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THE DONALD J. TRUMP AND JOHN F. KENNEDY

CENTER FOR THE PERFORMING ARTS

MARCH 29, 2026 AT 2 P.M. | CONCERT HALL

Michelle Merrill, conductor

Marissa Regni, host and violin

AARON COPLAND (1900–1990)

“Hoe-Down” from Rodeo (1942)

Marissa Regni, violin

KEEGHAN FOUNTAIN Toybox Escape (2023)

JOSEPH TURRIN Jazzalogue No. 1 (1997)

JOHN WILLIAMS “Nimbus 2000” from Harry Potter and the Sorcerer’s Stone Suite for Orchestra (2001–2005)

JESSIE MONTGOMERY Starburst (2012)

MASON BATES Philharmonia Fantastique: The Making of the Orchestra (2021)

Credits for Philharmonia Fantastique

Music by Mason Bates Directed by Gary Rydstrom

Written by Mason Bates and Jim Capobianco Co-commissioned by the National Symphony Orchestra

THANK YOU TO OUR SEASON SPONSORS

The NSO Music Director Chair is generously endowed by Roger Sant and Congresswoman Doris Matsui

The Dr. Gary Mather and Christina Co Mather Fund for Under-Resourced Youth Noseda Era Fund Supporters The Amici di Gianandrea

Patrons are requested to turn off cell phones and other electronic devices during the performance. Any video and/or audio recording of this production is strictly prohibited.

Welcome

Dear Friends,

As we celebrate the National Symphony Orchestra’s 95th season, I want to take a moment to express my heartfelt thanks to you—our devoted patrons, supporters, and friends. Your presence this evening, and your unwavering support throughout the year, mean more than words can convey. It is your love of music, your generosity, and your steadfast belief in the arts that delight this remarkable orchestra.

In 1931, Hans Kindler founded the NSO with a bold vision: to build a world-class symphony orchestra in the heart of our nation’s capital. Nearly a century later, that vision continues to be our driving force. Today, under the dynamic artistic leadership of Gianandrea Noseda, we are more inspired than ever to share powerful performances with our audiences. The NSO is not simply an orchestra; it is a family of artists joined together through a shared love of music, unity of purpose, and commitment to something greater than us.

The NSO is more than what you see on stage—it is a living, breathing institution devoted to enriching lives. Our robust education and community engagement programs reach thousands of students, educators, and families each year. Between our Youth Fellowship Program and Summer Music Institute, to Young People’s Concerts, we strive to make music accessible to everyone—especially the next generation.

This commitment to connect with broader audiences is also seen through our vibrant, genre-defying series, led by the remarkable Steven Reineke, our Principal Conductor and Artistic Advisor. Steven brings a wide-reaching musical vision to the NSO, bridging genres and generations. His programming has opened the door for new audiences to discover a love for orchestral music, while continuing to captivate longtime fans with the highest levels of artistry.

As we embark on this milestone season, we are reminded that our journey would not be possible without you. Thank you for being an essential part of this vibrant and enduring musical community.

With deepest gratitude and warmest regards,

Jean Davidson Executive Director National Symphony Orchestra

From the Music Director

Cari amici,

It is with immense joy and anticipation that I welcome you to the National Symphony Orchestra’s 95th anniversary season. This moment is more than a milestone—it is a celebration of our deep musical legacy and a renewed commitment to bringing powerful, moving performances to our community and beyond. This is only the beginning. The 95th season is filled with musical discovery, celebrated artists, and unforgettable experiences.

This season features iconic works that have stood the test of time, from classic masterpieces to thrilling contemporary music. The NSO also has the opportunity to share the stage with an exceptional lineup of guest artists and conductors—beloved icons and rising stars alike. Performing new music is something the NSO truly believes in. Make history with us as we present innovative new works, including five world premieres.

I am deeply grateful to share this journey with you. Your presence in the Concert Hall is what brings our music fully to life. Thank you for being a part of the NSO family—for your passion, your applause, and your unwavering support.

