Issuu

2026–2027 SEASON

FALL/ WINTER

PROGRAM NOTES FROM ORCHESTRA HALL: A celebration of heritage, culture, and pride YOUR CITY, YOUR SOUND LEGATO MEMORY CAFÉ BRINGS A RAY OF HOPE IMPACT BEYOND ORCHESTRA HALL

STELLA CHEN violin

ENRICO LOPEZ-YAÑEZ principal pops conductor & devereaux family chair

KRIS JOHNSON director/trumpet

BERNADETTE PETERS vocalist

M I C H I G A N’ S P R E M IE R

SENIOR L I VI N G COM MUNIT IES

CEDARBROOK SENIOR LIVING Indulge in what’s next and embrace the rewards of a reﬁned lifestyle. Every Cedarbrook community is the perfect balance of modern luxury that feels like home and offers a continuum of care where you can age in place.

Rochester

248.841.2850

Bloomfield Hills 248.629.0132

Northville

734.738.5000

CALL TODAY TO SCHEDULE A PERSONALIZED TOUR

Celebrating life every day! INDEPENDENT LIVING | ASSISTED LIVING | MEMORY CARE NURSING CARE | COTTAGES | RESPITE

ww w . c e d a r b r o o k s e n i o r l i v i n g . c o m

2026–2027 SEASON

FALL/WINTER

4 Welcome

FEATURE STORY

5 Orchestra Roster

From Orchestra Hall

6 Behind the Baton 8 Board Leadership 41 Donor Roster

A celebration of heritage, culture, and pride

50 Maximize Your Experience

14 Legato Memory Café brings a ray of hope

16 Impact Beyond Orchestra Hall Enrico Lopez-Yañez Photo by Sarah Smarch

17-40 Program Notes

Beyond-the-surface insight about each program

Read Performance anytime, anywhere at dso.org/performance The Detroit Symphony Orchestra impacts lives through the power of unforgettable musical experiences by sustaining a world class orchestra for our city and the global community.

2026–2027 SEASON

FALL/ WINTER

PROGRAM NOTES

ON THE COVER:

FROM ORCHESTRA HALL: A celebration of heritage, culture, and pride YOUR CITY, YOUR SOUND

Enrico Lopez-Yañez photo by Sarah Smarch. Stella Chen photo by Fay Fox. Bernadette Peters photo by Kurt Sneddon. Kris Johnson

LEGATO MEMORY CAFÉ BRINGS A RAY OF HOPE IMPACT BEYOND ORCHESTRA HALL

STELLA CHEN violin

DSO.ORG

The 2026–2027 Season

DSO’s monthly, free community gathering offers activity, support, and respite for individuals with dementia and their care partners

52 DSO Administrative Staff

Hannah Engwall Elbialy, editor hengwall@dso.org — ECHO PUBLICATIONS, INC. Tom Putters, publisher echopublications.com — Cover design by Jay Holladay — To advertise in Performance: visit echodetroit.com, call 248.582.9690 or email tom@echodetroit.com

12 Your City, Your Sound

ENRICO LOPEZ-YAÑEZ principal pops conductor & devereaux family chair

#IAMDSO

KRIS JOHNSON director/trumpet

BERNADETTE PETERS vocalist

DSO PERFOR MA NCE MAGA ZINE 3

—WELCOME— Dear Friends, Welcome to the 2026–27 season with your Detroit Symphony Orchestra! Thank you for joining us in celebrating another extraordinary season of music. Whether you’re attending a performance at Orchestra Hall for the first time or returning as a dedicated patron, we’re delighted to share music that inspires, moves, and ignites something within you. Our new season is built on Your City, Your Sound—an idea that encapsulates the people, stories, and sounds that define our resilient city. Erik and Faye at Classical Roots 2025 Together, these elements create the shared rhythm and heartbeat that echoes the spirit of Detroit. We invite you to make this space your own, to settle into your seat, and to feel the anticipation that fills the venue before the first note is struck. This season is full of unforgettable programs beginning with City Rhythms: West Side Story & Aranjuez featuring Rafael Aguirre on guitar, followed by Opening Night Gala: Joshua Bell Plays Lalo. Later in the season, Puccini’s La bohème led by Music Director Jader Bignamini will highlight phenomenal vocalists and throughout the remainder of the year, the DSO’s range will be put on display through varying programs. From works driven by color and momentum to world-renowned soloists, monumental pieces, energetic pops performances, celebrated jazz artists, and captivating family and film experiences, there is an opportunity for everyone to discover the power of music. We’re pleased to have our esteemed artistic leaders Jader Bignamini, Enrico Lopez-Yañez, Tabita Berglund, and Terence Blanchard continue to guide our orchestra under their direction and vision. Composer-in-residence Michael Abels also returns for the final season of his residency where we’ll highlight his artistry with performances of Emerge and Delights and Dances. Additionally, cultivating deep connections within our community remains a core value of who we are and the work we do. Through our music education programs such as Detroit Harmony, we reach thousands of young learners each season, providing pathways to pursue passions and uncover new possibilities. We look forward to continuing this important work and enrich lives beyond the stage throughout the season ahead. As the lights dim and the baton rises, we encourage you to immerse yourself in the magic of what lies ahead. Thank you for choosing to spend your time with us and for making the DSO your home for the season. Enjoy the performance! Warm regards,

Erik Rönmark President & CEO 4

Faye Alexander Nelson Chair, Board of Directors

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

—DSO ROSTER— JADER BIGNAMINI, Music Director ENRICO LOPEZ-YAÑEZ

TERENCE BLANCHARD

TABITA BERGLUND

INGRID MARTIN

Principal Pops Conductor Devereaux Family Chair

Fred A. Erb Jazz Creative Director Chair

Principal Guest Conductor

Assistant Conductor, Phillip & Lauren Fisher Community Ambassador

FIRST VIOLIN Robyn Bollinger

CONCERTMASTER Katherine Tuck Chair

Kimberly Kaloyanides Kennedy

ASSOCIATE CONCERTMASTER Schwartz and Shapero Family Chair

Hai-Xin Wu

ASSISTANT CONCERTMASTER Walker L. Cisler/Detroit Edison Foundation Chair

OPEN

ASSISTANT CONCERTMASTER

Marguerite Deslippe* Laurie Goldman* Rachel Harding Klaus* Eun Park Lee* Nancy Schlichting and Pam Theisen Chair

Adrienne Rönmark*

William and Story John Chair

Laura Soto* Greg Staples* Mingzhao Zhou*

SECOND VIOLIN Jiamin Wang

CELLO Wei Yu

PRINCIPAL

Alon Hayut

ASSISTANT PRINCIPAL Dorothy and Herbert Graebner Chair

Robert Bergman* Jeremy Crosmer*

Victor and Gale Girolami Chair

Bennet Huang* David LeDoux* Peter McCaffrey*

Joanne Danto and Arnold Weingarden Chair

Úna O’Riordan*

Mary Ann and Robert Gorlin Chair

Cole Randolph*

Mary Lee Gwizdala Chair

BASS Kevin Brown

PRINCIPAL Van Dusen Family Chair

Stephen Molina

ASSISTANT PRINCIPAL Renato and Elizabeth Jamett Chair

Adam Stepniewski

Connor Chaikowsky* Will Haapaniemi*

HARP Alyssa Katahara

ASSISTANT PRINCIPAL

David and Valerie McCammon Chairs

Hae Jeong Heidi Han*

David and Valerie McCammon Chairs

Sheryl Hwangbo Yu* Sujin Lim* Tianyu Liu* Yu-Ming Ma* Hong-Yi Mo*^ Marian Tănău* Alexander Volkov* Jing Zhang*

VIOLA Eric Nowlin

PRINCIPAL Julie and Ed Levy, Jr. Chair

TIMPANI Jeremy Epp

Jack Walters

Jay Ritchie

PRINCIPAL Robert B. Semple Chair

Christopher Hamlen* Peter Hatch* Vincent Luciano* Brandon Mason^

PRINCIPAL The Devereaux Family Chair

CLARINET Ralph Skiano

PRINCIPAL Winifred E. Polk Chair

ASSISTANT PRINCIPAL PVS Chemicals Inc./ Jim and Ann Nicholson Chair

Shannon Orme Triniti Rives§

PRINCIPAL Alan J. and Sue Kaufman and Family Chair

Luke Fitzpatrick

ACTING SECOND FLUTE Morton and Brigitte Harris Chair

Jay Ritchie Jeremy Sreejayan

Barbara Frankel and Ronald Michalak Chair

BASSOON Conrad Cornelison

ASSISTANT PRINCIPAL

Ryan Turano

CONTRABASSOON Ryan Turano HORN Edmund Rollett

PRINCIPAL David and Christine Provost Chair

Helen Wargelin Scott Strong Lorenzo Robb Patrick Walle

ASSISTANT PRINCIPAL

Kristi Crago

ACTING UTILITY HORN

TRUMPET

Maggie Miller

PERSONNEL MANAGERS Andrew Williams DIRECTOR OF ORCHESTRA PERSONNEL

Benjamin Tisherman

MANAGER OF ORCHESTRA PERSONNEL

STAGE PERSONNEL Dennis Rottell STAGE MANAGER

Joe Corless

DEPARTMENT HEAD

William Dailing

DEPARTMENT HEAD

William Lucas

Kurt Henry

TROMBONE Gracie Potter

Matthew Pons

Jason Tschantre

Erik Andrusyak Sarah Pray

Richard Sonenklar and Gregory Haynes Chair

#IAMDSO

James C. Gordon

Oboe

Zach Deater

David Binder

DSO.ORG

Women’s Association for the DSO

Principal Cello

Austin Williams Joseph Brown

OBOE Alexander Kinmonth

ENGLISH HORN Monica Fosnaugh

Kresge Foundation

Principal Flute

ASSISTANT PRINCIPAL

PRINCIPAL

LEGACY CHAIRS Music Director

Lily Josefsberg

Monica Fosnaugh Donovan Bown§

LIBRARIANS Robert Stiles

Cornelia Sommer OPEN

Amanda Blaikie

PRINCIPAL Jack A. and Aviva Robinson Chair

ACTING PERCUSSION

Ethan Allen

Caroline Coade

Henry and Patricia Nickol Chair

ASSISTANT PRINCIPAL William Cody Knicely Chair

PRINCIPAL Byron and Dorothy Gerson Chair

James VanValkenburg

Mike Chen* Zola Hightower* Hang Su* Sanford Whatley* Han Zheng*

PRINCIPAL Ruth Roby and Alfred R. Glancy III Chair

BASS CLARINET Shannon Orme

PICCOLO Lily Josefsberg

ASSISTANT PRINCIPAL Janet and Norm Ankers Chair

PERCUSSION Joseph Becker

Andrés Pichardo-Rosenthal^

Hunter Eberly PRINCIPAL

ACTING ASSISTANT PRINCIPAL Bernard and Eleanor Robertson Chair

ASSISTANT PRINCIPAL

E-FLAT CLARINET Jack Walters

Ric and Carola Huttenlocher Chair

FLUTE Hannah Hammel Maser

PRINCIPAL Richard and Mona Alonzo Chair

PRINCIPAL

BASS TROMBONE Adam Rainey

TUBA Dennis Nulty

DEPARTMENT HEAD

Isaac Eide

DEPARTMENT HEAD DEPARTMENT HEAD SENIOR AUDIO DEPARTMENT HEAD

DEPARTMENT HEAD -

PAST MUSIC DIRECTORS Leonard Slatkin MUSIC DIRECTOR LAUREATE

Neeme Järvi

MUSIC DIRECTOR EMERITUS

PRINCIPAL Chair generously endowed by an anonymous donor

LEGEND * These members may voluntarily revolve seating within the section on a regular basis ^ Leave of Absence § African American Orchestra Fellow

DSO PERFOR MA NCE MAGA ZINE 5

—BEHIND THE BATON—

Jader Bignamini MUSIC DIRECTOR

ader Bignamini was introduced as the 18th music director of the Detroit Symphony Orchestra in January 2020, commencing with the 2020–21 season. His infectious passion and artistic excellence set the tone for the seasons ahead, creating extraordinary music and establishing a close relationship with the orchestra. During his tenure in Detroit, Bignamini has collaborated with such artists as Branford Marsalis, Daniil Trifonov, Yo-Yo Ma, Hilary Hahn, Alisa Weilerstein, and Yuja Wang, as well as composers Michael Abels and Carlos Simon, and conducted major symphonic works by Beethoven, Brahms, and Mahler, and also Leonard Bernstein, Duke Ellington, Florence Price, and Margaret Bonds. A jazz aficionado, he has immersed himself in Detroit’s rich jazz culture and the influences of American music. In 2023, the DSO extended Bignamini’s contract for a second five-year term, through 2031. A native of Crema, Italy, Bignamini studied at the Piacenza Music Conservatory and began his career as a musician (clarinet) with Orchestra Sinfonica di Milano, later serving as the group’s resident conductor. Captivated by the works of legends like Mahler and Tchaikovsky, Bignamini explored their complexity and power,

DSO PERFOR MA NCE MAGA ZINE

puzzling out the role that each instrument played in creating a larger-than-life sound. In the years since, Bignamini has conducted many of the world’s most acclaimed orchestras and opera companies in venues across the globe. Recent highlights include debuts with Opera de Paris (La forza del destino and Adriana Lecouvreur) and Deutsche Opera Berlin (Simon Boccanegra); debuts with Accademia di Santa Cecilia Orchestra, the Washington National Symphony, Houston, Dallas, Atlanta, Milwaukee, and Minnesota symphonies; The Cleveland Orchestra at the Blossom Festival and the Grand Teton Festival; with the BBC Orchestra and London Philharmonic; with the Metropolitan Opera, Canadian Opera Company, Vienna State Opera, and Dutch National Opera (Madama Butterfly); Bayerische Staatsoper (La traviata); and I Puritani in Montpellier for the Festival of Radio France. Bignamini also has a great career in Asia, including Japan, where he has conducted the Osaka Philharmonic, Yomiuri Nippon Symphony Orchestra in Tokyo, the Sendai Philharmonic Orchestra, the New Japan Philharmonic Orchestra, and opera productions of Andrea Chenier at NHK and La traviata by Sofia Coppola with costumes by Valentino in Tokyo and on tour with Rome’s Teatro dell’Opera. Recent highlights include collaborations with artists such as Alexander Gavrylyuk, Sergei Babayan, Emanuel Ax, Jean-Yves Thibaudet, Simon Trpčeski, Kian Soltani, Sheku Kanneh-Mason, Ray Chen, Gil Shaham, James Ehnes, Augustin Hadelich, María Dueñas, Karen Gomyo, Nemanja Radulović, and Leonidas Kavakos. One of Bignamini’s greatest passions is working with the next generation of musicians, and during the summer he is a regular guest of the Interlochen Center for the Arts with the DSO and of the Asian Youth Orchestra, leading tours featuring the most talented young musicians from Asia. FALL/WINTER 2026–2027

Enrico Lopez-Yañez

Terence Blanchard

PRINCIPAL POPS CONDUCTOR AND DEVEREAUX FAMILY CHAIR

FRED A. ERB JAZZ CREATIVE DIRECTOR CHAIR

Celebrated for his charismatic stage presence, genre-spanning collaborations, and innovative approach to orchestral programming, LopezYañez is one of the most sought-after conductors in North America. He currently serves as Creative Director & Principal Conductor of Pops and Specials at the Dallas Symphony, Principal Pops Conductor for the Detroit and Pacific Symphonies, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He also previously served as the Principal Pops Conductor of the Nashville Symphony, which he conducted for eight seasons. His 2026–27 season includes collaborations with Aida Cuevas, Bernadette Peters, Better Than Ezra, Cody Fry, Idina Menzel, among many others, and return appearances with major orchestras across the U.S. A trailblazer in the symphonic world, Lopez-Yañez has premiered dozens of collaborations with artists including Dolly Parton, Kelsea Ballerini, Portugal. The Man, among many others. A passionate advocate for Latin music, he has arranged and produced concerts including La Vida Loca, Latin Fire, and The Three Mexican Tenors, and collaborated with Angela, Leonardo, and Pepe Aguilar, Aida Cuevas, Arturo Sandoval, Lila Downs, and Lupita Infante. As a composer and arranger, he’s written for artists including Big Sean and Mariachi Los Camperos, and has been commissioned by major orchestras across the U.S. Lopez-Yañez is also Artistic Director and Co-Founder of Symphonica Productions, LLC.

Trumpeter, bandleader, composer, and educator Terence Blanchard has served as the DSO’s Fred A. Erb Jazz Creative Director Chair since 2012. He is recognized globally as one of jazz’s most esteemed trumpeters and a prolific composer for film, television, opera, Broadway, orchestras, and his own ensembles, including the E-Collective and Turtle Island Quartet. Blanchard’s second opera, Fire Shut Up in My Bones, opened The Metropolitan Opera’s 2021–22 season, making it the first opera by an African American composer to premiere at the Met, and earning a GRAMMY® for Best Opera Recording. With a libretto by Kasi Lemmons, the opera was commissioned by Opera Theatre of Saint Louis, where it premiered in 2019. Fire returned to the Met for a second run in April 2024. Blanchard’s first opera, Champion, premiered in 2013 and starred Denyce Graves with a libretto from Michael Cristofer. Its April 2023 premiere at the Met received a GRAMMY® for Best Opera Recording. Blanchard has released 20 solo albums, garnered 15 GRAMMY® nominations and eight wins, composed for more than 60 films including more than 20 projects with frequent collaborator Spike Lee, and received 10 major commissions. He is a 2024 NEA Jazz Master and member of the 2024 class of awardees for the American Academy of Arts and Letters and currently serves as the Executive Artistic Director for SF Jazz. Visit terenceblanchard.com for more.

DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 7

DETROIT SYMPHONY ORCHESTRA, INC. LIFETIME DIRECTORS Samuel Frankel Stanley Frankel David Handleman, Sr.◊ Dr. Arthur L. Johnson◊ ◊

CHAIRS EMERITI

James B. Nicholson Barbara Van Dusen Clyde Wu, M.D.◊

Peter D. Cummings Mark A. Davidoff Phillip Wm. Fisher Stanley Frankel

Robert S. Miller James B. Nicholson David T. Provost

DIRECTORS EMERITI Chacona W. Baugh Penny B. Blumenstein Marianne Endicott Sidney Forbes

Dr. Gloria Heppner Ronald Horwitz Harold Kulish Bonnie Larson

Arthur C. Liebler David McCammon Marilyn Pincus. Glenda Price

Bernard I. Robertson Marjorie S. Saulson Jane Sherman Arthur A. Weiss

OFFICERS OF THE BOARD OF DIRECTORS Faye Alexander Nelson Chair

Laura Trudeau Treasurer

Ric Huttenlocher Officer at Large

David Nicholson Officer at Large

Erik Rönmark President & CEO

Renato Jamett Secretary

Daniel J. Kaufman Officer at Large

Dr. David M. Wu, M.D. Officer at Large

Shirley Stancato Vice Chair

BOARD OF DIRECTORS Directors are responsible for maintaining a culture of accountability, resource development, and strategic thinking. As fiduciaries, Directors oversee the artistic and cultural health and strategic direction of the DSO.

