions music Education, enables broadAccess to Orchestra performances, and maximizes impact through Research. The Orchestra’s award-winningeducation and community initiatives engage over 50,000 students, families, and community members throughprograms such as PlayINs, side-by-sides, PopUP concerts, Free Neighborhood Concerts, School Concerts, sensory-friendly concerts, the School Partnership Program and School Ensemble Program, and All City OrchestraFellowships.

Through concerts, tours, residencies, and recordings, the Orchestra is a global ambassador. It performs annually atCarnegie Hall, the Saratoga Performing Arts Center, and the Bravo! Vail Music Festival. The Orchestra also has arich history of touring, having first performed outside Philadelphia in the earliest days of its founding. It was thefirst American orchestra to perform in the People’s Republic of China in 1973, launching a now-five-decadecommitment of people-to-people exchange.

The Orchestra also makes live recordings available on popular digital music services and as part of the Orchestraon Demand section of its website. Under Yannick’s leadership, the Orchestra returned to recording, with ninecelebrated releases on the prestigious Deutsche Grammophon label. The Orchestra also reaches thousands ofradio listeners with weekly broadcasts on WRTI-FM and SiriusXM. For more information, please visitwww.philorch.org.

THE PHILADELPHIA ORCHESTRA ASSOCIATION

Board of DirectorsRalph W. MullerChairMatías TarnopolskyPresident and Chief Executive OfficerYannick Nézet-SéguinMusic DirectorCaroline B. Rogers Chair, Academy of Music Board of TrusteesSarah Miller CoulsonSecretaryMario MestichelliTreasurer Holly Blake*James P. BrandauPatrick J. BrennanElaine Woo CamardaMichael M. ConeSarah Miller CoulsonKenneth E. DavisMark S. DichterElise du PontAlexandra T. Victor EdsallDavid B. Fay*Joseph M. FieldMark J. FoleyLauren GilchristJudith F. GlickDonald A. GoldsmithJuliet J. GoodfriendJulia A. Haller

http://www.philorch.org


Harry R. Halloran, Jr.Lauren HartRobert C. HeimOsagie O. ImasogiePatricia Harron ImbesiRonald L. KaisermanBennett KeiserChristopher M. KeithMichael Kihn*David Kim*Neal W. KrouseJeffrey Lang*Kelly Lee*Bruce G. LetoTod J. MacKenzieJoseph M. Manko, Sr.John H. McFaddenDara Morales*Robert E. MortensenRalph W. MullerYannick Nézet-Séguin*Jon Michael RichterCaroline B. RogersDianne A. Rotwitt*Charles E. RyanAdele K. SchaefferPeter L. ShawAdrienne SimpsonLindy SniderMatías Tarnopolsky*Fabio TerlevichRamona VosbikianRichard B. WorleyAlison T. YoungBin ZhangJames W. Zug* *Ex-officio AdministrationMatías Tarnopolsky, President and Chief Executive OfficerRyan Fleur, Executive DirectorMitch Bassion, Vice President, DevelopmentAshley Berke, Vice President, CommunicationsTanya Derksen, Vice President, Artistic ProductionMario Mestichelli, Vice President and Chief Financial OfficerDoris Parent, Vice President, Inclusion, Diversity, Equity, and Access Strategies (IDEAS) and Strategic PartnershipsJeremy Rothman, Vice President, Artistic PlanningCharlie Wade, Vice President, Marketing


http://www.saratogaliving.com

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