Con tutto il cuore,

Gianandrea Noseda

Music

Music Director, National Symphony Orchestra

Director, National Symphony Orchestra

Che la musica vi porti gioia e ispirazione—may music bring you joy and inspiration.

Meet the Artists

Michelle Merrill, conductor

Michelle Merrill has been inspiring audiences throughout the country with her sharply detailed and vibrant performances.

A passionate and dynamic artist, she is the Music Director of both the Winston-Salem Symphony and the Coastal Symphony of Georgia, where she has ignited the growth and expansion of each orchestra’s offerings both on and off the stage.

Merrill’s growing guest conducting schedule includes recent and upcoming engagements with the National Symphony Orchestra, Orchestre national d'Île-de-France, Cincinnati Symphony Orchestra, Baltimore Symphony Orchestra, Las Vegas Philharmonic, Sarasota Orchestra, and the Round Top Festival Institute. In past seasons, she has conducted concerts with the San Francisco Opera, National Arts Centre Orchestra (Ottawa), Indianapolis Symphony Orchestra, Minnesota Orchestra, Dallas Symphony Orchestra, Toronto Symphony Orchestra, Jacksonville Symphony, Milwaukee Symphony Orchestra, River Oaks Chamber Orchestra, Iceland Symphony Orchestra, Toledo Symphony Orchestra, Oklahoma City Philharmonic, West Virginia Symphony Orchestra, Symphoria (Syracuse), Princeton Symphony Orchestra, Louisiana Philharmonic Orchestra, Orlando Philharmonic Orchestra, Sacramento Philharmonic & Opera, Boise Philharmonic, New Music Detroit, and the Northeastern Pennsylvania Philharmonic—where she formerly served as the Assistant Conductor from 2012 to 2015.

During her four-year tenure from 2014 to 2018 as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra under Leonard Slatkin, Merrill helped plan a wide variety of concerts each season, including the renowned educational webcasts, which have reached over 100,000 students to date in classrooms throughout the nation. Holding the title of Phillip and Lauren Fisher Community Ambassador, Merrill also gave pre-concert lectures, led adult music education seminars, engaged with students and adults in and around Metro Detroit, spoke on behalf of the DSO throughout the community, and participated in hosting Live from Orchestra Hall, the DSO’s free concert webcast that launched in 2011 and is now watched in more than 100 countries.

Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship, as awarded by members of the Vienna Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the world-renowned Salzburg Festival. Born in Dallas, Texas, she studied conducting with Dr. Paul C. Phillips at Southern Methodist University’s Meadows School of the Arts, where she holds a Master of Music Degree in conducting and a Bachelor of Music in performance. Apart from music, she loves cooking, running, hiking, and spending time outdoors with her husband, Steve Merrill, who serves as the principal percussionist of the Jacksonville Symphony, and their two sons, Davis and Emmett.

Marissa Regni, host

Marissa Regni is principal second violin of the National Symphony Orchestra, a position she assumed in September of 1996. Before coming to Washington, D.C., she was a member of the Saint Louis Symphony Orchestra, where she served as assistant principal second violin. Regni is a member of the critically acclaimed Manchester String Quartet and is a founding member of the Kennedy Center Chamber Players. With the Chamber Players, she performed concerts on a transatlantic crossing of the Queen Mary 2 and at the U.S. Embassy in Buenos Aires. From May 2020 to 2021 she was the co-creator and host of the 53-week web series NSO @ Home Live. Regni has made solo and chamber music appearances throughout the United States, Germany, and Mexico. She has collaborated with such artists as Christoph Eschenbach, Joseph Silverstein, Julius Baker, the Angeles Quartet, Arturo Delmoni, the Walden Chamber Players, and 20th Century Consort. Solo appearances with orchestras include the Saint Louis Symphony Orchestra, National Symphony Orchestra, Virginia Chamber Orchestra, Livingston Symphony (New Jersey), and Ridgewood Symphony (New Jersey). She has been a featured artist on NPR and The MacNeil/Lehrer Report.