Fa ye Alexander Nelson, Board Chair Michael Bickers Elena Centeio Rodney Cole Dr. Marcus Collins Jeremy Epp, Orchestra Representative

Aaron Frankel Ralph J. Gerson Laura Grannemann Dr. Herman B. Gray, M.D. Laura Hernandez-Romine, Governing Members Chair Rev. Nicholas Hood III

Richard Huttenlocher Renato Jamett, Trustee Chair Daniel J. Kaufman Xavier Mosquet David Nicholson Arthur T. O’Reilly

Shirley Stancato, Orchestra Representative Yoni Torgow Laura J. Trudeau James G. Vella Dr. David M. Wu, M.D. Ellen Hill Zeringue

BOARD OF TRUSTEES Trustees are a diverse group of community leaders who infuse creative thinking and innovation into how the DSO strives to achieve both artistic vitality and organizational sustainability.

Renato Jamett, Trustee Chair Richard Alonzo Hadas Bernard Janice Bernick Elizabeth Boone Gwen Bowlby Dr. Betty Chu, M.D. Joanne Danto Stephen D’Arcy Maureen T. D’Avanzo Cara Dietz Afa Sadykhly Dworkin Emily Elmer James C. Farber Amanda Fisher 8

Linda D. Forte Carolynn Frankel Christa Funk Robert Gillette Jody Glancy Mary Ann Gorlin Darby Hadley Michele Hodges Julie Hollinshead Cheryl P. Johnson Laurel Kalkanis Jay Kapadia Joel D. Kellman John Kim Jennette Smith Kotila Leonard LaRocca

DSO PERFOR MA NCE MAGA ZINE

Gene LoVasco Anthony McCree Tito Melega Lydia Michael Sandy Morrison Frederick J. Morsches Jennifer Muse Geoffrey S. Nathan Sean M. Neall Eric Nemeth Maury Okun Jackie Paige Priscilla Perkins Vivian Pickard Denise Fair Razo Gerrit Reepmeyer

As of Sept. 2026

Deceased

FALL/WINTER 2026–2027

◊

Rochelle Riley Jim Rose, Jr. Laurie DeMond-Rosen Carlo Serraiocco Lois L. Shaevsky Elliot Shafer Shiv Shivaraman Dean P. Simmer Richard Sonenklar Dhivya Srinivasan Lilly Stotland Rob Tanner Nate Wallace Gwen Weiner

PHOTO BY SARAH SMARCH

Enrico Lopez-Yañez

From Orchestra Hall: A celebration of heritage, culture, and pride BY LATOYA CROSS

here’s a captivating charm that Enrico Lopez-Yañez brings to the fusion of pop and classical music. His brand of storytelling is fiery and theatrical, climactic and emotional, surprising and unforgettable. Entering his third season as the Detroit Symphony Orchestra’s Principal Pops Conductor, Lopez-Yañez continues to wow audiences with his approach to engaging communities through an eclectic mix of musical styles, from Funk and Soul to ‘90s chart toppers and Broadway classics. His broad musical palette can be traced to his upbringing in a household where piano lessons came from his mother, and operatic vocals with a classical technique

DSO.ORG

#IAMDSO

were heard from his father. As he traveled with his parents to their concerts, it wasn’t rare to find a young Enrico backstage, taking in all the makings of a large production: costumes, singing, dancing, and a huge orchestra pit. This exposure widened his interest. Switching from piano to trumpet and drums led to being in rock bands, boy bands, and mariachi groups. But, sitting in on recording sessions watching his father work with mariachi musicians to make an album, inspired the desire to conduct in a way that combined a variety of genres with the sound of an orchestra. Each season, Lopez-Yañez curates concerts that pay homage to his roots, DSO PERFOR MA NCE MAGA ZINE 9

honoring the history and voices that have shaped Latin American culture through music. “I am incredibly proud of my heritage, and I cannot separate that from who I am and who I am as an artist,” he expressed in an earlier interview with Spectrum News. “I don’t take that lightly, and I bring in what I do, and try to present as much of that as possible.” His production of Latin Fire celebrated iconic Latin American orchestral works, filling Orchestra Hall with sizzling vocal performances and dramatic flair. And his presentation of The Three Mexican Tenors, which features his father among the trio, brought a heartfelt sense of family and tradition throughout the venue. As a prelude to the 2026-2027 season, Lopez-Yañez reunited with Aida Cuevas, affectionately known as “The Queen of Mariachi” for an evening of “Singing to México.” The concert honored National Hispanic Heritage Month, observed annually from September 15 through October 15, as a time of celebration, reflection, and cultural pride. Backed by the Detroit Symphony Orchestra and a mariachi ensemble, when Cuevas took the Orchestra Hall stage, it was an “incredible party” bursting with energy and emotion. “She was a spearhead for female vocalists crossing into the world of mariachi, which was not the traditional route for that music,” LopezYañez says. “So, what you heard was this almost classical sounding but very operatic voice, singing over this loud ensemble, which was really unique.” Pairing mariachi— a music group or ensemble that plays rancheras and various musical styles rooted in Mexican folk traditions—with orchestra, is a combination that has only been happening for the last decade, says 10

DSO PERFOR MA NCE MAGA ZINE

Lopez-Yañez, “but it is one of the best collaborations.” Virtuosic strings, booming brass, the fullness of the guitar bridging rhythm and melody—the accumulation of all that sound creates layered storytelling you can feel. Add boisterous vocals that fill a concert hall and you’re in for a textured experience “filled with heart and the outpouring of your soul,” he says. “It’s super important for any community that you want to represent and engage with to share their art form,” says Jess Slais, creative director of popular and special programming for the DSO. “For Enrico, that’s not a one-time thing.” Coming in February, Lopez-Yañez leads the orchestra in a weekend program paying homage to Lin-Manuel Miranda’s songwriting and compositions. Broadway star Mandy Gonzalez brings vocal warmth and symphonic resonance to a presentation that features stories, rhythms, and melodies from critically acclaimed productions such as In the Heights, Hamilton, New York, New York, and Encanto. “He’s always thinking and ready to create that one extra layer of fun,” says Slais. “I think across the board, in the programs he puts together, that makes things memorable for people.”

Vocalist Mandy Gonzalez FALL/WINTER 2026–2027

And it doesn’t just happen in Orchestra telling perspective.” Hall. Throughout the year, concerts are The composer notes that while crafting held across the city in neighborhood this composition, she “noticed once again parks, gathering spaces, and churches in how music has the power to grant access collaboration with residents to create to the intangible; healing our wounds and experiences that reflect each commubinding us to what only can be expressed through sound. Although life is filled with nity’s identity and culture. One of those interruptions, Kauyumari is a comprecommunities is Southwest Detroit, where the majority population identify as hension and celebration of the fact that Hispanic or Latino. each of these rifts is also a new In 2022, as a then-DSO guest conductor beginning.” Lopez-Yañez led a concert at St. Hedwig From western Mexico in Ortiz’s compoChurch with featured works by Latin sition, the music travels to Spain as American composers. Speaking in both Bignamini conducts Concierto de Aranjuez English and Spanish, he engaged the for Guitar and Orchestra, one of the most audience with storytelling, musical famous works by Spanish composer insights, and historical context that Joaquín Rodrigo, written in 1939. Classical fostered an authentic sense of connection, guitarist Rafael Aguirre is the guest artist belonging, and familiarity. for this emotional work that captures That connection continues today. Every picturesque scenes of the historical royal visit to Southwest Detroit ignites a deeper palace found south of Madrid, the duality appreciation for multicultural experiences of grief and joy expressed in a poignant that speak to the heart of a community. conversation between the guitar and DSO Music Director Jader Bignamini orchestra, and a spirited finale inspired by shares Lopez-Yañez’s passion for the folk music. artistry of Latin culture. Its intricate storyMusic is evocative. In the midst of dancing and deep listening, there’s a story telling, deep emotion, and energy are felt within the notes that causes you to pause, on a few classical programs, as well. reflect, and remember. That’s part of its Starting off opening weekend is the magic. DSO premiere of Kauyumari by GRAMMY “It’s about feeling the power of the award-winning composer Gabriela Ortiz. music and letting that take you whichever Bignamini leads the orchestra in this way you would like to enjoy,” says Lopezvibrant seven-minute journey of spiritual Yañez. “Come to the DSO ready to clap, and inner guidance, new beginnings, and ready to sing, ready to dance, ready to a celebration of community. stand up and have a good time meeting The music blends contemporary other people that love the music that you orchestral language with the traditions of love. Come ready to enjoy a concert.” Mexico’s Huichol people—who identify Kauyumari, the blue deer, as a sacred Also this season: join multispiritual guide. GRAMMY® winning Brazilian “Ortiz integrates pianist and vocalist Eliane rhythm, but also this Elias to celebrate the 100th vivid texture into her birthday of the “father of writing,” notes Ian bossa nova,” legendary Kivler, artistic planning Brazilian composer Antônio consultant. “There’s Carlos Jobim, on the Paradise also this fascinating Jazz Series, Saturday, 2/6. spiritual dimension of the piece from a storyDSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 11

Your City, Your Sound From the moment you step into the Max M. & Marjorie S. Fisher Music Center there’s a sense of anticipation—a gravitational pull that draws each person in with the promise of a shared experience unlike any other. From performances in Orchestra Hall to concerts in the community, the DSO is a place where family traditions are cherished, new friendships are formed, and unfamiliar sounds open the door to new perspectives. BY JAMIE DELAS

his season, the Detroit Symphony Orchestra invites you to be part of the story—in the hall and across the city. Come hear your city’s sound and meet the people who bring it to life. We’re saving your seat.

“ I feel all the Italian atmosphere. It’s a mix between history, tradition, and Italian culture. I can feel that and it’s a very emotional and majestic finale.” — JADER BIGNAMINI SPEAKING ON PINES OF ROME

DSO PERFOR MA NCE MAGA ZINE

ON THE PVS CLASSICAL SERIES:

Marking his sixth season as Music Director, Jader Bignamini returns to the podium to lead 11 captivating programs, filling Orchestra Hall with his signature energy once again. The season launches with two fiery and compelling programs: City Rhythms: West Side Story & Aranjuez featuring guitarist Rafael Aguirre and Opening Night Gala with GRAMMY® award-winning violinist Joshua Bell. FALL/WINTER 2026–2027

In October, the Fountains & Pines of Rome program features Respighi’s Pines of Rome, a masterwork noted as Bignamini’s most thrilling five minutes in all of classical music. Among the major orchestral works taking center stage this season is Mahler’s Symphony No. 6, a piece generating particular excitement among the orchestra as it marks Bignamini’s debut conducting the piece. Its climactic final movement will feature the famed hammer blow, delivering a striking finale. Other monumental programs curated and conducted by Bignamini throughout the season will feature works by Shostakovich and Strauss. In April, a defining moment arrives with La bohème, a beloved Puccini opera that portrays the joys and heartbreaks of navigating love, friendship, and belonging. Exceptional vocalists Francesco Demuro, Will Liverman, and Meghan Picerno join the orchestra to bring the masterpiece to life. At the annual Classical Roots concert, which celebrates the contributions of African Americans to classical music, Andrew Grams will lead the orchestra in Valerie Coleman’s Piano Concerto marking its Midwest premiere. Featuring pianist Michelle Cann, the piece draws inspiration from historical and contemporary themes. Closing the program is Florence Price’s widely celebrated Symphony No.3.

including Viva Las Vegas with Las Vegas headliner Frankie Moreno, the beloved Home for the Holidays, Oops… I Sang it Again, and many more. Breathtaking performances from critically acclaimed vocalists will illuminate the stage this season. Among the highlights is Broadway royalty Bernadette Peters, who will command Orchestra Hall in October with a vibrant program of Broadway favorites. Later in the season, the exquisite Mandy Gonzalez will take the stage in an electrifying celebration of Lin-Manuel Miranda’s iconic songwriting.

PNC POPS SERIES

YOUR SEAT IS WAITING

The PNC Pops Series reimagines the orchestral experience, taking it to extraordinarily new heights. Principal Pops Conductor Enrico Lopez-Yañez returns for his third season to lead six programs spanning Broadway classics and film favorites to rock and pop hits. This season’s programming bridges genres of music through programs

DSO.ORG

#IAMDSO

PARADISE JAZZ SERIES

Honoring the DSO’s rich jazz legacy, the Paradise Jazz Series has evolved into one of the country’s most distinctive jazz programming traditions and continues to carry the legacy forward by welcoming a powerhouse lineup of artists each year. Starting off the season is the DSO’s own Fred A. Erb Jazz Creative Director Chair Terence Blanchard who will pay tribute to two jazz icons, Miles Davis and John Coltrane. The Paradise Theatre Big Band will showcase Detroit’s undeniable talent before we ring in the holidays with Cyrus Chestnut. Later this season, Eliane Elias will exude bossa nova charm, Brandee Younger & Lakecia Benjamin will dive deep into spirituality, and Jason Moran & the Bandwagon will reimagine all the possibilities of jazz.

From highly anticipated programs and unforgettable premieres to a dynamic mix of genres, the DSO’s 26–27 season offers something for every person, every emotion, and every moment. Join us for a memorable season and secure your seat today by visiting dso.org.

DSO PERFOR MA NCE MAGA ZINE 13

Legato Memory Café brings a ray of hope DSO’s monthly, free community gathering offers activity, support, and respite for individuals with dementia and their care partners BY LATOYA CROSS

heir story began at a singles dance— one Ann was initially reluctant to attend, and where Paul served on the dance committee. At the end of the night, they slow danced to Elvis Presley’s “Can’t Help Falling in Love.” They married just a few years later in 1992 and raised daughters, Rachel and Grace, who share their parents’ love of music. When Paul Pawluszka began showing signs of dementia, the diagnosis came as a surprise to him and his wife. Paul says there was no family history of cognitive decline, making the changes even more unexpected. For the past seven years, the couple has been navigating his symptoms together. “We’re getting care at the University of Michigan and working with a team of neurologists and psychiatrists,” Ann shares. “They’re still unfolding things. There’s a lot of testing.” Before the onset of symptoms, Paul, a 70-year-old skilled tradesman with a love 14

DSO PERFOR MA NCE MAGA ZINE

for doo-wop music and dancing, and Ann, a retired registered nurse and musician who sang with the Sweet Adelines, led an active and socially connected life. Adventure was a constant throughout their marriage, whether planned or spontaneous. While attending the historic J.L. Hudson Bridal Fair, Ann won them a 10-day trip to France for their honeymoon. When four unexpected days were added to the trip, the couple seized the opportunity to visit the newly opened Disneyland Paris. Today, life looks a bit different. “I didn’t think I’d be this young, facing these challenges. It’s been hard because I thought I could do more in my retirement. Now I have limitations,” Paul expresses. “It’s hard for me to see Ann have to carry the ball, in a sense.” For Ann, feelings of isolation have been difficult to adjust to. “It’s socially isolating to have dementia because you can’t go out with your couple FALL/WINTER 2026–2027

praising the music, intentionality, and friends,” she says. “It’s a whole different attentiveness of volunteers. sort of experience now with the other “Dementia is a journey,” says Kiersten challenges that we face.” Alcorn, manager of engagement and As changes unfold, the couple refuses to accessibility at the DSO, and the goal let dementia define them and diminish during each session “is about getting their spirit. outside of that and experiencing other The Detroit Symphony Orchestra has things. It’s a space where we can all be long been a source of joy for Paul and Ann. creative together.” They view the DSO as a “vital part of our A recent session was a collaboration community,” and attend at least six with Paint a Miracle, an art studio offering concerts a year. Their daughters are people with disabilities an opportunity to current season ticketholders and often explore visual arts. The group spent the accompany them to performances. In fact, morning painting vibrant floral it was Grace, a saxophonist, who shared interpretations on news about the sheet music, while DSO’s Legato melodies played Memory Café with calmingly in the them. background. Now, each month, “We’re getting they eagerly look forward to their to know people. There’s sound and time at the Legato socializing,” Ann Memory Café. shares. “What really Launched in brought joy to my February and held in heart, because I was Allesee Rehearsal helping Paul write Hall at the Max M. his evaluation and Marjorie S. statement, and the Fisher Music Center, Music therapist Dr. Jody Conradi Stark thing he said was the program is leads activities with DSO musicians ‘this program brings designed to engage joy to my heart and soul, and my brain’.” individuals experiencing cognitive changes The DSO is committed to reducing while providing support and respite for barriers through programs like Legato, their care partners and loved ones. Sensory-Friendly Concerts, and Relaxed With soothing melodies setting the tone, Open Rehearsals, providing access to a through storytelling, music, and visual variety of programming that invites new arts, each café creates space for groups of people to come. participants to connect with different “It just kind of taps into the soul aspects of their identities while fostering an atmosphere filled with community, and steers things in a positive direction healing, and joy. for me,” Paul expresses. “It gives me Paul and Ann described being a ray of hope. Legato will help steer “awestruck” during their first café visit, this along.”