In addition to her orchestral, chamber, and solo work, Regni has a strong passion for educational concerts. She developed a popular series of children’s programs, which she performs at the Kennedy Center, around greater Washington, D.C., and throughout

the United States. She has been the co-creator and host of the National Symphony Orchestra’s Young People’s Concerts since 2014.

A graduate of the Eastman School of Music, Regni received her bachelor’s and master’s degrees and was awarded the school’s prestigious Performer’s Certificate in Violin. She also has a diploma from the Juilliard School, where she was a student in the PreCollege Division.

Mason Bates, music

Composer of the Grammy®-winning opera The (R)evolution of Steve Jobs, Mason Bates is imaginatively transforming the way classical music is created and experienced as a composer, DJ, and curator. As the first composer-in-residence appointed by the Trump Kennedy Center, he presented a diverse array of artists on his series KC Jukebox, using immersive production and stagecraft. Championed by legendary conductors Riccardo Muti, Michael Tilson Thomas, and Marin Alsop, his symphonic music is the first to receive widespread acceptance for its unique integration of electronic sounds. Named as the most-performed composer of his generation in a recent survey of American music, Bates has also composed for feature film, including Gus Van Sant’s The Sea of Trees. His new opera, based on The Amazing Adventures of Kavalier & Clay, was commissioned by the Metropolitan Opera.

Mason Bates created Philharmonia Fantastique: The Making of the Orchestra for animated film and live orchestra with Gary Rydstrom of Lucasfilm and Jim Capobianco of Aerial Contrivance,

Meet the Artists

which explores the connection between creativity and technology. The Grammy®-winning soundtrack was recorded by the Chicago Symphony Orchestra for Sony Classical, and the film is available on Apple TV and Apple Music.

Working under the name DJ Masonic, Bates developed Mercury Soul, a show combining DJing and classical music, to packed crowds with clubs and orchestras around the country. A diverse artist exploring the ways classical music integrates into contemporary cultures, he serves on the faculty of the San Francisco Conservatory of Music.

National Symphony Orchestra

The 2025–2026 season is the National Symphony Orchestra’s 95th and Music Director Gianandrea Noseda’s ninth season. Gianandrea Noseda serves as the orchestra’s seventh music director, joining the NSO’s legacy of distinguished leaders: Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic leadership also includes Principal Conductor and Artistic Advisor Steven Reineke.

Since its founding in 1931, the NSO has been committed to performances that enrich the lives of its audience and community members. In 1986, the National Symphony became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed since the Center opened in 1971. The 96-member NSO participates in events of national and international importance, including the annual nationally televised concerts on the lawn of the U.S. Capitol, livestreamed performances on medici.tv, and local radio broadcasts on WETA Classical 90.9 FM.

Since launching its eponymous recording label in 2020, the NSO has embarked on ambitious recording projects, including its first complete Beethoven Symphony cycle and the release of the first-ever cycle of George Walker’s Sinfonias, both led by Noseda. Recent projects include Four Symphonic Works by Kennedy Center Composerin-Residence Carlos Simon conducted by Noseda, and William Shatner’s So Fragile, So Blue, recorded live in the Concert Hall with the NSO under Steven Reineke. Forthcoming releases with Gianandrea Noseda include music by Gustav Mahler and William Grant Still, as well as Samuel Barber’s opera Vanessa.

The NSO’s community engagement and education projects are nationally recognized, and career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuition-free Summer Music Institute.

Symphony

Loud and Clear

Terms to know in the Concert Hall, loosely defined.

An extended work with multiple sections—typically four movements.

A “symphonic” piece is a long piece with multiple interpretations of a musical idea. A repeated, transformed musical idea is called a theme.

Orchestra

A group of musicians who play together.

In the Western European tradition, an orchestra often includes the four major instrument families—brass, woodwinds, strings, and percussion. An especially large orchestra is called a symphony orchestra. A smaller orchestra is called a chamber orchestra

Movement

A section of a musical work. Movements are often separated by silences, and they typically differ in tempo—speed.

Sonata

Originally, a musical composition played on instruments. In modern usage, “sonata” can mean a piece for a soloist or an ensemble, often with two to four movements. If a work or a movement is written in sonata form, it is structured in three sections: exposition, development, and recapitulation.

Concerto

A piece pairing a technically advanced soloist with the support of an orchestra, usually in three movements. Though there may be multiple soloists, the contrast between a larger ensemble and a soloing group defines a concerto.

Chorale

A congregational piece sung by a chorus, or an instrumental piece in the harmonic style of a hymn.

Overture

An orchestral instrumental introduction to a dramatic musical work, such as an opera or a ballet. Composers, particularly those of the Romantic Period, sometimes composed independent concert overtures, intended to begin a larger musical program.

Suite

Multiple pieces intended to be performed together. Suites may take from larger works, such as an opera or a ballet.

Fugue

An often brief work with multiple melodic lines interpreting a single, recurring theme. J.S. Bach popularized the practice of pairing fugues with introductory preludes.

Tempo Markings

Largo - slow, broad

Lento - slow

Andante - moderately slow, walking pace

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Presto - very fast

Additional Markings

Poco - a little Meno - less Non tanto - not as much

Ma non troppo - but not too much

Più - more

Molto - very Animato - animated

Sostenuto - sustained Maestoso - majestically

Marcato - marked, accented

Mosso - with motion and speed

Con brio - with liveliness

Scherzo - a fast, playful section

Word Search

Can you find the following terms in this orchestra-themed puzzle?

From the Concert Hall to the Classroom

Reaching 1.4 million students annually, the Trump Kennedy Center’s educational initiatives champion arts accessibility across the nation. In addition to programming such as Performances for Young Audiences, workshops at Moonshot Studio, and the Leadership Exchange in Arts and Disability (LEAD®) conference, the Center has published more than 5,000 free educational resources online. With the QR codes below, learn more about two orchestrathemed learning activities, geared toward grades 4–12.

Whack-A-Note

Step right up and try your hand at sight-reading and note identification in this interactive carnival game!

In this resource, you will…

- Explore basic sight-reading and musical notation.

- Test your knowledge of note placement on a scale.

- Become more familiar with C-major musical notes.

- Get your username on the leader board, and amaze your teachers and friends.

Perfect Pitch

One of the website’s most popular online interactives, this baseball-themed learning experience features musical instruments in the orchestra.

In this resource, you will…

- Explore the instruments and eras of the orchestra.

- Discover how compositions can be arranged with different instruments.

- Test your knowledge with a quiz.

To learn more about educational programs at the Center, visit www.kennedy-center.org/education/.

National Symphony Orchestra

GIANANDREA NOSEDA , MUSIC DIRECTOR

The Roger Sant and Congresswoman Doris Matsui Chair

STEVEN REINEKE , PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

VIOLINS

Nurit Bar-Josef, Concertmaster

Ying Fu, Associate Concertmaster, The Jeanne Weaver Ruesch Chair

Ricardo Cyncynates, Assistant Concertmaster

Xiaoxuan Shi, Second Assistant Concertmaster

Jane Bowyer Stewart

Heather LeDoux Green

Lisa-Beth Lambert

Jing Qiao

Marina Aikawa

Peiming Lin

Derek Powell

Regino Madrid**

Meredith Riley**

Marissa Regni, Principal

Dayna Hepler, Assistant Principal

Cynthia R. Finks

Deanna Lee Bien

Glenn Donnellan

Natasha Bogachek

Carole Tafoya Evans

Jae-Yeon Kim

Wanzhen Li

Hanna Lee

Benjamin Scott

Malorie Blake Shin

Angelia Cho

Kei Sugiyama**

VIOLAS

Daniel Foster, Principal, The Mrs. John Dimick Chair

Dana Kelley, Assistant Principal

Denise Wilkinson

Nancy Thomas

Jennifer Mondie

Tsuna Sakamoto

Ruth Wicker

Mahoko Eguchi

Abigail Evans Kreuzer

Rebecca Epperson

Jacob Shack

Chiara Dieguez**

CELLOS

David Hardy, Principal, The Hans Kindler Chair, The Strong Family and the Hattie M. Strong Foundation