THE DSO’S LEGATO MEMORY CAFÉ IS PART OF THE SOUTHEAST MICHIGAN EXHALE MEMORY CAFÉ COLLECTIVE, LED BY CULTURESOURCE WITH SUPPORT FROM THE RALPH C. WILSON, JR. FOUNDATION. LEARN MORE AT DSO.ORG/MEMORY-CAFE. DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 15

IMPACT BEYOND ORCHESTRA HALL BY JAMIE DELAS

n classrooms, community spaces, and neighborhoods citywide, the Detroit Symphony Orchestra’s impact is undeniably felt. Whether the community gathers for a live performance in Chandler Park, a student receives an instrument through Detroit Harmony, or a classroom tunes in for an educational concert, transformative moments unfold across our city every season. Last year, these efforts guided the DSO’s Learning & Engagement team in expanding opportunities for meaningful engagement in and around our city, weaving the power of music into the cultural fabric of Detroit. Highlights from the 25–26 season include: Educational Concert Series For more than 80 years, the DSO’s Educational Concert Series has introduced students to classical music through performances that explore topics ranging from science, history, and art. Last season, over 19,000 students engaged in the series both live in Orchestra Hall, and online through free webcasts. Music in the Community Each season, the DSO curates experiences to bring live music outside of Orchestra Hall and directly into the community. DTE Community Concerts, musical experiences co-designed with local residents, programs in spaces of healing, and partnerships with social service organizations make this possible. Last season, more than 12,000 audience members throughout Detroit and the surrounding metro area attended these community-based experiences. Students Engaged DSO programs such as Civic Youth Ensembles, Educational Concert Series, Honor Days, and Detroit Harmony, aim to connect and transform lives while

DSO PERFOR MA NCE MAGA ZINE

equipping students with creative confidence and skills to succeed. Last season, the DSO reached over 47,000 students across the city, helping to inspire a life-long passion for music. Detroit Harmony Detroit Harmony, a citywide collaborative initiative, strengthens Detroit’s music education offerings for every child while simultaneously growing economic opportunities. A core component of that work is to ensure every Detroit student can obtain a high-quality instrument. To date, 3,000 instruments have been distributed to students across Detroit, a number that continues to grow. These results would not be possible without the generosity of our supporters. It is through your continued belief in our mission and participation in key fundraising events that we are able to sustain and expand our work in advancing the growth and well-being of the city. For more information on how to support the DSO’s mission, visit dso.org.

FALL/WINTER 2026–2027

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PVS CLASSICAL SERIES TITLE SPONSOR:

CITY RHYTHMS: WEST SIDE STORY & ARANJUEZ Thursday, September 24, 2026 at 7:30 p.m. Friday, September 25, 2026 at 8 p.m. in Orchestra Hall JADER BIGNAMINI, conductor RAFAEL AGUIRRE, classical guitar John Stafford Smith (1750-1836) Lyrics by Francis Scott Key; arr. Arthur Luck Gabriela Ortiz (b. 1964)

The Star Spangled Banner

Kauyumari

Joaquín Rodrigo Concierto de Aranjuez for Guitar (1901-1999) and Orchestra I. Allegro con spirito II. Adagio III. Allegro gentile Rafael Aguirre, classical guitar Intermission George Gershwin (1898-1937)

Cuban Overture, “Rhumba”

Leonard Bernstein Symphonic Dances from West Side Story (1918-1990) I. Prologue II. “Somewhere” III. Scherzo IV. Mambo V. Cha Cha VI. Meeting Scene VII. “Cool” Fugue VIII. Rumble IX. Finale Friday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 17

PROGR A M AT-A- GL A NCE | CIT Y RHY THMS: WEST SIDE STORY & AR ANJUE Z Rhythms without borders Music Director Jader Bignamini opens the PVS Classical Series leading a program inspired by the rich musical influences of Latin America and the Spanish-speaking world. The four featured composers bring memorable melodies and compelling rhythms directly into Orchestra Hall, immersing listeners in Latin culture from start to finish. From Ortiz’s Kauyumari to Bernstein’s Symphonic Dances from West Side Story, the program spans contemporary sounds to theatrical flairs. Spanish guitarist Rafel Aguirre also adds extraordinary depth during Rodrigo’s Concierto de Aranjuez, bringing exceptional artistry to the performance.

PROGRAM NOTES Kauyumari Composed 2021 | Premiered 2021

GABRIELA ORTIZ B. December 20, 1964, Mexico City, Mexico

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 7 minutes)

mong the Huichol people of Mexico, Kauyumari means “blue deer.” The blue deer represents a spiritual guide, one that is transformed through an extended pilgrimage into a hallucinogenic cactus called peyote. It allows the Huichol to communicate with their ancestors, do their bidding, and take on their role as guardians of the planet. Each year, these Native Mexicans embark on a symbolic journey to “hunt” the blue deer, making offerings in gratitude for having been granted access to the invisible world, through which they also are able to heal the wounds of the soul. When I received the commission from the Los Angeles Philharmonic to compose a piece that would reflect on our return to the stage following the pandemic, I immediately thought of the blue deer and its power to enter the world of the intangible as akin to a celebration of the reopening 18

DSO PERFOR MA NCE MAGA ZINE

of live music. Specifically, I thought of a Huichol melody sung by the De La Cruz family—dedicated to recording ancestral folklore—that I used for the final movement of my piece, Altar de Muertos (Altar of the Dead), commissioned by the Kronos String Quartet in 1997. I used this material within the orchestral context and elaborated on the construction and progressive development of the melody and its accompaniment in such a way that it would symbolize the blue deer. This in turn was transformed into an orchestral texture which gradually evolves into a complex rhythm pattern, to such a degree that the melody itself becomes unrecognizable (the imaginary effect of peyote and our awareness of the invisible realm), giving rise to a choral wind section while maintaining an incisive rhythmic accompaniment as a form of reassurance that the world will naturally follow its course. While composing this piece, I noted once again how music has the power to grant us access to the intangible, healing our wounds and binding us to what can only be expressed through sound. Although life is filled with interruptions, Kauyumari is a comprehension and celebration of the fact that each of these rifts is also a new beginning. —Gabriela Ortiz The DSO most recently and first performed Ortiz’s Kauyumari in May 2025, conducted by Na’Zir McFadden. FALL/WINTER 2026–2027

Concierto de Aranjuez for Guitar and Orchestra Composed 1939| Premiered 1940

JOAQUÍN RODRIGO B. November 22, 1901, Sagunto, Valencia, Spain D. July 6, 1999, Madrid, Spain

Scored for solo guitar, 2 flutes (one doubling on piccolo), 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings. (Approx. 22 minutes)

oncierto de Aranjuez for guitar and orchestra is not only the most famous work of the Spanish composer Joaquín Rodrigo, but also one of the most familiar compositions of the 20th century. It scored an immediate success with its first performance, in 1940, propelling its creator to the forefront of Spanish composers. Time has not

DSO.ORG

#IAMDSO

diminished the popularity of this concerto, which has transcended national boundaries and crossed oceans. Transcribed for a number of different instruments, it has been performed by a wide range of musicians. One of the most famous renditions was recorded by jazz trumpeter Miles Davis, who played a rather free adaptation of the work’s second movement on his Sketches of Spain album. Rodrigo, who passed away in 1999 at age 97, was blind from age three, and this infirmity, he often declared, led him to music. Like other Spanish composers of his time, he studied in Paris, where he became acquainted with Ravel and other important French musicians. Returning to Spain, he was active as a pianist and teacher. But composition remained his principal goal. During his long career, Rodrigo wrote orchestral pieces, songs and choral works, chamber music, film scores, and ballets, all his music bearing a pronounced Spanish accent. While several of his compositions are performed

DSO PERFOR MA NCE MAGA ZINE 19

with some regularity, none has attained anything like the popularity of Concierto de Aranjuez. The form of this piece is that of a Baroque-period concerto: three movements in a fast-slow-fast arrangement, with clear alternation between solo and orchestral passages in the outer sections. The central Adagio is a soulful arioso that conveys a distinctly Spanish feeling of bittersweet passion and romance. Of the work’s title and character, the composer has written: “Concierto de Aranjuez takes its name from the famous royal residence on the banks of the Tajo, not far from Madrid and the Andalusian highway, and in its notes one may fancy seeing the ghost of Goya, held in thrall by melancholia . . . [I]n its themes there lingers the fragrance of magnolias, the singing of birds, and the gushing of fountains, although any more specific description is absent.” The DSO most recently performed Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra in February 2022, conducted by Eun Sun Kim. The DSO first performed this piece in February 1966, conducted by Louis Lane.

Cuban Overture, “Rhumba” Composed 1932 | Premiered 1932

GEORGE GERSHWIN B. September 26, 1898, Brooklyn, New York D. July 11, 1937, Beverly Hills, California

Scored for 3 flutes (one doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. (Approx. 11 minutes)

eorge Gershwin’s Cuban Overture was called “Rhumba” when it received its first performance on August 16, 1932. Prior to Castro’s rise to power, Havana was a popular vacation spot for well-to-do Americans. There, 20

DSO PERFOR MA NCE MAGA ZINE

most visitors found themselves entranced by the pulsating rhythms of the mambo, the rhumba, the conga and other Cuban dances, which had evolved from folkloric origins into sophisticated urban pastimes. One tourist who fell under their spell was George Gershwin, who visited Havana in 1932. The composer, already famous for his Broadway musicals and the exceptionally successful concert piece of Rhapsody in Blue, was particularly impressed by the percussion instruments he encountered, and he brought several of these with him back to New York. Gershwin immediately resolved to use both these instruments and some of the characteristic Cuban rhythms in a symphonic setting. The result was called “Rhumba” when it was first performed at New York’s Lewisohn Stadium in August 1932, but Gershwin later changed the title to Cuban Overture. The form of this piece bears little relation to that of classical overture. Instead, it presents a succession of tunes in three broad sections. The first portion of the work is lively, its restless themes unfolding over a rhythmic accompaniment colored by the distinctive sounds of Latin percussion instruments. A brief cadenza-like solo for clarinet ushers in a slower central episode that contemplates a blues-tinged melody traded back and forth between the woodwinds and strings. In its development, this theme swells to unexpected fullness. Suddenly, however, Gershwin breaks off, quickly recapturing the energy of the opening section and returning to its thematic material, which he now views from a new perspective. The DSO most recently performed Gershwin’s Cuban Overture in September 2024, conducted by Jader Bignamini. The DSO first performed this piece in October 1938, conducted by Jose Iturbi.

FALL/WINTER 2026–2027

Symphonic Dances from West Side Story Composed 1960 | Premiered 1961

LEONARD BERNSTEIN B. August 25, 1918, Lawrence, MA D. October 14, 1990, New York, NY

Scored for 3 flutes (one doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, keyboard, strings and alto saxophone. (Approx. 23 minutes)

ust as Leonard Bernstein brought his theatrical sensibility to his symphonies, so did he make symphonic versions of his best-loved stage works, including Fancy Free, On the Town, and West Side Story. All three of these,

DSO.ORG

#IAMDSO

along with the film music for Elia Kazan’s On the Waterfront, are “city scores,” as drama critic Brooks Atkinson once ably described them. In Atkinson’s estimation, and that of most audiences, West Side Story is the most enduring and the best of these. “By the standards of Broadway, it looked unpropitious,” he wrote. “Instead of glamour, it offered the poverty-stricken life of Puerto Rican street gangs, and it did not conclude with romance and the cliché of living happily ever after. Although it was deliberately patterned after Romeo and Juliet, it dispensed with the wit and poetry of the Shakespeare drama. In the beginning, some theatergoers were repelled by the ignobility of the West Side Story scene and complained that Broadway had betrayed them.” “But enthusiasm travels fast and infects theatergoers everywhere, and it was not long before West Side Story was

DSO PERFOR MA NCE MAGA ZINE 21

recognized as an achievement of the first order…West Side Story dispensed with the familiar charms of the musical theater and relied solely on talent and artistic conviction. [The original 1957 production] had 732 performances on Broadway.” It has had many more recordings and on film. Not the least of its many incarnations is the one for symphony orchestra, in which the composer was able to work

out the musical implications of his themes without being bound by stage action or hampered by the limitations of a pit orchestra. The DSO most recently performed music from West Side Story in October 2024, conducted by Jader Bignamini. The DSO first performed music from West Side Story in April 1967, conducted by Yuri Krasnapolsky.

PROFILES For Jader Bignamini’s biography, see page 6.

RAFAEL AGUIRRE

afael Aguirre is one of the most sought-after guitarists at an international level, having received 13 top First Prizes for his instrument such as the Tárrega Competition and obtaining important awards in all instrumental categories such as the Pro Musicis in New York. He was named Associate of the Royal Academy of Music in London (ARAM), in recognition of his international career and he received the National Award “Cultura Viva” in Madrid. He has performed in 49 countries. With a repertoire of more than 30 concertos for guitar and orchestra, he has performed under the batons of Jesus Lopez Cobos, Leonard Slatkin, Ludovic Morlot, Lorenzo Viotti, Thierry Fischer, among many others. He also performs with the Tokyo Symphony, Kyushu, KBS, Daejeon, and Sao Paulo State Symphony (OSESP), among many others. In December 2022, he gave the world premiere of Joan Valent’s Concert de Tramuntana with the Orquestra de les Illes Ballears and Pablo Mielgo. He released his first album with a recital published by RTVE Música, which 22

DSO PERFOR MA NCE MAGA ZINE

was followed by two more recitals for Naxos. With the German label KSGExaudio he published “Transcriptions”, with a program of music by Bach, Scarlatti, Mendelssohn, Schumann, Debussy, Ravel and Gershwin transcribed for guitar from original works for piano. Two other projects presented him with Brazilian music (with the Anette Maiburg ensemble for the German label MDG) and fado (with the singer Filipa Tavares). He made the world premiere recording of Lorenzo Palomo’s work “Fulgores” with the Castilla y León Symphony Orchestra, violinist Ana Valderrama and Maestro Jesús López Cobos, for the Naxos label. He recently recorded with soprano Fatma Said for the Warner Classics label, an album that was awarded with the BBC Music Magazine Awards, Gramophone Awards and Opus Klassik of Germany. As a result of this recording work, he has been pre-nominated for a Latin Grammy and has received enthusiastic reviews from the magazines Gramophone, The Strad and Crescendo Magazine, as well as appearing on the programming of international TV and radio stations. A native of Málaga (Spain), at the age of 16 he made his orchestral debut with the Málaga Youth Orchestra on a tour of Spain and Morocco. He later studied at the Royal Academy of Music in London. He currently resides in Mexico City.

FALL/WINTER 2026–2027

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PNC POPS SERIES TITLE SPONSOR:

VIVA LAS VEGAS WITH FRANKIE MORENO Friday, October 2, 2026 at 10:45 a.m. Saturday, October 3, 2026 at 8 p.m. Sunday, October 4, 2026 at 3 p.m. in Orchestra Hall ENRICO LOPEZ-YAÑEZ, conductor • FRANKIE MORENO, vocals and piano Program to be announced from the stage.

PROGR A M AT-A- GL A NCE | VIVA L AS VEGAS WITH FR ANKIE MORENO Sounds of the Strip The 2026–2027 PNC Pops Series kicks off by welcoming six-time Las Vegas “Headliner of the Year” Frankie Moreno to the stage, along with his band, and dancer Lacey Schwimmer (of Dancing with the Stars and So You Think You Can Dance fame) for an electrifying performance that transports audiences to the heart of the Las Vegas Strip. With 18 Top Ten albums, 154 Top Ten singles, and an Emmy nomination, Moreno brings a dynamic stage presence to audiences around the world through masterfully crafted songs and virtuosity.

PROFILES For Enrico Lopez-Yañez’s biography, see page 7. FRANKIE MORENO

ith 18 Top-Ten albums (9 No. 1’s), 154 Top-Ten singles (125 No. 1’s), an Emmy nomination, and six-time Las Vegas “Headliner of the Year” honors, Frankie Moreno continues to break records and wow audiences worldwide with his genre-blurring Rock n’ Roll. With millions of records sold, he continues to write and release new music. In 2019, he made music history as the only artist to have six albums debut at a TopTen spot on the Billboard Charts in a 12-month period. A piano prodigy and multi-instrumentalist, he was introduced

to American audiences at age 10 on CBS’s Star Search. He later performed his hit “Tangerine Honey” on ABC’s Dancing with the Stars. He has sold-out concerts at Carnegie Hall, The Kennedy Center, The Hollywood Bowl, and Vegas Residencies. His collaboration with violinist Joshua Bell, At Home With Friends, reached the No. 1 spot on Billboard and Musical Gifts, reached No. 8 on Billboard. Moreno toured the U.S. with Sugarland and Billy Currington, served as musical director for Air Supply’s world tour and wrote their radio single “Dance with Me”, reaching No. 7 on Billboard’s Top 40. He has performed his original works for his Symphony concerts with the nation’s premier orchestras.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 23

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PVS CLASSICAL SERIES TITLE SPONSOR:

BERNSTEIN & APPALACHIAN SPRING Friday, October 9, 2026 at 10:45 a.m. Saturday, October 10, 2026 at 8 p.m. Sunday, October 11, 2026 at 3 p.m. in Orchestra Hall PETER OUNDJIAN, conductor PAUL HUANG, violin Joan Tower (b. 1938)

Suite from Concerto for Orchestra

Leonard Bernstein Serenade (1918-1990) Phaedras - Pausanias: Lento - Allegro Aristophanes: Allegretto Eryximachus: Presto Agathon: Adagio So crates - Alcibiades: Molto tenuto Allegro molto Vivace Paul Huang, violin Intermission Aaron Copland (1900-1990) John Adams (b. 1947)

Suite from Appalachian Spring [1945 orchestration] Frenzy

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

PROGR A M AT-A- GL A NCE | BERNSTEIN & APPAL ACHIAN SPRING American soundscapes Conductor Peter Oundjian returns to the DSO for a program showcasing the breadth of American orchestral music. The evening opens with a glimpse of Joan Tower’s Suite from Concerto for Orchestra, drawn from her largest work to date. The program seamlessly transitions to the poetic lyricism of Leonard Bernstein’s Serenade, inspired by Plato’s dialogue on love—as with many of his works shaped by literature—and features violinist Paul Huang. Aaron Copland’s Suite from Appalachian Spring evokes the optimism and expansive spirit of the American frontier before controlled chaos of John Adams’s Frenzy unfolds during the concluding moments to round out the program.

PROGRAM NOTES Suite from Concerto for Orchestra Composed 2024 | Premiered 2025

JOAN TOWER B. September 6, 1938, New Rochelle, New York

Scored for 3 flutes (2 doubling on piccolo), 2 oboes, English horn, 3 clarinets (1 doubling as E-flat clarinet and 1 doubling as bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, and strings. (Approx. 12 minutes) This performance features the Suite from Concerto for Orchestra. Of Concerto for Orchestra, Joan Tower writes the following: “Concerto for Orchestra begins slowly, quietly, and simply, on a unison F-sharp that emerges from the depths of the orchestra. I had imagined a long and large landscape that had a feeling of space and distance. From the beginning I wanted to convey this sense to let the listener understand that the proportions of the piece would be spacious and that the musical materials would travel a long road. The energy of the piece emerges through the contrast of big alternating chords with little fast motives. These take on bigger and bigger shapes, picking up larger textures as they whirl around in fast repeated figures. There is a strong DSO.ORG

#IAMDSO

sense of direction in this piece, as in all my music, and a feeling of ascent, which comes not only from the scale motives, but from tempos, rhythms, and dynamics that cooperate to produce the different intensities. Although it had been my intention to write a work in two parts, the content of the musical materials led me to a different form. Instead of coming to a full halt at the climactic midpoint of the composition, I felt the arrival could be answered and connected by a series of unisons (on the note B) traversing the orchestral palette. This reaction calms things down, carries the piece forward towards its slow central section, and provides a seam that harks back toward the unison opening of the work and connects the 30-minute span of the concerto. Unity between the two halves is also provided by the slow-fast structure and by several shared motives, particularly the four-note motive that appears early in the piece and shapes the final fast section. In every sense, Concerto for Orchestra is my biggest work to date. It’s the first piece purely for orchestra I’ve written since Silver Ladders in 1986, but it follows three solo concertos — for clarinet, flute, and violin — and reflects that experience, enabling me to take more risks between soloists and orchestra. Whereas Silver Ladders highlighted four solo instruments, here not only solos, but duos, trios, and other combinations of instruments form structural, timbral, and emotive elements of the piece. As in all my music, I am DSO PERFOR MA NCE MAGA ZINE 25

working here on motivating the structure, trying to be sensitive to how an idea reacts to or results from the previous ideas in the strongest and most natural way — a lesson I’ve learned from studying the music of Beethoven. Although technically demanding, the virtuoso sections are an integral part of the music, resulting from accumulated energy, rather than being designed purely as display elements. I thus resisted the title Concerto for Orchestra (with its connotations of Bartók, Lutoslawski, and Husa), and named the work only after the composing was completed, and even then reluctantly.” — Joan Tower This performance marks the DSO premiere of Suite from Concerto for Orchestra by Joan Tower.

Serenade Composed 1954 | Premiered 1954

LEONARD BERNSTEIN B. August 25, 1918, Lawrence, Massachusetts D. October 14, 1990, New York

Scored for solo violin, timpani, percussion, harp and strings. (Approx. 30 minutes) “I believe in people. I feel, love, need and respect people above all else…I believe in Man’s unconscious, the deep spring from which comes his power to communicate and to love. For me, all art’s a combination of these powers; art is nothing to me if it does not make contact between the creator and the perceiver on an unconscious level.” Bernstein, January 1954. In composing the Serenade, Bernstein fulfilled two requests: first, a commission by the Koussevitzky Music Foundation in memory of Serge Koussevitzky, Bernstein’s mentor; the second, a request from Isaac Stern for a violin concerto. Though titled Serenade, evoking images of moonlit love songs, Bernstein described the work as a concerto and is his largest work for violin. 26

DSO PERFOR MA NCE MAGA ZINE

The work’s literary base is Plato’s Symposium, which Bernstein reread on his honeymoon, shortly after receiving the commission. This particular symposium (a time of drinking, music and discussion after a dinner party) involved Socrates and his friends exploring the many aspects of love. Bernstein composed each succeeding movement to build on elements from the previous movements, similar to variations, and much like verbal discussions. He described the Serenade as “a series of related statements in praise of love,” giving the name of an orator to each movement. Bernstein provided the following notes for the first performance: I. Phaedrus; Pausanias (Lento; Allegro) Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love (fugato, begun by the solo violin). Pausanias continues by describing the duality of the lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato. II. Aristophanes (Allegretto) Aristophanes does not play the role of clown in this dialogue, but, instead, that of the bedtime storyteller, invoking the fairy-tale myth of love. III. Eryximachus (Presto) The physician speaks of bodily harmony as a scientific model for the workings of love patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor. IV. Agathon (Adagio) Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. The movement is a simple three-part song. V. Socrates; Alcibiades (Molto tenuto; Allegro molto vivace) Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata FALL/WINTER 2026–2027

form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party music, but rather as the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party. The DSO most recently performed Bernstein’s Serenade in May 2017, conducted by Carlos Miguel Prieto. The DSO first performed this piece in October 2006, conducted by Sir Andrew Davis.

Suite from Appalachian Spring [1945 orchestration] Composed 1945 | Premiered 1945

AARON COPLAND B. November 14, 1900, Brooklyn, New York D. December 2, 1990, Sleepy Hollow, New York

Scored for 2 flutes (one doubling as piccolo), 2 oboe, 2 clarinet, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion, harp, piano, and strings. (Approx. 24 minutes)

n the mid-late 1930s and early ‘40s, Aaron Copland began to drift from modernist sensibilities and see if he could (musically) say what he had to say in the simplest and most accessible terms—producing popular works like El Salón México, Billy the Kid, and Rodeo. With a similar concern, Washington powerhouse patron Elizabeth Sprague Coolidge endowed a foundation at the Library of Congress in 1925 to commission and perform new works, a remarkable legacy that would include Appalachian Spring. In June 1942, Erick Hawkins, a member of Martha Graham’s dance company, wrote to Coolidge suggesting that she DSO.ORG

#IAMDSO

commission a work for Graham. The idea took hold, and after much correspondence, Graham was officially commissioned to do the choreography and Copland to compose the music. In August, Graham wrote to Coolidge that this collaboration was “not only a first for me, but for American dance as well. To my knowledge, this is the first time a commissioning of works for the American Dance has ever happened.” Graham and Copland were very pleased by the results, and the only thorn that remained was the title; the piece was simply called Ballet for Martha until the day before the premiere. At that point, Graham suggested Appalachian Spring, after having just read a poem by Hart Crane called The Dance, in which one phrase reads, “O Appalachian Spring! I gained the ledge…that eastward bends and Northward reaches…that violet wedge of Adirondacks!” The world premiere of this beloved work took place in the small Coolidge Auditorium of the Library of Congress on October 30, 1944, and the following year the ballet won the Pulitzer Prize for Music. Due to the intimate size of the auditorium, Copland originally scored the ballet for a small 13-piece chamber ensemble; the familiar concert suite for full orchestra was commissioned the following year by conductor Artur Rodzinski, who gave the premiere with the New York Philharmonic in October 1945. The ballet marked an important turning point in Copland’s career, as well as in the history of American music, and has lost none of its freshness and appeal in the more than 80 years since its premiere. The DSO most recently performed Copland’s Suite from Appalachian Spring in June 2025, conducted by Eric Jacobsen. The DSO first performed this piece in March 1962, conducted by Paul Paray.

DSO PERFOR MA NCE MAGA ZINE 27

Frenzy Composed 2023 | Premiered 2024

JOHN ADAMS B. February 15, 1947, Worcester, MA

Scored for 3 flutes (2 doubling on piccolo), 2 oboes, English horn, 3 clarinets (one doubling as bass clarinet), E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celeste, piano, and strings. (Approx. 20 minutes)

renzy is a one-movement symphony that in the course of its twenty minutes encompasses a variegated yet unified symphonic structure. Its title notwithstanding, the piece is generally buoyant and extroverted and postpones its real frenetic energy to the concluding moments. What makes Frenzy unique in comparison to my other works is its focus, almost to the point of obsession, on the development and transformation of small, vivid motives that continue to resurface in various guises throughout the piece. This kind of classic development treatment of motivic ideas—the German term “Durchführung” is familiar to most musicians—differs from the gradual “change-via-repetition” technique in my earlier, minimalist-influenced works. In fact, once completed,

Frenzy revealed itself, much to the surprise of its composer, as a melding of the two approaches toward musical form. On the one hand, its rhythmic event horizon is still essentially pulse-driven while on the other its melodic world is about shapeshifting and the “spinning out” of ideas. The opening bars present two contrasting gestures: a punctuated tattoo in the winds and brass, and an urgent, muscular theme in the upper strings. Both these ideas reappear throughout the piece, always transformed in one way or another and yet always identifiable. In place of a “slow movement” the music’s surface simply quiets down; density and forcefulness yield to feeling of lightness and transparency. The pulse is still there, now carried along by a congenial interplay among the two harps and celesta while the strings limn a lyrical melody that floats above them. The final section is indeed frenetic, with hard-driven, choppy string figures, tsunami-like waves of brass and madly scurrying woodwinds, all of which come together to earn the piece’s title. Frenzy is dedicated to my longtime friend Simon Rattle, who conducted the first performance with the London Symphony Orchestra in March of 2024. —John Adams This performance marks the DSO premiere of Frenzy by John Adams.

Reach Metro Detroit’s Best Audience

at Detroit Symphony Orchestra

RESERVE YOUR SPACE IN THE NEXT ISSUE RATES FROM $350 EchoDetroit.com

tom@EchoDetroit.com

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

PROFILES PETER OUNDJIAN

eter Oundjian is a dynamic presence in the conducting world with an international career leading preeminent orchestras in many of the world’s major musical centers, from New York and Seattle to Amsterdam and Berlin. The 2026-2027 season marks Oundjian’s second season as Music Director of the Colorado Symphony. He conducts eight programs including Mahler’s Symphony No. 1 “Titan,” Beethoven’s Symphonies No. 5 and No. 9, and works by Gabriela Ortiz, Vivian Fung, and Kelly-Marie Murphy. Elsewhere in 2026-2027, Oundjian leads the Detroit Symphony Orchestra in an all-American program, the Atlanta Symphony Orchestra in a program of John Adams, Joan Tower, and Samuel Barber, and appears with the Baltimore Symphony Orchestra and Louisville Orchestra. Internationally, Oundjian conducts the Toronto Symphony Orchestra in the Canadian Premiere of Joan Tower’s Saxophone Concerto, and the ADDA Simfonica in Alicante, Spain. Over the course of his 14-year tenure at the Toronto Symphony Orchestra, which concluded in 2018, he reinvigorated the orchestra with acclaimed innovative programming, artistic collaborations, extensive audience growth, national and international tours and several outstanding recordings, including Vaughan Williams’s Orchestral Works, which garnered a Grammy nomination and a Juno Award. He currently serves as Conductor Emeritus of the Symphony. Oundjian served as Principal Guest Conductor and Artistic Advisor of the Detroit Symphony Orchestra from 2005 to 2008 and Artistic Director of the Caramoor International Music Festival in New York from 1997 to 2007. He was also Music Director of the Amsterdam Sinfonietta DSO.ORG

#IAMDSO

from 1998-2002. Throughout his career, Oundjian has also appeared as guest conductor with the country’s leading orchestras.

PAUL HUANG

ecipient of the 2015 Avery Fisher Career Grant and 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is one of the most distinctive artists of

his generation. Known for his “unfailing attractive, golden, and resonant tone” (The Strad), Huang’s recent highlights have included acclaim debut at Bravo!Vail Music Festival with Chamber Orchestra Vienna-Berlin, among performances with other leading orchestras worldwide. His second album “Mirrors” was released worldwide to critical acclaim in January of 2025. June 2026 saw the release of his third album of the Korngold and Barber’s Violin Concerto with the London Philharmonic Orchestra. Highlights of the 26–27 season will include his Carnegie Hall debut with Orpheus Chamber Orchestra, subscription debut with The Cleveland Orchestra, among many others, performances at leading venues across the U.S., and the fifth “Paul Huang & Friends” international Music Festival in Taipei. A dedicated advocate for contemporary music, Huang has recorded works by John Harbison and Toshio Hosokawa and premiered works by leading composers. He is a frequent guest artist at festivals worldwide and is the winner of the 2011 Young Concert Artists International Auditions among other international awards. Huang earned degrees from The Juilliard School. He plays on a 1742 “ex-Wieniawski” Guarneri del Gesù on extended loan through the Stradivari Society of Chicago. DSO PERFOR MA NCE MAGA ZINE 29

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PVS CLASSICAL SERIES TITLE SPONSOR:

FOUNTAINS & PINES OF ROME Thursday, October 15, 2026 at 7:30 p.m. Friday, October 16, 2026 at 10:45 a.m. Saturday, October 17, 2026 at 8 p.m. in Orchestra Hall JADER BIGNAMINI, conductor ALEXANDRA DARIESCU, piano Michael Abels (b. 1962)

Emerge

Leokadiya Kashperova Concerto for Piano and Orchestra in A Minor (1872-1940) Allegro Maestoso - Molto Allegro Adagio Allegro con Anima Alexandra Dariescu, piano Intermission Ottorino Respighi Le fontane di Roma (The Fountains of Rome) (1879-1936) I. The Fountain of Valle Giulia at Dawn II. The Triton Fountain at Morn III. The Fountain of Trevi at Mid-day IV. The Villa Medici Fountain at Sunset I pini di Roma (The Pines of Rome) I. The Pines of the Villa Borghese II. Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way

Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

PROGR A M AT-A- GL A NCE | FOUNTAINS & PINES OF ROME When in Rome… The concert begins with a work by DSO Composer-in-Residence Michael Abels: Emerge, which portrays the journey from isolation during the COVID-19 pandemic to a celebration of reconnection and unity. Following is Kashperova’s Piano Concerto in A minor with pianist Alexandra Dariescu for a romantic yet dramatic contrast. After intermission, the program continues with Respighi’s Fontane di Roma (Fountains of Rome) and Pini di Roma (Pines of Rome), inspired by the city’s magnificent fountains and umbrella-like pines along the horizon—two characteristics that Respighi claimed to have sparked his imagination.

PROGRAM NOTES Emerge Composed 2022 (DSO co-commission) | Premiered 2022

MICHAEL ABELS B. October 8, 1962, Phoenix, Arizona

Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets (one doubling E-flat clarinet), 2 bassoons (one doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 9 minutes)

ichael Abels wrote the following about Emerge: “Emerge is a piece that imagines a group of highly trained musicians getting back together after a long break, remembering both the exhilaration and the discipline of performing together. The piece begins with a section that evokes a sunrise on a group of musicians all playing independently. They gradually all team up to play a powerful, energetic crescendo, but that dissipates into softer section built on solo playing of bluesy phrases that keep happening in canon, rather than in unison. The middle of the piece is a placid, lyrical episode with graceful, independent string lines flowing underneath it. That kicks off a volley of rising scales back and forth between the strings and the winds. When the brass gets involved, the strings are finally able to play a melody all together in unison above them. The scale volley becomes faster until it finally comes together, and this sets up an exuberant DSO.ORG

#IAMDSO

coda which, despite some shades of difficulty and frustration, is absolutely triumphant.” The DSO most recently performed Abels’ Emerge in February 2024, conducted by Jader Bignamini. The DSO first performed this piece in September 2022, conducted by Jader Bignamini.

Concerto for Piano and Orchestra in A Minor Composed 1900 | Premiered 1901

LEOKADIYA KASHPEROVA B. May 16, 1872, Lyubim, Russia D. December 3, 1940, Moscow, Russia

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 34 minutes)

hile today she is most notably known as the piano teacher of famed Russian composer Igor Stravinsky, Leokadiya Kashperova had a formidable compositional background of her own, much of which is now lost to history. In the early years of the 20th century, her music garnered critical acclaim over a career of multiple decades, including a large symphony, piano concerto, chamber music, choral works, and piano solos. Her prominence as a composer began near the turn of the twentieth century, her Piano Concerto in A Minor op. 2 being her earliest surviving orchestral work. Set in a three-movement form, the work bears DSO PERFOR MA NCE MAGA ZINE 31

the Romantic feature of a highly virtuosic demand for the solo pianist in the outer movements, contrasted with a delicately lyrical adagio. The interweaving of orchestral colors with the piano in this work is a distinct feature, particularly in the way that soloists from the orchestral wind section interact with the piano solo, to create intimate integrated moments of chamber music. During this period circa 1888 until 1917, she resided in St. Petersburg where she composed and worked as a piano teacher. Her compositional aesthetic is deeply influenced by the Romantic musical tradition and was well received in this period. The Russian Musical Gazette even praised her work, stating, “Her gifts as a composer are a most welcome phenomenon in St. Petersburg’s musical life.” Her career trajectory was interrupted after marrying one of her piano students, Sergei Andropov in 1916, who was a Bolshevik leader. At the start of the February Revolution of 1917, the couple fled Saint Petersburg to avoid the chaos and violence of the revolution, eventually settling in Moscow. Aside from the physical displacement, however, the Bolshevik Revolution had an even more profound effect on her career and the reception of her music. The social turmoil of the revolution shifted the cultural practices and policies of the Soviet Union, with which Kashperova’s late-Romantic style now largely clashed. She continued to compose until her death, but in relative secrecy, and with no record of any performances of her work. The Second World War, which followed several years later, further cemented a change in cultural priorities in art music, cementing the obscurity into which her music unfortunately fell. Recently however, laudable efforts have been made to rediscover Kashperova’s discography, much of which was spearheaded by Graham Griffiths, who uncovered her work while researching Stravinsky. This led to multiple efforts by the BBC to promote her work, and several of Kashperova’s works are now 32

DSO PERFOR MA NCE MAGA ZINE

published by Boosey & Hawkes. This program marks the DSO premiere of Concerto for Piano and Orchestra in A Minor by Leokadiya Kashperova.

Le fontane di Roma (The Fountains of Rome) Composed 1915 | Premiered 1917

OTTORINO RESPIGHI B. July 9, 1879, Bologna, Italy D. April 18, 1936, Rome, Italy

Scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals, orchestra bells, chimes, two harps, triangle, celeste, piano, organ and strings. (Approx. 15 minutes)

f The Fountains of Rome, Respighi described the work as portraying “four of Rome’s fountains contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer.” The fountains, by the famed Italian baroque sculptor Gian Lorenzo Bernini, inspired Respighi to create four exquisite musical pictures, which are played without a break. As the section titles suggest, the overall design of the work is to lead the listener through an entire day spent contemplating the fountains. In the first part, “The Fountain of Valle Giulia at Dawn,” Respighi “depicts a pastoral landscape: droves of cattle pass and disappear in the fresh damp mists of a Roman dawn.” Respighi continues: “a sudden loud and insistent blast of horns above the whole orchestra introduces the second part, ‘The Triton Fountain at Morn.’ It is like a joyous call, summoning troops of dancing naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.” FALL/WINTER 2026–2027

The beginning of the third section, “The Fountain of Trevi at Mid-day,” is signaled by an austere theme in the English horn and bassoons. Respighi adds: “The solemn theme, passing from the wood to the brass instruments, assumes a triumphal character. Trumpets peal: across the radiant surface of the water there passes Neptune’s chariot drawn by sea-horses, and followed by a train of sirens and tritons. The procession then vanishes while faint trumpet blasts resound in the distance.” Part four, “The Villa Medici Fountain at Sunset,” is announced by a subdued theme in the flutes and English horn. Respighi’s program note beautifully describes the mood of this last section: “It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, and leaves rustling. Then all dies peacefully into the silence of the night.” The Detroit Symphony Orchestra last performed The Fountains of Rome in October 2021, conducted by Jader Bignamini. The DSO first performed this piece in February 1923, conducted by Ossip Gabrilowitsch.