Raymond Tsai, Assistant Principal

David Teie

Rachel Young

Mark Evans

Eugena Chang Riley

Loewi Lin

Britton Riley

Noah Krauss

BASSES

Robert Oppelt, Principal

Richard Barber, Assistant Principal

Jeffrey Weisner

Ira Gold

Paul DeNola

Charles Nilles

Alexander Jacobsen

Michael Marks

HARP

Adriana Horne, Principal

FLUTES

Aaron Goldman, Principal

Leah Arsenault Barrick, Assistant Principal

Matthew Ross

Carole Bean, Piccolo

OBOES

Nicholas Stovall, Principal, The Volunteer Council Chair

Jamie Roberts, Assistant Principal

Harrison Linsey***

Kathryn Meany Wilson***, English Horn

CLARINETS

Lin Ma, Principal

Eugene Mondie, Assistant Principal

Paul Cigan

Peter Cain, Bass Clarinet

BASSOONS

Sue Heineman, Principal

David Young, Assistant Principal

Steven Wilson

Sean Gordon, Contrabassoon

HORNS

Abel Pereira, Principal, The National Trustees’ Chair

James Nickel, Acting Associate Principal

Markus Osterlund***

Scott Fearing

Robert Rearden

Geoffrey Pilkington**

TRUMPETS

William Gerlach, Principal, The Howard Mitchell Chair, The Strong Family and the Hattie M. Strong Foundation

Michael Harper, Assistant Principal

Michail Thompson

Tom Cupples

TROMBONES

Craig Mulcahy, Principal

Evan Williams, Assistant Principal

David Murray

Matthew Guilford, Bass Trombone

TUBA

Seth Cook**, Acting Principal

TIMPANI

Jauvon Gilliam, Principal, The Marion E. Glover Chair

Scott Christian, Assistant Principal

PERCUSSION

Eric Shin, Principal, The Hechinger Foundation Chair

Erin Dowrey, Assistant Principal

Scott Christian

Jason Niehoff*

KEYBOARD

Lisa Emenheiser*

ORGAN

William Neil*

LIBRARIANS

Elizabeth Cusato Schnobrick, Principal

Zen Stokdyk, Associate

Karen Lee, Assistant

PERSONNEL

Karyn Garvin, Director

Brooke Bartolome, Manager

Sufyan Naaman**, Coordinator

STAGE MANAGERS

David Langrell, Manager

N. Christian Bottorff, Assistant Manager

The National Symphony Orchestra uses a system of revolving strings. In each string section, untitled members are listed in order of length of service.