I pini di Roma (The Pines of Rome) Composed 1924 | Premiered 1924

OTTORINO RESPIGHI B. July 9, 1879, Bologna, Italy D. April 18, 1936, Rome, Italy

Scored for 3 flutes (third doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 6 buccine (natural horns, usually replaced by modern brass instruments), timpani, percussion, harp, celeste, piano, organ and strings. (Approx. 26 minutes)

fter several years of contemplating scenes for a sequel to Fountains, Respighi began work on Pines of Rome in 1924. The composer was so specific in what he intended that he published descriptions of the settings he envisioned DSO.ORG

#IAMDSO

for each movement at the beginning of the score. For the first, “Pines of the Villa Borghese,” he wrote: “Children are at play in the pine groves of Villa Borghese; they dance round in circles. They play at soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms.” Then, “Suddenly the scene changes. We see the shades of the pine trees fringing the entrance to a catacomb. From the depth rises the sound of a mournful chant, floating through the air like a solemn hymn, and gradually and mysteriously dispersing.” “Pines Near a Catacomb” begins with solemn chords in the low strings, over which the trombones sound a quiet theme reminiscent of Gregorian chant. This develops until an offstage trumpet introduces a second motif. Though rhythmic pulsing of the strings, the two original themes are never lost: the brass continues to play the chant, then a portion of the trumpet’s tune, underneath the strings. The movement dies away as a quiet piano cadenza opens the next movement, “The Pines of the Janiculum.” The composer continues: “There is a thrill in the air: the pine-trees of the Janiculum stand distinctly outlined in the clear light of the full moon. A nightingale is singing.” Though the movement always keeps a fluid, forward momentum, the overall effect is calm and reflective, never agitated. It rises to an ethereal sound with the addition of flowing arpeggios in celeste, harp, and piano, then the clarinet sounds a long-sustained note, and the recorded nightingale makes its appearance over softly trilling strings. The movement ends in quiet contemplation. But this mood is quickly broken by piano, low brass, and low strings sounding insistent. The army of the finale, “Pines of the Appian Way,” approaches somewhat ominously, with bass clarinet and low brass sounding fragmentary phrases of military fanfares while the upper strings begin to DSO PERFOR MA NCE MAGA ZINE 33

pulse. An extended English horn solo marks the dawn and the brass begins to call out, both offstage and on. The movement builds to an inexorable climax and the listener cannot escape the image of some great body in glorious, triumphant motion. —Barbara Heninger

The DSO last performed The Pines of Rome in February 2025 with Jader Bignamini conducting. The orchestra first performed the piece in February 1929 with Bernardino Molinari conducting.

PROFILES For Jader Bignamini’s biography, see page 6. ALEXANDRA DARIESCU

visionary pianist and the creative force behind The Nutcracker and I, Alexandra Dariescu is redefining what it means to be a soloist in the 21st century. With fearless curiosity, innovation and deep artistic integrity, she creates programs that connect past and present, bringing new meaning and relevance to the concert experience. From the great pillars of the repertoire: Tchaikovsky, Grieg and Chopin to the rediscovery of voices such as Clara Schumann, Nadia Boulanger and Doreen Carwithen, Dariescu has established herself as a distinctive and unique voice on the international stage. Recent seasons have been marked by a series of landmark performances and premieres. These include the UK premiere of Dora Pejačević’s Phantasie Concertante with the BBC Symphony Orchestra and the world premiere of James Lee III’s piano concerto Shades of Unbroken Dreams, written for her and performed with the Detroit Symphony Orchestra and BBC Philharmonic. She has also championed rediscovered works such as the piano concerto by Leokadiya Kashperova and others. In 2017, Dariescu created The Nutcracker and I, a groundbreaking multimedia performance combining piano, dance and digital animation. The production has toured internationally with over 100 performances across Europe, Asia, Australia and the United States. 34

DSO PERFOR MA NCE MAGA ZINE

Dariescu’s discography includes ten albums to critical acclaim, most recently A Child’s Dream with the Academy of St Martin in the Fields, which made Album of the Week on Classic FM UK, ABC Australia, rbb Germany and Opus Luxembourg. Her recordings span a wide-ranging repertoire, from Szymanowski, Chopin, Dutilleux, and others. Deeply committed to education and cultural change, Dariescu is Professor of Piano at the Guildhall School of Music and Drama and is the founder of the Alexandra Dariescu Award at the Leeds International Piano Competition. Mentored by Sir András Schiff and Dame Imogen Cooper, Dariescu studied at the Royal Northern College of Music with Nelson Goerner, Alexander Melnikov, Dina Parakhina, Mark Ray; at the Guildhall School of Music and Drama with Ronan O’Hora; and in her hometown Iasi with Mihaela Constantin and Cornelia Apostol. She was a Laureate of the Verbier Festival Academy, receiving the UK’s Women of the Future Award in the Arts and Culture category. Dariescu holds many special accolades including Cultural Ambassador of Romania, Officer of the Romanian Crown from the Royal Family and Young European Leader by Friends of Europe. In 2020, Dariescu received the Order ‘Cultural Merit’ in the rank of Knight from the Romanian President and became an Associated Member of the Royal Northern College of Music, where she also held the distinguished position of Professor of Piano for two years.

FALL/WINTER 2026–2027

PARADISE JAZZ SERIES Made possible with support from:

MILES DAVIS AND JOHN COLTRANE AT 100 Saturday, September 19, 2026 at 8 p.m. in Orchestra Hall TERENCE BLANCHARD, trumpet JOSHUA REDMAN, saxophone CHARLES ALTURA, guitar TOM OREN, piano ALEX SMITH, bass OSCAR SEATON, drums Program to be announced from the stage.

For Terence Blanchard’s biography, see page 7.

PROGR A M AT-A- GL A NCE | MILES DAVIS AND JOHN COLTR ANE AT 100 Two Jazz Titans DSO’s Fred A. Erb Jazz Creative Director Chair Terence Blanchard returns to Orchestra Hall to open the Paradise Jazz Series with a program honoring the legacies of Miles Davis and John Coltrane, two of the most influential figures in jazz history. Their collaboration during the 1950s helped transform the genre, first through Davis’s celebrated quintet and later through the groundbreaking sextet that recorded Kind of Blue. Together, they created a powerful musical dialogue that helped define the sound and direction of modern jazz.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 35

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PNC POPS SERIES TITLE SPONSOR:

BERNADETTE PETERS Saturday, October 24, 2026 at 8 p.m. Sunday, October 25, 2026 at 3 p.m. in Orchestra Hall ENRICO LOPEZ-YAÑEZ, conductor BERNADETTE PETERS, vocalist Program to be announced from the stage.

PROGR A M AT-A- GL A NCE | BERNADE T TE PE TERS IN CONCERT Lights, Camera, Action Under the baton of Principal Pops Conductor Enrico Lopez-Yañez, we welcome critically acclaimed vocalist Bernadette Peters to the stage. Across a more than six-decade career as the “Queen of Broadway”, Peters has amassed prestigious accolades including three Tony Awards, a Golden Globe, four Emmy and four GRAMMY® Award nominations, and a star on the Hollywood Walk of Fame. Known for her sensational performances in theatre, film, and television, in concert and on recordings, her presence will get audiences on their feet as she performs selections from Rodgers and Hammerstein, Stephen Sondheim, Jerry Herman, and more.

PROFILE

For Enrico Lopez-Yañez’s biography, see page 7.

BERNADETTE PETERS

hroughout her career, Bernadette Peters has dazzled audiences on stage, film and television, in concert, and on recordings. She has garnered numerous accolades including three Tony Awards, a Golden Globe, four Emmy and four Grammy Award nominations and a star on the Hollywood Walk of Fame. One of Broadway’s most acclaimed performers, Peters recently starred in Cameron Mackintosh’s production of Stephen Sondheim’s Old Friends. The production premiered in London where she made her West End debut before transferring to Los Angeles ahead of its extended Broadway run in Spring 2025. Peters won Tony and Drama Desk

Awards for her performance in Andrew Lloyd Webber’s, Song and Dance and a Tony for the revival of Irving Berlin’s Annie Get Your Gun. She received Tony nominations for her performances on Broadway in Neil Simon’s The Goodbye Girl, Stephen Sondheim’s Sunday in the Park with George, Mack and Mabel, On The Town and other productions. Additionally, she has impressive television credits, including Apple TV+’s, High Desert, NBC-TV’s Zoey’s Extraordinary Playlist for which she earned an Emmy nomination, and many others. Peters screen credits span over 30 films and she received a Golden Globe Award for her memorable performance in Pennies From Heaven. Peters has recorded six solo albums, including the Grammy-nominated I’ll Be Your Baby Tonight, and is a New York Times bestselling author.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

— DE T ROI T S Y M PHON Y ORC H E S T R A | JA DE R BIGN A M I N I —

PVS CLASSICAL SERIES TITLE SPONSOR:

ENIGMA VARIATIONS & BRITTEN Saturday, October 31, 2026 at 8 p.m. Sunday, November 1, 2026 at 3 p.m. in Orchestra Hall TABITA BERGLUND, conductor LEIF OVE ANDSNES, piano Anna Clyne (b. 1980) Benjamin Britten (1913-1976)

Within Her Arms Concerto for Piano and Orchestra, Op.13 (1945 revision)

I. Toccata: Allegro molto e con brio II. Waltz: Allegretto III. Impromptu: Andante lento IV. March: Allegro moderato, sempre alla marcia Leif Ove Andsnes, piano

Intermission Sir Edward Elgar Variations on an Original Theme, Op. 36, (1857-1934) “Enigma” Enigma: Andante Variations:

I. “C.A.E.” L’istesso tempo II. “H.D.S.- P.” Allegro III. “R.B.T.” Allegretto IV. “W.M.B.” Allegro di molto V. “R.P.A.” Moderato VI. “Ysobel” Andantino VII. “Troyte” Presto VIII. “W.N.” Allegretto IX. “Nimrod” Moderato X. “Dorabella - Intermezzo” Allegretto XI. “G.R.S.” Allegro di molto XII. “B.G.N.” Andante XIII. “*** - Romanza” Moderato XIV. “E.D.U.” - Finale Saturday’s performance will be webcast via our exclusive Live from Orchestra Hall series, presented by Ford Philanthropy. Technology support comes from the John S. and James L. Knight Foundation.

Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 37

PROGR A M AT-A- GL A NCE | ENIGMA VARIATIONS & BRIT TEN Memory, Virtuosity, Mystery Principal Guest Conductor, Tabita Berglund returns to the DSO for an evening of distinctive English masterworks that span over a century. Anna Clyne’s Within Her Arms brings a sentimental blend of strings and intimate tenderness to Orchestra Hall. Britten’s Piano Concerto follows, showcasing the composer’s youthful imagination with soloist Leif Ove Andsnes. To close, Elgar’s Enigma Variations—a staple in the orchestral repertoire—introduces an affectionate series of musical portraits of friends and loved ones, culminating in a grand finale.

PROGRAM NOTES Within Her Arms Composed 2008-2009 | Premiered 2009

ANNA CLYNE B. March 9, 1980, London, United Kingdom

Scored for strings. (Approx. 12 minutes) Of Within Her Arms, Anna Clyne writes the following: Within Her Arms is music for my mother, Colleen Clyne, with all my love. Earth will keep you tight within her arms dear one— So that tomorrow you will be transformed into flowers— This flower smiling quietly in this morning field— This morning you will weep no more dear one— For we have gone through too deep a night. This morning, yes, this morning, I kneel down on the green grass— And I notice your presence. Flowers, that speak to me in silence. The message of love and understanding has indeed come. —Thich Nhat Hanh (From “Message” in Call Me By My True Names, 1999, with permission of Parallax Press) —Anna Clyne This performance marks the DSO premiere of Within Her Arms by Anna Clyne.

DSO PERFOR MA NCE MAGA ZINE

Concerto for Piano and Orchestra, Op. 13 (1945 revision) Composed 1938 (Revised in 1945) | Premiered 1946

BENJAMIN BRITTEN B. November 22, 1913, Lowestoft, United Kingdom D. December 4, 1976, Aldeburgh, United Kingdom

Scored for solo piano, 2 flutes (both doubling as piccolo), 2 oboes (one doubling as English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. (Approx. 35 minutes)

enjamin Britten was just 24 years old when he composed his Piano Concerto in 1938: his first major work for the instrument. A renowned concert pianist himself, Britten performed the premiere himself at the Proms in 1938, as well as the American premiere in January 1940. The American premiere was especially memorable: the piano reportedly collapsed under him during the first movement. Though successful with the Prom audience at its premiere, the critical reception of the piece was mixed, with many reviewers calling the piece ‘crowd-pleasing’. In rebuttal, the composer commented that the piece “certainly sounds ‘popular’ enough, and people seem to like it alright”. In 1945, Britten replaced the original slow third movement, ‘Recitative and Aria’, with a newly composed ‘Impromptu’. This revised version was premiered in 1946 by the FALL/WINTER 2026–2027

Australian pianist Noel Mewton-Wood. Despite its rocky reception in the initial years of its existence, the concerto’s popularity has increased and been championed by concert pianists on the international stage. The first movement, Toccata opens with a driving rhythm and a frenetic orchestral accompaniment with sharp attacks and forward propulsion. The allegretto Waltz of the second movement takes a more free and lovestruck turn, building upon a swirling melody introduced by a viola solo at the movement’s outset. The movement oscillates between moments of romantic lyricism, folk-reminiscent dances, and raucous full ensemble declarations. The revised third movement, Impromptu, provides a calm respite from the surrounding movements in a passacaglia form. The final March movement brings the piece to a grand and energetic close, while also making oblique references to the characters of the preceding movements. The DSO first and most recently performed this piece in October 2013, conducted by Teddy Abrams.

Variations on an Original Theme, Op. 36, “Enigma” Composed 1899 | Premiered 1899

SIR EDWARD ELGAR B. June 2, 1857, Broadheath, United Kingdom D. February 23, 1934, Worcester, United Kingdom

Scored for 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, and strings. (Approx. 29 minutes)

ctober 21, 1898, was another hard day of teaching violin students for Edward Elgar. After dinner, he sat down at the piano and started musing over the keys. Suddenly, his wife, Alice, roused him from his wool gathering. “Edward, that’s a good tune,” she said. “Play it again; I like that tune.” DSO.ORG

#IAMDSO

Fortunately, Elgar jotted down a few notes, and the tune became the theme of his celebrated Enigma Variations—13 musical character sketches of his wife and friends, plus a self-portrait in the grandiose finale. He completed the piece by February of 1899, and the famed German conductor Hans Richter agreed to premiere it at the opening of his London concert season that June. Brahms’ “Haydn” Variations may have provided a kernel of inspiration for Elgar’s work, since he heard them performed at the Gloucester Festival shortly before beginning his own set. Each variation is labeled with the initials, nickname, or surname of the person described, beginning with a lyrical tribute to Elgar’s wife, Alice (“C.A.E.”). Frivolous, abrupt, and gentle moods pass in parade as Elgar describes the idiosyncrasies of his 13 friends. Among the most striking are the delicate sixth variation (“Ysobel”) characterizing Isabel Fitton (one of Elgar’s viola students); the rambunctious seventh variation (“Troyte”) describing the jerky, harried piano playing of architect/painter Troyte Griffith; and the buoyant tenth variation (“Dorabella”) imitating the light-footed dancing of Dora Penny, whom Elgar nicknamed after a character in Mozart’s opera Cosi fan tutte. Variation 13 (labeled with three asterisks and titled “Romanza”) secretly describes Lady Mary Lygon, an amateur choir director. In this variation, the clarinet quotes a melody from Mendelssohn’s choral work, Calm Sea and Prosperous Voyage. And the noble, soaring ninth variation (“Nimrod”) is dedicated to Elgar’s great friend and champion, August Johannes Jaeger of the Novello music publishing firm. It is a special moment in the set of variations and is sometimes performed as a memorial to famous personalities, especially in the world of music. —Carl Cunningham The DSO most recently performed Sir Edward Elgar’s Enigma Variations in March 2024, conducted by Juanjo Mena. The DSO first performed the piece in December 1921, conducted by Ossip Gabrilowitsch. DSO PERFOR MA NCE MAGA ZINE 39

PROFILES TABITA BERGLUND

abita Berglund has established herself as one of the most in-demand conductors of her generation. With a charismatic style that combines elegance, verve and precision, she collaborates with leading orchestras worldwide. Berglund is Principal Guest Conductor of both the Detroit Symphony Orchestra and Dresdner Philharmonie, having been appointed to each position following her respective debut. Recent notable debut appearances include Deutsches Symphonie-Orchester Berlin, Staatskapelle Berlin, Cincinnati Symphony Orchestra, St. Louis Symphony, hr-Sinfonieorchester Frankfurt, NDR Elbphilharmonie Orchester, Sydney and Melbourne symphony orchestras. Among the highlights of Berglund’s second season in Detroit was a specially curated two-week Northern Lights Festival. Berglund regularly collaborates with leading international soloists; recent partnerships include Jean-Yves Thibaudet, Hélène Grimaud, Pekka Kuusisto, Leila Josefowicz, Augustin Hadelich, Truls Mørk, Kirill Gerstein, Nicolas Altstaedt, Håkan Hardenberger, Alexander Malofeev and Camilla Tilling, to name a few. Among Berglund’s past festival appearances are Festival Internacional de Música y Danza de Granada and Grafenegg, while recent opera and ballet productions include Mozart’s Le nozze di Figaro (Garsington Opera, 2024) and Tchaikovsky’s The Nutcracker (Norwegian National Opera and Ballet, 2024). Berglund studied at the Norwegian Academy of Music, first as a cellist with Truls Mørk and later orchestral conducting with Ole Kristian Ruud. Her first titled position was as Principal Guest Conductor of Kristiansand Symphony Orchestra 40

DSO PERFOR MA NCE MAGA ZINE

(2021–2024). Her debut CD, with Oslo Philharmonic and violinist Sonoko Miriam Welde, was released in 2021 (LAWO) and nominated for a Norwegian GRAMMY® (Spellemann) in the 2022 Classical Music category.

LEIF OVE ANDSNES

orwegian pianist Leif Ove Andsnes is “a pianist of magisterial elegance, power, and insight” (The New York Times). He performs with leading orchestras and has an extensive discography. He was founding director of the Rosendal Chamber Music Festival and co-artistic director of the Risør Festival of Chamber Music. He was inducted into the Gramophone Hall of Fame in 2013. Highlights of Andsnes’s 2026–27 season include the Berlin Philharmonic Europakonzert, featuring the Grieg Piano Concerto under Chief Conductor Kirill Petrenko; a residency with the Hamburg NDR Elbphilharmonie Orchestra; an Artist-in-Residence role at the 75th Bergen International Festival; and a 16-city Beethoven recital tour. His NDR Elbphilharmonie residency features Brahms’s Second Piano Concerto, the premiere of Missy Mazzoli’s new piano concerto, features Britten’s Piano Concerto and much more. His more than 50 recordings have earned eleven Grammy nominations, seven Gramophone Awards, BBC Music Magazine’s “Recording of the Year Award,” and other international honors. He’s curated Carnegie Hall’s “Perspectives” series and appears with orchestras worldwide. He studied at the Bergen Music Conservatory, serves as Artistic Adviser at the city’s Prof. Jirí Hlinka Piano Academy and is a Visiting Professor of Piano at London’s Royal Academy of Music. FALL/WINTER 2026–2027

CELEBRATING OUR GENEROUS SUPPORTERS

—PRINCIPAL GIVING— The Detroit Symphony Orchestra is grateful to these donors for their generous support. Principal gifts strengthen the DSO’s annual operations and advance our mission by supporting the artistry behind each musical experience and extending music’s reach to audiences in Detroit and beyond. Penny & Harold Blumenstein Julie & Peter Cummings William Davidson Foundation Margie Dunn & Mark Davidoff Ma x M. & Marjorie S. Fisher Foundation Lauren & Phillip Fisher Mr. & Mrs. Aaron Frankel Mr. & Mrs. Stanley Frankel

Mary Ann & Robert Gorlin Mary Lee Gwizdala The Kresge Foundation James B. & Ann V. Nicholson The Polk Family Mr. & Mrs. David Provost Ru th F. Rattner and Ann F. & Norman D. Katz Foundation Bernard & Eleanor Robertson

Ri chard Sonenklar & Gregory Haynes Philanthropic Fund Th e Richard C. Devereaux Foundation Ralph C. Wilson Jr. Foundation Drs. David & Bernadine Wu Paul & Terese Zlotoff

—THE ANNUAL FUND—

Gifts received between September 1, 2025, and August 31, 2026

We extend our gratitude to the following individual donors who contributed $1,500 or more, and corporate, foundation and government partners who contributed $1,000 or more to the Detroit Symphony Orchestra’s Annual Fund between September 1, 2025, and August 31, 2026. Should you have questions about this list or would like to donate, please contact us at 313.576.5114 or visit dso.org/donate.

Giving of $250,000 & more Penny & Harold Blumenstein Julie & Peter Cummings Linda Dresner◊ & Ed Levy, Jr.

Mr. & Mrs. Stanley Frankel Mary Lee Gwizdala Mr. & Mrs. James B. Nicholson

Mr. & Mrs. David Provost Barbara C. Van Dusen

Mary Ann & Robert Gorlin Ru th F. Rattner & Ann F. & Norman D. Katz Foundation Mr. & Mrs. Robert S. Miller The Polk Family Bernard & Eleanor Robertson

Ri chard Sonenklar & Gregory Haynes Philanthropic Fund Drs. David & Bernadine Wu Paul & Terese Zlotoff

Ric & Carola Huttenlocher Renato & Elizabeth Jamett Mrs. Bonnie Larson

David & Valerie McCammon

Ms. Sharon Backstrom Mrs. Cecilia Benner Mr. & Mrs. Stephen Brownell Mr. & Mrs.◊ Brian C. Campbell Margie Dunn & Mark Davidoff Marjory Winkelman Epstein Mr. Michael J. Fisher Madeline & Sidney Forbes Mrs. Martha Ford Dale & Bruce Frankel Ronald M. & Carol◊ Horwitz

William & Story John Mr. Alan J. & Mrs. Sue Kaufman Morgan & Danny Kaufman LeFevre Family Nicole & Matt Lester Bud & Nancy Liebler Mr. & Mrs. Eugene A. Miller Dr. Robert & Dr. Mary Mobley Xavier & Maeva Mosquet Sammy & David Nicholson Mr. Jerome Salesin◊

Laura & Jimmy Sherman Mr. & Mrs. Larry Sherman Mr. & Mrs. Gary Torgow Barbara & Steve Tronstein Peter & Carol Walters S. Evan & Gwen Weiner Mr. & Mrs. R. Jamison Williams Wolverine Packing Company An d one who wishes to remain anonymous

DSO.ORG

#IAMDSO

Giving of $100,000 & more Mr. & Mrs.◊ Richard L. Alonzo James & Patricia Anderson Joanne Danto & Arnold Weingarden Ms. Leslie C. Devereaux◊ Mr. & Mrs. Phillip Wm. Fisher Mr. & Mrs. Aaron Frankel

Giving of $50,000 & more Pamela Applebaum Mr.◊ & Mrs. Richard A. Brodie Mr. & Mrs. Ralph J. Gerson

Giving of $25,000 & more

◊

Deceased

DSO PERFOR MA NCE MAGA ZINE 41

Giving of $10,000 & more - Gabrilowitsch Society Dr. Lourdes V. Andaya Janet & Norman Ankers Drs. Brian & Elizabeth Bachynski Ms. Therese Bellaimey Bill & Caitlin Beuche Dr. George & Joyce Blum Elena Bogliani & Pietro Gorlier Ms. Kristin Bolitho Sara Braverman Robert N.◊ & Claire P. Brown Michael & Geraldine Buckles Sandra & Paul Butler Elena Centeio & Tony Smith The Cheresko Foundation Elizabeth & Rob Correa Mr.◊ & Mrs. Raymond M. Cracchiolo Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Cathy & James Deutchman Adel & Walter Dissett Rex Dotson & Max Lepler◊ Karen “Red” Dotson Mr. Charles L. Dunlap & Mr. Lee V. Hart Dr. & Mrs. A. Bradley Eisenbrey Jill* & Randall Elder Mr. & Mrs. John M. Erb Maria Y. Etienne & John Kaplan Margo & Jim Farber Arnold◊ & Lorraine Fisher Amanda Fisher & Ben Hubert Dr. Saul & Mrs. Helen Forman Mr.◊ & Mrs. Richard M. Gabrys

Lynn & Bharat Gandhi Keith & Eileen Gifford Girolami Family Charitable Trust Mr.◊ & Mrs. James A. Green Ms. Janet Gumenick Mr. & Mrs. Darby Hadley Mr. & Mrs. Robert Hage Judy◊ & Kenneth Hale Ms. Lori Harbour Michael E. Hinsky & Tyrus N. Curtis C&N Foundation Mr. & Mrs. Peter Hollinshead Mr. Matthew Howell & Mrs. Julie Wagner Ms. Carole Ilitch Mr. & Mrs. Sharad P. Jain Mr. & Mrs. Richard J. Jessup Lenard & Connie Johnston Paul & Marietta Joliat Dr. David & Mrs. Elizabeth Kessel Robert & Laurie Kunz Drs. Lisa & Scott Langenburg Dana Locniskar & Christine Beck Mrs. Sandra MacLeod Dr. Stephen & Paulette Mancuso Susanne O. McMillan Ronald Michalak Geoffrey S. Nathan & Margaret E. Winters◊ Mr. & Mrs. Albert T. Nelson, Jr. Eric & Paula Nemeth Jim & Mary Beth Nicholson Gloria & Stanley Nycek

George & Jo Elyn Nyman Debra & Richard Partrich Kathryn & Roger Penske Dr. Glenda D. Price Mrs. Anna M. Ptasznik Dr. & Mrs. John Roberts Seth T. Romine & Laura HernandezRomine Dr. Erik Rönmark* & Mrs. Adrienne Rönmark* Mr. Ronald Ross & Ms. Alice Brody Martie & Bob Sachs Peggy & Dr. Mark B. Saffer Sandy Schreier Elaine & Michael Serling Carlo & Nicole Serraiocco Lois & Mark Shaevsky David Szymborski & Marilyn Sicklesteel Mr. Norman Silk & Mr. Dale Morgan Dean P. & D. Giles Simmer Mrs. Kathleen Straus & Mr. Walter Shapero Mr. & Mrs. John Stroh III Emily & Paul Tobias Yoni & Rachel Torgow Tom & Laura Trudeau Mr. James G. Vella Ms. Mary Wilson Lucia Zamorano, M.D. And four who wish to remain anonymous

Steve & Geri Carlson Mrs. Carolyn Carr Mr.◊ & Mrs. François Castaing Mrs. Patricia Cencek Dr. Carol S. Chadwick & Mr. H. Taylor Burleson Ronald◊ & Lynda Charfoos Dr. Betty Chu & Mr. Navot Shoresh Mr. Fred J. Chynchuk Dr. & Mrs. Charles G. Colombo Mr. & Mrs. Brian G. Connors Dr. Bryan Cornwall Mr. & Mrs. Matthew P. Cullen Phyllis & Kevin Cullen Dr. Edward & Mrs. Jamie Dabrowski Deborah & Stephen D’Arcy Fund Maureen T. D’Avanzo Lillian & Walter Dean Dr. Jane Deng Mr. & Mrs. Richard L. DeVore Dr. & Mrs. Thomas Ditkoff Elaine C. Driker Ms. Ruby Duffield Mrs. Connie Dugger Edwin & Rosemarie ◊ Dyer Garey & Mary Eilertson Ms. Laurie Ellias & Mr. James Murphy Ms. Emily Elmer & Mr. Andrew Lerma

Fieldman Family Foundation Hon. Sharon Tevis Finch John & Karen Fischer Ms. Joanne Fisher Dorothy A. & Larry L. Fobes Amy & Robert Folberg Mr. & Mrs. Calvin Ford Ms. Linda Forte & Mr. Tyrone Davenport Dr. & Mrs. Franchi Mr. & Mrs. John R. Frank Mr. & Mrs. Andrew Frick Kit & Dan Frohardt-Lane Myndi & Alan Gallatin Mrs. Janet M. Garrett Mr. Max Gates Mr. & Mrs. James Gietzen Joseph & Lois Gilmore Dr. & Mrs. Theodore Golden Ms. Jacqueline Graham Dr. Herman & Mrs. Shirley Mann Gray Ms. Chris Gropp Leslie Groves & Joseph Kochanek Sharon Lopo Hadden Ms. Gail Haines Robert & Elizabeth Hamel Mr. Sanford Hansell◊ & Dr. Raina Ernstoff Thomas & Kathleen Harmon Cheryl A. Harvey

Giving of $5,000 & more Nina Dodge Abrams Mrs. Denise Abrash Richard & Jiehan Alonzo Drs. Kwabena & Jacqueline Appiah Mrs. Jean Azar Ms. Ruth Baidas Dr. David S. Balle James A. Bannan Mr. Mark G. Bartnik & Ms. Sandra J. Collins Joseph Addison Bartush W. Harold & Chacona W. Baugh Marcia & Martin Baum Mr. & Mrs. Richard Beaubien Mr. William Beluzo Hadas & Dennis Bernard Mr. & Mrs. Jeffrey A. Berner Drs. John◊ & Janice Bernick Mr. Michael G. Bickers Nancy & Lawrence Bluth Timothy J. Bogan Ms. Nadia Boreiko The Honorable Susan D. Borman & Mr. Stuart Michaelson Jason Bucholz & Lee Kirtley Dr. Robert Burgoyne & Tova Shaban Ms. Kathy Burkhart Dr. & Mrs. Roger C. Byrd Richard Caldarazzo & Eileen Weiser 42

DSO PERFOR MA NCE MAGA ZINE

*Current DSO Musician or Staff

◊

FALL/WINTER 2026–2027 Deceased

Giving of $5,000 & more, continued Bob & Terri Lutz Daniel & Linda Lutz Mr. & Mrs. Winom J. Mahoney Mr. Sean Maloney & Mrs. Laura PepplerMaloney Dr. Roozbeh Mansour Carl & Barbara Marlinga Maurice Marshall Mr. Anthony Roy McCree John & Ronanne McGill Patricia A.◊ & Patrick G. McKeever Dr. David & Mrs. Lauren Mendelson Ms. Deborah Miesel Lynn & Randall Miller Dr. Susan & Mr. Stephen* Molina Dr. Van C. Momon, Jr. & Dr. Pamela Berry Eugene & Sheila Mondry Foundation Mr. & Mrs. Daniel E. Moore Ms. Jennifer Muse Megan Norris & Howard Matthew Mr. Tony Osentoski & Mr. David Ogloza Ms. Jacqueline Paige & Mr. David Fischer Randy & Betty Paquette Valerie & Boris Pasche Mark Pasik & Julie Sosnowski Peter & Carrie Perlman Mr. David Phipps & Ms. Mary Buzard William H. & Wendy W. Powers Barbara & Louis Prues Charlene & Michael Prysak Drs. Stuart & Hilary Ratner Drs. Yaddanapudi Ravindranath & Kanta Bhambhani Mr. & Mrs. Dave Redfield Mr. & Mrs. Gerrit Reepmeyer Dr. Claude & Mrs. Sandra Reitelman Drs. Heather & Erich Richter Mr. & Mrs. Jon Rigoni Michael & Susan Rontal Mr. Wm. Christopher Sachs Mr. David Salisbury & Mrs. Terese Ireland Salisbury

Marjorie Shuman Saulson Ms. Martha A. Scharchburg & Mr. Bruce Beyer Mr. & Mrs. Donald & Janet Schenk Shirley Anne & Alan Schlang Joe & Ashley Schotthoefer Mrs. Rosalind B. Sell Shapero Foundation Robert & Patricia Shaw Kim & Richard Shenkan Mr. Martin Sher* Shiv Shivaraman Mr. & Mrs. Matthew Simoncini William & Cherie Sirois Michael E. Smerza & Nancy Keppelman Ms. Susan Smith John Solecki Peter & Patricia Steffes Dr. Gregory Stephens JT Stout Mr. & Mrs.◊ John Streit Mr. & Mrs. David T. Strong Joel & Shelley Tauber Dr. & Mrs. Howard Terebelo Dr. Barry Tigay Alice ◊ & Paul Tomboulian Dr. Doris Tong & Dr. Teck M. Soo Charles◊ & Sally Van Dusen Mrs. Eva von Voss Mr. William Waak Mr. Michael Walch & Ms. Joyce Keller Richard P. & Carol A. Walter Mrs. Judith Weiner Beverly & Barry Williams Dr. & Mrs. Ned Winkelman Ms. Andrea L. Wulf Dr. Sandra & Mr. D. Johnny Yee Mr. & Mrs. Wesley Yee Ms. Ellen Hill Zeringue And two who wish to remain anonymous

Deborah & Eric Abramson Mr. & Mrs. Joel Adelman William Aerni & Janet Frazis Christine & Anthony Alcantara Mr. Juan Alvarez Mr. & Mrs. Robert L. Anthony Mr. & Mrs. William C. Babbage Ms. Elizabeth Baergen & Mr. John Mishler Drs. Richard & Helena Balon Ellie & Mitch Barnett Mr. Thomas Basile Richard K. Baumgarten & Cheryl A. Wesen Robyn Bollinger* & Dane Lighthart* Rud◊ & Mary Ellen Boucher Don & Marilyn Bowerman Gwen & Richard Bowlby Sharon & Lance Boylan Mr. Anthony F. Brinkman Mr. Larry Brown & Mrs. Marilynn Silberman Mr. Mark Buchanan Mrs. Andrea Clark Dr. & Mrs. Robert Clark Mr. William Cole & Mrs. Carol Litka Cole

Catherine Compton Patricia & William◊ Cosgrove, Sr. Ms. Joy Crawford* & Mr. Richard Aude Donald Dietz & Cara Dietz Mr. & Mrs. Walter E. Douglas Mr. Jay Fishman Ms. Laurie Frankel Frances Franklin Mr. George Georges Stephanie Germack Thomas M. Gervasi Judie Goodman & Kurt Vilders Dr. William & Mrs. Antoinette Govier Howard & Francina Graef Dr. Darla Granger & Mr. Luke Ponder Dr. Robert Greenberger Anne & Eugene Greenstein P. Duane Groves Dr. Susan Harold Mr. & Mrs. Robert Holcomb Sally Ingold Carolyn & Howard Iwrey Erica E. Peresman & David B. Jaffe

Mr. George G. Johnson Lucy & Alexander* Kapordelis Carole Keller Bernard & Nina Kent Philanthropic Fund Dr.◊ & Mrs. Edward L. Klarman Aileen◊ & Harvey Kleiman Tom◊ & Beverly Klimko Mr. & Mrs. Robert Koffron Mr. Michael Kuhne Dr. & Mrs. Gerald Laker Deborah Lamm Ms. Anne T. Larin Marguerite & David Lentz Arlene & John Lewis Dale & Jeannette Lewis Steven Lipton & Rita Stein Nicholas & Kathleen Lomako Dr. Stephen Lu Mr. & Mrs. Charles W. Manke, Jr. Barbara J. Martin Cheryl & Chris Mazzoli Dr. & Mrs. Peter M. McCann, M.D. Ms. Mary McGough

DSO.ORG

#IAMDSO

Ms. Barbara Heller Eric Hespenheide & Judith Hicks James Hoogstra & Clark Heath Dr. Karen Hrapkiewicz William Hulsker & Aris Urbanes Larry & Connie Hutchinson Jane Iacobelli Dr. Raymond E. Jackson & Dr. Kathleen Murphy Mr. & Mrs. Dominic Jamett Paul & Karen Johnson Carol & Rick Johnston Connie & Bill Jordan Dr. & Mrs. Steven Kalkanis Judy & David Karp Kathleen Anielak Katkin Mike & Katy Keegan Betsy & Joel Kellman John Kim & Sabrina Hiedemann Mrs. Frances King Mr. & Mrs. Norman R. King Victoria King & James Kors Mr. & Mrs. Ludvik F. Koci Mr. & Mrs. Steven A. Kohler Dr. Sandy Koltonow & Dr. Mary Schlaff Ms. Susan Deutch Konop Douglas Korney & Marieta Bautista Douglas Koschik Barbara & Michael◊ Kratchman Mrs. Maria E. Kuznia Robert & Elizabeth LaBelle Mr. David Lalain & Ms. Deniella Ortiz-Lalain Bill & Kathleen Langhorst Ms. Sandra Lapadot Dr. Lawrence O. Larson Mr. & Mrs. Scott Leemaster Mr. & Mrs. Robert K. Leverenz Drs. Donald & Diane Levine Mr. & Mrs. Richard Lewnau Mr. & Mrs. Eugene LoVasco Mr. John Lovegren & Mr. Daniel Isenschmid