*Regularly Engaged Extra Musician

** Temporary Position

***Leave of Absence

National Symphony Orchestra Staff

ADMINISTRATION

Sabryn McDonald, Executive Assistant

EXECUTIVE TEAM

Kasama Apfelbaum, Vice President, Financial Planning & Analysis

Nigel Boon, Vice President, Artistic Planning

John Roloff, Vice President, Orchestra Operations

ARTISTIC PLANNING

Justin Ellis, Senior Producing Director

Ana Vashakmadze, Assistant Artistic Administrator

DEVELOPMENT

Laney Pleasanton, Manager, NSO Individual Giving

Pamela Wardell, Senior Director of Development

EDUCATION

Vanessa Thomas, Director of Education Activation & Engagements

FINANCE AND ADMINISTRATION

Eric Rubio, Director of Finance & Administration

HUMAN RESOURCES

Tony Amato, Director, Total Rewards

Chanel Kemp, Talent Acquisition Manager

Patrice McNeill, Director, HR Operations

Lisa Motti, HRIS Coordinator

Ericka Parham, Benefits Analyst

John Sanford, Senior Business Partner

MARKETING & ADVERTISING

Michael Granados, Marketing Manager, NSO, Fortas & New Music

Lily Maroni, Senior Manager, Advertising Communications

Chris Bonnell, Senior Manager, Advertising Design

Elizabeth Stoltz, Advertising Production & Special Projects Assistant Manager

Derek Younger, Director, Sales & Ticketing Service

ORCHESTRA OPERATIONS & CONCERT PRODUCTION

Brooke Bartolome, Orchestra Personnel and Operations Manager

Joseph Benitez, Media & OPAS Support Coordinator

N. Christian Bottorff, Assistant Stage Manager

Cayley Carroll, Director, Production & Orchestra Operations

Karyn Garvin, Director of Orchestra Personnel

David Langrell, Stage Manager

Sufyan Naaman, Personnel and Auditions Coordinator

Ava Yap, Operations Assistant

PUBLIC RELATIONS

Amanda Fischer, Deputy Director of Public Relations

Kennedy Center Staff

Trump Kennedy Center Staff

KENNEDY CENTER EXECUTIVE LEADERSHIP

TRUMP KENNEDY CENTER EXECUTIVE LEADERSHIP

KENNEDY CENTER EXECUTIVE LEADERSHIP

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

President, John F. Kennedy Center for the Performing Arts

Chief Financial Officer

Ambassador Richard Grenell

Ambassador Richard Grenell Chief Financial Officer

Donna Arduin

Ambassador Richard Grenell Financial Officer

General Counsel

Donna Arduin

Chief Financial Officer Donna Arduin

Donna Arduin General Counsel

General Counsel

Berke

General Counsel Elliot Berke

Berke

Donna Arduin General Counsel

Berke

Senior Vice President, Development

Dale

Senior Vice President, Development

Vice President of Human

Dale

Senior Vice President, Marketing

Senior Vice President,

Osborne

Senior Vice President, Marketing�� Robin Osborne

Osborne

Senior Vice President, Special

Senior Vice President, Special Events

Donlon

Senior Vice President, Development Lisa Dale

Donlon

Vice President, Human

Vice President, Human Ta’Sha Bowens

Vice President, Public Relations Roma Daravi

Vice President, Operations

Executive Director, National Symphony Orchestra Jean Davidson

Vice President, Education

Vice President,

Vice President, Education

Vice President, Special Events

Vice President, Education

Bronagh Donlon

Vice

Vice President, Public

Vice President, Public Relations

Vice President, Facilities Matt Floca

Vice President, Public Relations

Chief Information Officer

Chief

Chief Information Officer

Vice President, Education Jordan LaSalle

Chief Information Officer

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Executive Director, National

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Chief Information Officer Bob Sellappan

General Director, Washington National

General Director, Washington

General Director, Washington National

General Director, Washington

Concert Hall Staff

Theater Manager

Theater Manager Allen V. McCallum Jr.

Theater Manager

Theater Manager Allen V. McCallum Jr.

Box Office Treasurer

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Allen V. McCallum Jr.

Deborah Glover

Box Office Treasurer Deborah Glover

Deborah Glover

Box Office Treasurer

Deborah Glover

Box Office Treasurer Deborah Glover

Head Usher

Head Usher Cathy Crocker

Head Usher

Stage Crew

Cathy Crocker

Head Usher Cathy Crocker

Cathy Crocker

Head Usher Cathy Crocker

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Trump Kennedy Center.

Steinway Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Trump Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Trump Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

AFL-CIO-CLC, the professional union of theatrical technicians.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E. AFL-CIO-CLC, the professional union of theatrical technicians.

AFL-CIO-CLC, the professional union of theatrical technicians.

The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

The American Guild Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington,

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.