Giving of $2,500 & more

◊

Deceased

DSO PERFOR MA NCE MAGA ZINE 43

Giving of $2,500 & more, continued Ms. Kristen McLennan Steve & Brenda Mihalik Ms. Sandra Morrison Mind & Body Wellness Sarah & Michael Palmer Ken & Geralyn Papa Priscilla & Huel Perkins Ms. Alice Pfahlert Mansfield CPA, PLLC Steven & Robin Read Mr. & Mrs. William A. Reed James E. & Kimberly A. Reinert Mr. & Mrs. John Rieckhoff

Libby & Aaron Robinson Ms. Marilyn Rodzik Mr. James Rose Mr. & Mrs. Robert B. Rosowski Brian & Toni Sanchez-Murphy Ms. Joyce E. Scafe Sandy◊ & Alan Schwartz Caroline Serfass Mr. Jeffrey S. Serman Bill* & Chris Shell Dr. Les Siegel & Ellen Lesser Siegel Ralph & Peggy Skiano Mr. Ron Sollish

Mr. & Mrs. Stephan J. Speth Shirley & Henry Stancato Daniel & Tracey Stavale Dr. & Mrs. Gerald Stollman Mr. & Mrs. Tom Strickland Dr.◊ & Mrs. Sugawa Danielle Susser Dr. Neil Talon Mr. Rob Tanner Ruth & Mark Theobald Eric & Elizabeth Tomaszewski Ms. Patricia Tourney Barbara & Stuart Trager

Amanda Van Dusen & Curtis Blessing John & Lois VanStipdonk Gerald & Teresa Varani Robert & Caren Vondell Mr. & Mrs. Joseph M. Walsh Mr. Patrick Webster Laura Wenzler Mr. Francis Wilson William Wonfor & Kathy White Cathy Cromer Wood And two who wish to remain anonymous

Mr. Howard O. Emorey Burke & Carol Fossee Allan D. Gilmour & Eric C. Jirgens Mr. Steven Goldberg Mrs. Andrea Harral Jim Keller & Mary-Ellen Hoy Jean Hudson Khalil Jackson Mr. & Ms. Charles Jacobowitz Judith Jones Mr. & Mrs. Gerd H. Keuffel Elissa & Daniel Kline Mr. & Mrs.◊ Gregory Knas Mr. Robert Kosinski Mr. & Mrs. Charles Laurencelle David & Clare Loebl Ms. Mary Ann McCloskey Camille & Ian McLeod Lynne Metty

Mrs. Kay White Meyer Ms. Evelyn Micheletti Steve & Judy Miller Mr. Jerome Mills Carolyn & J. Michael Moore Mr. & Mrs. Mark H. Peterson Mr. Frank Polasek Mr. David Potter Arlene B. Rampson Mr. & Mrs. Rodney Rask Ms. Carole Robb Erin & Mitch Rohde Mr. & Mrs. John Rohrbeck Dr. & Mrs. Lewis Rosenbaum Mr. & Mrs. Benjamin Rosenthal Hershel Sandberg Family Ms. Rosemarie Sandel Mr. & Mrs. Paul Scheel Kathleen & Michael Schwartz Mr. Mark Selitsky

Ms. Sandra Shetler Barbara & Burt Smoliar Ms. Cynthia Turchetti Mr. & Mrs. Paul VanTol Dennis & Jennifer Varian Dr. & Mrs. Thomas E. Verhelle Dr. Elliot & Mrs. Wendy Wagenheim Mr. Barry Webster Ms. Joan Whittingham Joe Wichowski & Michelle Aimone Mr. & Mrs.◊ Richard Wigginton Mr. Robert S. Williams & Ms. Treva Womble Myra & David Zoll And three who wish to remain anonymous

Giving of $1,500 & more Jacqueline D. Adams Mrs. Lynn E. Adams Dr. & Mrs. Gary S. Assarian Alexandria Ballard Ms. Mary Anne Barczac Mr. Garrett Barr Mr. & Mrs. David◊ W. Berry Ms. Marlene Bihlmeyer Mr. & Mrs. John Bishop Mr. & Mrs. Richard Burstein Mr. & Mrs.◊ Byron Canvasser Mr.◊ & Mrs. Robert J. Christina Ms. Paula Cole Carol & Kevin Conrad Douglas & Minka Cornelsen Kristen & John Courtney Gordon & Elaine Didier Diana & Mark Domin Ms. Marla Donovan Paul◊ & Peggy Dufault

—TRIBUTE GIFTS— Gifts received February 16th, 2026, through August 10th, 2026 Tribute gifts to the Detroit Symphony Orchestra are made to honor accomplishments, celebrate occasions, and pay respect in memory or reflection. These gifts support current season projects, partnerships and performances such as DSO concerts, education programs, free community concerts, and family programming.

In Honor Bill Beuche Mr. & Mrs. James Beuche Jader Bignamini* Joanne Danto & Arnold Weingarden Elaine Chalom Denise Meyer Caroline Coade* Te r ry & Martin W.◊ Hollander Marcus Collins e.l.f. Beauty Joy Crawford* Ms. Mary Brown

Peter Cummings Mr. & Mrs. Stephen Coden Ms. Cindy Frenkel

Scott Strong* & Natalie Fritz Anonymous

Carol Sarvello Emily & Dominic Jamett

Kevin Dennis Maureen T. D’Avanzo Mrs. Susan & Michael Salesin

Kyoko Kashiwagi Dr.◊ & Mrs. Sugawa

Sandy Schreier Drs. Jay & Marianne Victor

James Liska Ms. Denise Lester

Rosalind Sell Ms. Mary Brady

Susan Feigenson Edith Broida

Norman Silk & Dale Morgan Ms. Susan Sivak

J Rowe and Jordan Shugg Oren Brandvain

Carolynn Frankel Mr . Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ch r istine Goerke & James Holloway Debbe & Leon Saperstein Ri chard Sonenklar & Gregory Haynes Philanthropic Fund Amy & Jeffrey Voigt

Jim Nicholson Bill & Sandy Glassman

Albert and Elizabeth Steger Mr. & Mrs. Peter G. Klein

Sarah Pray Dale & Jeannette Lewis

David and Bernadine Wu Ch r istine & Anthony Alcantara

DSO PERFOR MA NCE MAGA ZINE

FALL/WINTER 2026–2027

In Memory Farzin Ahari Michael Panozzo

Harold Hall Mr. Gary Vagnette

Helen and Carti Belforti Mr. Daniel Bejune

Betty Hertel Masaki Adachi Gloria Fox Kathleen Long Pledgeling Foundation Christopher White Emily Wilcox

William Beluzo III Diana Castleman Raymond Benner Ms. Amy Willetts Anna Bonde Debra Bonde Mary Collins Mr . Mark G. Bartnik & Ms. Sandra J. Collins Carole A. Dolan Kathleen Dolan Linda Dresner Laura & Mark Adler Joanne Aronovitz Mrs. Julie August Lynne Avadenka Hadas & Dennis Bernard Andrea Bernstein Mr. & Mrs. Eric Borman Mrs. Margaret Bornstein Ronald◊ & Lynda Charfoos Mr. Marc Cohen Jo anne Danto & Arnold Weingarden Margie Dunn & Mark Davidoff Ellen Firestone Ann Fishman Mr. & Mrs. David Foltyn Mr. & Mrs. James Grosfeld Mr.◊ & Mrs. Norman D. Katz Adam Kellman Diane & Emery Klein Carolyn & Rex Lanyi Scott Rosenblum Mr. & Mrs. Todd Sachse Sandy Schreier Jackie & Joel Smith Mrs. Susan Sosnick Dr. & Mrs. Charles Tenner Mr. Howard Weinberger Mrs. Lisa Weisman Chuck Dyer Amber Ilcisko Ms. Bree Ann Kneisler Dr . Erik Rönmark* & Mrs. Adrienne Rönmark* Joseph John Felek Ms. Deborah Felek Sandra Toenjes John and Helen Fildew Mrs. Anne Grobel Herman Frankel Anonymous Mr. & Mrs. Stanley Bershad Mr. Richard Broder Mr. & Mrs. Bernard R. Edelson Evercore Wealth Management Ms. Laurie Frankel Mr. Stephen & Barbara Gutman Mrs. Madelene Kepes Mr. & Mrs. Mark Kowalsky Mr. & Ms. Bernard D. Moray Mr. & Mrs. Alan C. Roeder Mr.◊ & Mrs. William Sandy Mr. & Mrs. Paul Silverman Dr. & Mrs. Martin Tessler Anthony Gullitti Alexa Gullitti

DSO.ORG *Current DSO Musician or Staff

Hart Hollman Carole Keller Dr. Irene Lazarchuk Aimee Ergas & Tor Shwayder Mrs. Janet Stenger Ms. Tracey Wheeler Pangborn Maureen Hornig Ms. Joan Rozelle Elizabeth Ilku Mr. James Nowicki Dr. Sheldon Kaftan Nahama Broner Susan Broner Mr. David Freedman Ms. Susie Hovsepian Jason Kraft Ms. Jodie Krasnick Mr . & Mrs. Sheldon & Barbara Larky Ms. Kelly Leitman Jacqueline Scheuer Janet Schneider Beverly & Hadley Wine Steven & Miriam Wolock Michael Kelmenson Sara Braverman Rachel & Daniel Kelmenson John Kim June Sullivan Toni Kinchen Kym Kinchen

H. Keith Mobley Gayle Anderson Th e Honorable Denise Page Hood & Reverend Nicholas Hood III Ms. Nicole Thomas Ms. Indigo V. Zuri

Janice King Mr. & Mrs. Larue Mead Prabhat Kumar Stellantis Colleagues Max Lepler Thomas M. Gervasi William Hulsker & Aris Urbanes Gilda & John◊ Jacobs Anthony Marsalese Joanie Abraham Mr. & Mrs. Joel Adelman Rob Allen Caroline Ashleigh Ms. Lori Baldwin Laurie Banks & Joanne Ishbia Maeve Belloni Cheryl & Arnie Berlin Dr. Vince Carducci Mike Clawson Cynthia Copland Ann Creed Karen Daniel Jo anne Danto & Arnold Weingarden Mr. & Dr. Bart Dickson Kendall Doman Ch ase & Michael Duffey - Sullivan Mrs. Robin Eisenberg Ellen Firestone Meg & Emily Franchi Mr. & Mrs. Ralph J. Gerson Ari Goldstein Mary Ann & Robert Gorlin Amy & Bernie Green Mr. Mark Grozde Andrea & Michael Guttilla

#IAMDSO

Ms. Karen Hagenlocker Donna Haller Shelley Handren Mr. & Mrs. Peter Hollinshead Ms. Kathy Holmes Barbara Horowitz Ms . Denise Ilitch & Mr. Jeffrey Krupcale Sonia Just Tracy Karbel Lisa Katchman Mr. Clay & Mr. J Claibourne Kelly Mr. Morris Klau Adrienne Kowalski Ms. Zina Kramer Mrs. Bonnie Larson Mr. & Mrs. Mark Lewis Deanna Lites Mrs. Mindy Lopus Evelyn MacIntyre Liz Marx Ms. Christine Matoian Debra McCulloch Tracy Morisi Ms. Suretta Must Laurine Parmely Cindy Pettibone Jamie Richards & Paul Gillin Julie Rothstein Martie & Bob Sachs Mellania Safarian Joni & Neil Satovsky Pamela & Charles Schiffer Theresa Serra Missy Shaevsky Sam & Nada Simon Dr. Linda Sircus Amy Smith Gene Sullivan Dr. & Mrs. Martin Tessler Eileen Tomasik Drs. Jay & Marianne Victor Mr. & Mrs. Greg Weddell Martha Welch Mr. Frank Wronski

Ed & Joanne Novak Mr. Keith Nowak Howard Poxon Miss Amanda Poxon Sharon Rees Amy Alex Hardman Carrie Melkin Chris Pierson Edward Robak Brian Ahern Matt Domsic Petrita Lipkin Jahel Nolan Barbara Parks Bob Sabourin Jim & Linda Barry Michael Sabourin Ms. Anne Sabourin Dominic Sarvello Emily & Dominic Jamett James Sellgren Julia Dawson Paul H Williams Mr. Raymond Opezzo

DSO PERFOR MA NCE MAGA ZINE 45

—CORPORATE, FOUNDATION, & GOVERNMENT GIVING— Giving of $500,000 & more

SAMUEL & JEAN FRANKEL FOUNDATION

Giving of $200,000 & more THE RICHARD C. DEVEREAUX FOUNDATION

EMORY M. FORD JR. ENDOWMENT FUND

Giving of $100,000 & more MARVIN & BETTY DANTO FAMILY FOUNDATION

Giving of $50,000 & more Applebaum Family Philanthropy Donald R. Simon & Esther Simon Foundation Jack, Evelyn, & Richard Cole Family Foundation Masco Corporation

DSO PERFOR MA NCE MAGA ZINE

Michigan Council for Arts & Cultural Affairs Milner Hotels Foundation Myron P. Leven Foundation

FALL/WINTER 2026–2027

Giving of $20,000 & more CultureSource Eleanor & Edsel Ford Fund Mandell & Madeleine Berman Foundation

MGM Grand Detroit Stone Foundation Of Michigan Wolverine Packing

Giving of $10,000 & more Detroit Pistons Ernesi 1978 Geoinge Foundation The Glancy Foundation

Honigman LLP Karen & Drew Peslar Foundation Oliver Dewey Marcks Foundation Penske Foundation, Inc.

Strum Allesee Family Foundation Taft Varnum LLP

Giving of $5,000 & more Beatrice & Reymont Paul Foundation Benson & Edith Ford Fund HUB International

Hylant Group James & Lynelle Holden Fund Marjorie & Maxwell Jospey Foundation Renaissance (MI) Chapter of the Links

Sigma Gamma Foundation Sun Communities Inc. The Cassie Family Foundation

Giving of $1,000 & more Coffee Express Roasting Company EY

Ludwig Foundation Fund Michigan First Credit Union Plante Moran

PricewaterhouseCoopers LLP Sigmund and Sophie Rohlik Foundation

The DSO’s Planned Giving Council recognizes the region’s leading financial and estate professionals whose current and future clients may involve them in their decision to make a planned gift to the Detroit Symphony Orchestra. Members play a critical role in shaping the future of the DSO through ongoing feedback, working with their clients, supporting philanthropy and attending briefings twice per year.

Patricia Bartlett, PwC Lucas Bogard, Goldman Sachs Wendy Cox, Greenleaf Trust Gina DiGirolamo, Blue Chip Partners Joseph R. Haddad, Bodman PLC Julie Hollinshead, Hollinshead Advisory Services Dawn Jinsky, Plante Moran Wealth Management

Bill Lentine, Taft Gene LoVasco, LoVasco Consulting Group (Chair) Bryan Mansfield, Mansfield CPA Ron Sollish, Maddin Hauser Eric Tomaszewski, Verde Capital Management Grace Trueman, Honigman LLP

Share the music of the DSO with future generations Include the DSO as a beneficiary in your will. To learn more please call Dane Lighthart at 313.576.5115 or email dlighthart@dso.org. DSO.ORG

#IAMDSO

DSO PERFOR MA NCE MAGA ZINE 47

DETROIT SYMPHONY ORCHESTRA

CELEBRATING YOUR LEGACY SUPPORT BARBARA VAN DUSEN, Honorary Chair

The 1887 Society honors individuals who have made a special legacy commitment to support the Detroit Symphony Orchestra. Members of the 1887 Society ensure that future music lovers will continue to enjoy unsurpassed musical experiences by including the DSO in their estate plans. Ms. Doris L. Adler◊ Dr. & Mrs. William C. Albert Mr. & Mrs. Robert A. Allesee ◊ Dr. Lourdes V. Andaya Mr. & Mrs. Eugene Applebaum ◊ Dr. Augustin & Nancy ◊ Arbulu Mr. David Assemany & Mr. Jeffery Zook Ms. Sharon Backstrom Sally & Donald Baker Mr. Mark G. Bartnik & Ms. Sandra J. Collins Stanley A. Beattie Mr. Melvyn Berent & Ms. Barbara Spreitzer-Berent Mr. & Mrs. Mandell L. Berman ◊ Mrs. Betty Blair◊ Ms. Rosalee Bleecker Mr. Joseph Boner Gwen & Richard Bowlby Mr. Harry G. Bowles ◊ Mr. Charles Broh ◊ Mr. Lawrence Brown Mrs. Ellen Brownfain William & Julia Bugera CM Carnes Dr. & Mrs.◊ Thomas E. Carson Cynthia Cassell, Ph. D. Eleanor A. Christie Ms. Mary F. Christner Mr. Gary Ciampa Robert & Lucinda Clement Drs. William ◊ & Janet Cohn Lois & Avern Cohn ◊ Mrs. RoseAnn Comstock◊ Mr. Scott Cook, Jr. Mr. & Ms. Thomas Cook Dorothy M. Craig◊ Mr. & Mrs. John Cruikshank Phyllis & Kevin Cullen Julie & Peter Cummings Joanne Danto & Arnold Weingarden Mr. Kevin S. Dennis & Mr. Jeremy J. Zeltzer Ms. Leslie C. Devereaux◊ Mr. John Diebel◊ Mr. Stuart Dow ◊ Mr. Roger Dye ◊ & Ms. Jeanne A. Bakale Mr. & Mrs. Robert G. Eidson ◊ Marianne T. Endicott Mrs. Rema Frankel◊ Virginia B. Bertram ◊ Patricia Finnegan Sharf ◊

Ms. Dorothy Fisher◊ Mrs. Marjorie S. Fisher◊ Mr. & Mrs. Phillip Wm. Fisher Dorothy A. & Larry L. Fobes Samuel & Laura Fogleman Mr. Emory Ford, Jr.◊ Endowment Dr. Saul & Mrs. Helen Forman Herman ◊ & Sharon Frankel Jane French ◊ Stephanie Baer Fricker Mark & Donna Frentrup Alan M. Gallatin Janet M. Garrett Dr. Byron P.◊ & Marilyn Georgeson Jim & Nancy Gietzen Joseph & Lois Gilmore Victor & Gale Girolami◊ Ruth & Al Glancy ◊ David & Paulette Groen P. Duane Groves Mr. Gerald Grum ◊ Rosemary Gugino Mr. & Mrs. William Harriss Donna & Eugene ◊ Hartwig Gerhardt A. Hein ◊ & Rebecca P. Hein Ms. Nancy B. Henk◊ Joseph L. Hickey ◊ Dr. James & Mrs. Lynnette Hinga Mr.◊ & Mrs. Thomas N. Hitchman Ronald M. & Carol◊ Horwitz Andy Howell Carol Howell◊ Paul M. Huxley & Cynthia Pasky David & Sheri Jaffa Renato & Elizabeth Jamett Mr. & Mrs. Thomas H. Jeffs II Mr. & Mrs. Richard J. Jessup Mr. George G. Johnson Lenard & Connie Johnston Ms. Carol Johnston Carol M. Jonson Drs. Anthony & Joyce Kales Faye & Austin ◊ Kanter Norb ◊ & Carole Keller Dr. Mark & Mrs. Gail Kelley June K. Kendall◊ Dimitri◊ & Suzanne Kosacheff Douglas Koschik Mr. & Mrs. Arthur J. Krolikowski◊ Mary Clippert LaMont◊ Ms. Sandra Lapadot Mrs. Bonnie Larson

DSO PERFOR MA NCE MAGA ZINE

Ann C. Lawson ◊ Leslie Jean Lazzerin Allan S. Leonard Rex Dotson & Max Lepler◊ Dr. Melvin A. Lester◊ Mr. & Mrs. Joseph Lile ◊ Harold Lundquist◊ & Elizabeth Brockhaus Lundquist Eric & Ginny Lundquist Roberta Maki Eileen ◊ & Ralph Mandarino Judy Howe Masserang Mr. Glenn Maxwell Ms. Elizabeth Maysa ◊ Mary Joy McMachen, Ph.D. Judith Mich ◊ Ronald Michalak Rhoda A. Milgrim ◊ Mr. & Mrs. Eugene A. Miller John & Marcia Miller Jerald A. & Marilyn H. Mitchell Mr.◊ & Mrs. L. William Moll Ms. I. Surayyah R. Muwwakkil◊ Joy & Allan Nachman Geoffrey S. Nathan & Margaret E. Winters ◊ Eric & Paula Nemeth Beverley Anne Pack David & Andrea Page ◊ Edna J. Shin Mr. Dale J. Pangonis Ms. Mary Webber Parker◊ Mr. David Patria & Ms. Barbara Underwood ◊ Mrs. Sophie Pearlstein ◊ Alice A. Peitzsch ◊ Helen & Wesley Pelling◊ Dr. William F. Pickard◊ Mrs. Bernard E. Pincus Ms. Christina Pitts Mrs. Robert Plummer◊ Mr. & Mrs. P. T. Ponta Mrs. Mary Carol Prokop ◊ Ms. Linda Rankin & Mr. Daniel Graschuck Mr. & Mrs. Douglas J. Rasmussen Ms. Elizabeth Reiha ◊ James E. & Kimberly A. Reinert Deborah J. Remer Mr. & Mrs. Lloyd E. Reuss ◊ Barbara Gage Rex◊ Ms. Marianne Reye ◊ Lori-Ann Rickard Katherine D. Rines

◊

Deceased

Bernard & Eleanor Robertson Ms. Barbara Robins ◊ Jack & Aviva Robinson ◊ John & Barbara Rohrbeck Mr. & Mrs. Gerald F. Ross ◊ Mr. & Mrs. George Roumell◊ Daniel Rusecki Mr. Jerome Salesin ◊ Marjorie Shuman Saulson Ruth Saur Trust Donald & Janet Schenk Ms. Yvonne Schilla David W. Schmidt◊ Mr. & Mrs. Fred Secrest◊ Ms. Marla K. Shelton Ms. June Siebert◊ Mr. & Mrs. Donald R. Simon ◊ Dr. Melissa J. Smiley & Dr. Patricia A. Wren David & Sandra Smith Ms. Marilyn Snodgrass ◊ Mrs. Margot Sterren ◊ Mr.◊ & Mrs. Walter Stuecken Mr.◊ & Mrs. Alexander C. Suczek David Szymborski & Marilyn Sicklesteel Alice ◊ & Paul Tomboulian Roger & Tina Valade Barbara C. Van Dusen Charles ◊ & Sally Van Dusen Mr.◊ & Mrs. Melvin VanderBrug Mr. & Mrs. George C. Vincent◊ Mr. Sanford Waxer◊ Christine & Keith C. Weber Mr. Herman Weinreich◊ John ◊ & Joanne Werner Mr.◊ & Mrs. Arthur Wilhelm Mr. Robert E. Wilkins ◊ Mrs. Michel Williams Ms. Nancy S. Williams ◊ Mr. Robert S. Williams & Ms. Treva Womble Ms. Barbara Wojtas Elizabeth B. Work◊ Dr. & Mrs. Clyde Wu◊ Ms. Andrea L. Wulf Mrs. Judith G. Yaker Milton & Lois Zussman ◊ And six who wish to remain anonymous

FALL/WINTER 2026–2027

—YOUR EXPERIENCE AT THE MAX—

Our Home on Woodward Avenue The Max M. and Marjorie S. Fisher Music Center is one of Detroit’s most notable cultural campuses. The Max includes three main performance spaces: historic Orchestra Hall, the Peter D. and Julie F. Cummings Cube (The Cube), and Robert A. and Maggie Allesee Hall, plus our outdoor green space, Sosnick Courtyard. All are accessible from the centrally located William Davidson Atrium. The Jacob Bernard Pincus Music Education Center is home to the DSO’s Wu Family Academy and other music education offerings. The DSO is also proud to offer The Max as a performance and administrative space for several local partners.

THE MAX M. & MARJORIE S. FISHER MUSIC CENTER 3711 Woodward Avenue Detroit, MI 48201 Box Office: 313.576.5111 Group Sales: 313.576.5111 Administrative Offices: 313.576.5100 Facilities Rental Info: 313.576.5131 Visit the DSO online at dso.org For general inquiries, please email info@dso.org

Parking

Accessibility

The DSO Parking Deck is located at 81 Parsons Street. Self-parking in the garage costs $15 for most concerts (credit card payment only). Accessible parking is available on the first and second floors of the garage. Note that accessible parking spaces go quickly, so please arrive early! Valet parking is also available for all patrons (credit card payment only), and a golf cart-style DSO Courtesy Shuttle is available for all patrons who need assistance entering The Max.

Accessibility matters. Whether you need ramp access for your wheelchair or are looking for sensory-friendly concert options, we are thinking of you.

What Should I Wear? You do you! We don’t have a dress code, and you’ll see a variety of outfit styles. Business casual attire is common, but sneakers and jeans are just as welcome as suits and ties. Please reference facing page for our bag policy.

Food and Drink Concessions are available for purchase on the first floor of the William Davidson Atrium at most concerts, and plated dinner options are available in the Paradise Lounge on the second floor. Bars are located on the first and third floors of the William Davidson Atrium and offer canned sodas (pop, if you prefer), beer, wine, and specialty cocktail mixes and more. Patrons are welcome to take drinks to their seats at all performances except Friday morning Coffee Concerts; food is not allowed in Orchestra Hall. Please note that outside food and beverages are prohibited.

DSO PERFOR MA NCE MAGA ZINE

• The Max has elevators, barrier-free restrooms, and accessible seating on each level. Security staff are available at all entrances to help patrons requiring extra assistance in and out of vehicles. • Available at the Box Office during all events at The Max, William Davidson Neighborhood Concert Series venues, and chamber recitals, the DSO offers sensory toolkits to use free of charge, courtesy of the Mid-Michigan Autism Association. The kits contain items that can help calm or stimulate a person with a sensory processing difference, including noise-reducing headphones and fidget toys. The DSO also has a quiet room, available for patrons to use at every performance at The Max. • Check out the Accessibility tab on dso.org/ yourexperience to learn more

WiFi Complimentary WiFi is available throughout The Max. Look for the DSOGuest network on your device. And be sure to tag your posts with #IAMDSO!

Ushers Those interested in volunteering as an usher, please contact Neva Kirksey at nkirksey@dso.org

FALL/WINTER 2026–2027

Shop DSO Merchandise

SEATING

Visit the DSO shop in person during any concert or online at shopdso.org to purchase DSO and Civic Youth Ensembles merchandise anywhere, anytime!

The Herman and Sharon Frankel Donor Lounge Governing Members can enjoy complimentary beverages, appetizers, and desserts in the Donor Lounge, open 90 minutes prior to each concert through the end of intermission. For more information on becoming a Governing Member, contact friends@dso.org.

Gift Certificates Gift certificates are available in any denomination and may be used towards tickets to any DSO performance. Please contact the Box Office for more information.

50 Years of Classical Roots: The Exhibition This immersive exhibition features oral histories, storytelling, and historic artifacts that honor the history and lasting impact of the DSO’s annual Classical Roots concert and celebration. Across three sections, visitors are invited to explore the people, music, and pivotal moments that have shaped this rich musical tradition since 1978. Stop by the third-floor atrium to experience the exhibition. On view through 2028.

Rent The Max Elegant and versatile, The Max is an ideal setting for a variety of events and performances: weddings, corporate gatherings, meetings, concerts, and more. Visit dso.org/rentals or call 313.576.5131 for more information.

Please note that all patrons (of any age) must have a ticket to attend concerts. If the music has already started, an usher will ask you to wait until a break before seating you. The same applies if you leave Orchestra Hall and re-enter. Most performances are broadcast (with sound) on a TV in the William Davidson Atrium.

TICKETS, EXCHANGES, AND CONCERT CANCELLATIONS n All sales are final and non-refundable. n Even though we’ll miss you, we understand that plans can change unexpectedly, so the DSO offers flexible exchange and ticket donation options. n Please contact the Box Office to exchange tickets and for all ticketing questions or concerns. n The DSO is a show-must-go-on orchestra. In the rare event a concert is cancelled, our website and social media feeds will announce the cancellation, and patrons will be notified of exchange options.

PHONES Your neighbors and the musicians appreciate your cooperation in turning your phone to silent and your brightness down while you’re keeping an eye on texts from the babysitter or looking up where a composer was born!

PHOTOGRAPHY & RECORDING We love a good selfie for social media (please share your experiences using @DetroitSymphony and #IAMDSO) but remember that having your device out can be distracting to musicians and audience members. Please be cautious and respectful if you wish to take photos or videos. Flash photography, extended video recording, tripods, and cameras with detachable lenses are strictly prohibited.

NOTE: By entering event premises, you consent to having your likeness featured in photography, audio, and video captured by the DSO, and release the DSO from any liability connected with these materials. Visit dso.org for more.

SMOKING

POLICIES

Smoking and vaping are not allowed anywhere in The Max.

BAG POLICY For the safety of our patrons, musicians, staff, volunteers and vendors, we have implemented the following policies: • All bags entering DSO facilities are subject to inspection. • No backpacks, large/duffel bags, large purses, and suitcases are permitted. Purses, medical bags, diaper bags, and medical devices smaller than 14” x 14” x 6” are allowed. • There is no storage available for bags that do not adhere to the above standards. • No weapons or disruptive materials are allowed on DSO property. DSO.ORG

#IAMDSO

To report an emergency during a concert, immediately notify an usher or DSO staff member. If an usher or DSO staff member is not available, please contact DSO Security at 313.576.5199

DSO PERFOR MA NCE MAGA ZINE 51

—ADMINISTR ATIVE STAFF— EXECUTIVE OFFICE Erik Rönmark President and CEO James B. and Ann V. Nicholson Chair Tanzalea Daniels Chief Financial Officer Jill Elder Chief Revenue Officer Martin Sher Chief Artistic & Operating Officer Joy Crawford Administrative Assistant Carol Davis Executive Assistant Anne Parsons ◊ President Emeritus

ARTISTIC OPERATIONS ARTISTIC PLANNING Ian Kivler Artistic Planning Consultant Jessica Slais Creative Consultant for Popular & Special Programming Stephen Grady Jr. Program Manager, Popular & Special Programming Jacquelynn Wealer Artistic Coordinator

LIVE FROM ORCHESTRA HALL Marc Geelhoed Executive Producer of Live from Orchestra Hall

ORCHESTRA OPERATIONS Kathryn Ginsburg Vice President and General Manager Patrick Peterson Orchestra Manager Dennis Rottell Stage Manager Andrew Williams Director of Orchestra Personnel

Clare Valenti Director of Engagement

Cat Lockman Director of Institutional Partnerships and Strategic Giving

Kiersten Alcorn Manager of Engagement & Accessibility

Zach Suchanek Associate Director of Annual Giving

Chris DeLouis Manager of Student Development

Connor Mehren Director of Growth Marketing

Alex Anderson Manager of Advancement Events

Erin Faryniarz Detroit Harmony Partnerships Coordinator

Juliana Nahas Director of Loyalty Marketing

Andrew Doré Manager of Donor Hospitality Molly Lipham Major Gift Officer

Bronwyn Hagerty Library & Programs Manager Claire Eileen Hall Coordinator of Engagement Operations

Elizabeth McConnell Major Gift Officer Samantha Taylor Manager of Institutional Giving Amanda Tew Major Gift Officer Rachel Volpe-Kurzhals Advancement Operations Manager Sheila Bernhoft Advancement Specialist Mikayla Trimpey Manager of Governance & Donor Engagement

BUILDING OPERATIONS Teresa Beachem Chief Engineer Demetris Fisher Manager of Environmental Services (EVS) William Guilbault EVS Technician Robert Hobson Chief Maintenance Technician Aaron Kirkwood EVS Lead

Kendra Sachs Manager of Student Enrollment Erin Dowler Detroit Strategy Specialist Audra Kubat Early Childhood Specialist Laney Sheehan Coordinator of Learning Operations

Sophie Lall Accounting Clerk Assistant Sandra Mazza Senior Accountant of Business Operations

HUMAN RESOURCES

Severina Oliver HR Specialist

INFORMATION TECHNOLOGY

Benjamin Tisherman Manager of Orchestra Personnel

Neva Kirksey Manager of Events & Rentals

William Shell Senior Director of Information Technology

LEARNING AND ENGAGEMENT

Patrick Harris Systems Administrator

Alexander Kapordelis Vice President, Strategic Philanthropy Ali Huber Director of Donor Engagement

Karisa Antonio Vice President of Social Innovation & Learning Damien Crutcher Director of Detroit Harmony

Valerie Jackson Group Sales Representative Marisa Jacques Email Marketing Manager LaHeidra Marshall Direct Marketing Manager Thomas Monks Loyalty Marketing Manager James Sabatella Group & Tourism Sales Manager

COMMUNICATIONS

Tanisha Hester Accountant

Christina Williams Senior Director of Facility Operations

ADVANCEMENT

Jay Holladay Manager of Brand Creative

Josh George Staff Accountant

Angela Stough Director of Human Resources

EVENT AND PATRON EXPERIENCE

Sharon Gardner Carr Tessitura Event Operations Manager

Ana Jaquim Growth Marketing Manager

Hannah Lozon Vice President of Talent & Culture

Daniel Speights EVS Technician

Kelly Striewski Vice President of Marketing & Patron Experience

FINANCE

Laura Scales Production Manager

Amanda Beaune Artistic Operations Assistant

MARKETING & AUDIENCE DEVELOPMENT

Dane Lighthart Director of Individual Giving

Michelle Koning Web Manager Aaron Tockstein Database Administrator

Sarah Smarch Director of Content & Storytelling Natalie Berger Manager of Multimedia Brand Content LaToya Cross Communications & Advancement Content Specialist Hannah Engwall Elbialy Public Relations Manager Jamie Delas Public Relations Coordinator

PATRON SALES & SERVICE Michelle Marshall Director of Patron Sales & Service Chantel Woodard Manager of Patron Sales & Service

SAFETY & SECURITY Johnnie Scott Safety & Security Manager Willie Coleman Security Officer Joyce Dorsey Security Officer Tony Morris Security Officer Eric Thomas Security Officer

Debora Kang Director of Learning

DSO PERFOR MA NCE MAGA ZINE

◊

Deceased

FALL/WINTER 2026–2027

Expert ExpertPhilanthropic PhilanthropicSupport Support ininSoutheast SoutheastMichigan Michigan Community CommunityFoundation FoundationforforSoutheast SoutheastMichigan Michigan

Deep DeepCommunity CommunityRoots Roots With With decades decades of of experience experience and and a profound a profound understanding understanding of of southeast southeast Michigan’s Michigan’s unique unique challenges challenges and and opportunities, opportunities, wewe help help youyou direct direct your your giving giving where where it will it will make make thethe most most significant significant difference. difference.

Tailored TailoredGiving GivingSolutions Solutions

Randy Randy Ross Ross Vice Vice President, President, Donor Donor Services Services

From From donor-advised donor-advised funds funds to to legacy legacy planning, planning, wewe offer offer a variety a variety of of giving giving options options designed designed to to align align with with your your personal personal and and professional professional goals. goals.

Sustained SustainedLegacy Legacy Your Your generosity generosity cancan create create lasting lasting change. change. WeWe work work with with youyou to to establish establish a philanthropic a philanthropic legacy legacy that that reflects reflects your your values values and and supports supports thethe causes causes youyou care care about, about, well well beyond beyond your your lifetime. lifetime.

Lindsey Lindsey Rossow-Rood Rossow-Rood Associate Associate Vice Vice President, President, Donor Donor Services Services

Stay Stay in in touch: touch: Learn Learn more more and and subscribe subscribe to to philanthropic philanthropic news news and and view view resources resources from from ourour team team of of experts. experts. cfsem.org/Experts cfsem.org/Experts

The Fine Instrument Collection of the Detroit Symphony Orchestra The Larson Piano, a Steinway Model D Concert Grand Piano, handmade in the New York Steinway Factory. Currently played by guest pianists. Contributed to the DSO in 2023 by Bonnie Larson. David Tecchler cello, made in 1711 referred to as “The Bedetti” after a previous owner (Dominicus Montagna 1711). Currently played by Wei Yu, DSO Principal Cello. Contributed to the DSO in 2018 by Floy and Lee Barthel. J.B. Guadagnini viola, made in 1757 (Joannes Baptifta Guadagnini Pia centinus fecit Mediolani 1757). Currently played by Eric Nowlin, DSO Principal Viola. Contributed to the DSO in 2019 by donors who wish to remain anonymous.

The DSO is appreciative of the loan of other fine instruments to our musicians, including: A Stradivarius violin, made circa 1718, referred to as “The Bostonian” on loan from a private collector to Robyn Bollinger, Concertmaster. Arranged by the Reuning Artist Society. A G.B. Rogeri violin, made in 1697, on loan from a private collector to Kimberly Kaloyanides Kennedy, Associate Concertmaster.

Learn more at dso.org

Strings, woodwinds, brass, percussion… and The Whitney. Reserve your table at The Whitney before or a�ter the concert to complete a classic evening of music and ﬁne (and friendly) dining. The DSO + The Whitney is an experience that deserves a Bravo all the way around! Pre-Concert Dining, Post-Concert Desserts and Cocktails. Sunday Brunch. A�ternoon Tea. Live Piano.

4421 Woodward Avenue, Detroit For reservations and further information call 313-832-5700 or go to www.thewhitney.com