Thank You to Our Supporters

National Symphony Orchestra Board of Directors

Officers

Joan Bialek, Chair

Ashley Davis, Vice Chair

Stanley Pierre-Louis, Treasurer

Brian Boyle, Secretary

Executive Committee

Carl Bergeron, Chair, Pension Committee

Brian Boyle, Co-Chair, Development Committee

Ashley Davis, Chair, Nominating and Governance Committee

Shannon McCormick Davis, Co-Chair, Development Committee

Ronald D. Abramson

Anne K. Altman

Michael F. Brewer

Jean Davidson, ex officio

Barbara H. Franklin

Directors

Ernest Abbott

Andrita J. Andreas

Jane Lipton Cafritz

Ronya Corey

Pierre de Lucy

Debbie Driesman

Larry Driver

William Finnerty

Brian L. Gevry

David Ginsberg

Cindy Green

Thomas C. Green

Kathryn Jones

Christina Co Mather

Michael Mayton

Richard Moxley

Stephanie Guyett

Dana Hearn

Helen Jackson

Ann D. Jordan, Lifetime Dir.

Vlad Khomenko

Gerald L. Kohlenberger, ex officio

Michael Lipsitz

Jan M. Lodal

Timothy R. Lowery

Heidi Narang

David B. Novy

Michael Salzberg

Roger W. Sant

Susan Silverstein Scott

Tina B. Small

Cathy McCulloch

Sarah Mills

Jeanne Weaver Ruesch

Sheryl Schwartz

Jeffrey M. Senger

Jeff Shockey

Raghu Srinivasan

Courtney Straus

Stuart Winston

National Symphony Orchestra National Trustees

Officers

Gerald L. Kohlenberger, VA, Chairman

Ross Ain, DC, Vice Chairman

Ken Leibowitz, DC, Vice President of Membership

Purvi Patel Albers, TX, Vice President of Development

Jeannette J. Segel, AZ, Vice President of Special Events & Meetings

Ex-Officio Positions

Michael Mayton, AR, Past Chairman

Jessine Monaghan, DC, Past Chairman

Mary K. Abercrombie, ID, Past Chairman

Members

Susan Ain, FL

Ralph Baxter, WV

Jeri Crawford, NV

Nancy Jean Davis, FL

Gail Charnley Elliott, CT

Glenn Finch, VA

Mary Galvin, IL

Larry Kellogg, FL

Laura Kerr-Engstrom, OK

Tom Mims, FL

Theresa Thompson, VA

James Ward, NM

John Wohlstetter, SC

Stephen T. Young, GA

Thank You to Our Donors

Individual and Foundation donors contributing $1,800 or more to the National Symphony Orchestra annually are recognized in the following lists. For a full listing of Trump Kennedy Center supporters, please visit: tkc.co/Support

$500,000+

Anonymous

The Morris and Gwendolyn Cafritz Foundation

$100,000-499,999

Mr. Martin K. Alloy and Mrs. Daris M. Clifton-Alloy

Paul M. Angell Family Foundation

The Galena-Yorktown Foundation

$50,000-99,999

Anonymous (2)

Mrs. Byrle M. Abbin

The Andreas Family Foundation

Eve E. Bachrach

Joan Bialek and Louis Levitt, MD

$25,000-49,999

Anonymous

Ernest and Catherine Abbott

Ms. Anne K. Altman

Bender Foundation, Inc.

Brian and Sheila Boyle

Michael Brewer and Janet Brown

Shannon and Jim Davis

Pierre de Lucy and Jodie McLean

Ms. Kirby Heller and Mr. Stephen Dennett

Dr. Christine A. Dingivan

The Honorable Barbara H. Franklin

Ann and Tom Friedman

Mary B. Galvin

Brian and Kendra Gevry

David and Ellen Ginsberg

Cindy and Andy Green

Greg and Stephanie Guyett

Daniel Heider

$10,000-14,999

Anonymous (2)

Mary K. Abercrombie

Ross and Judy Ain

Mr. and Mrs. Michael Baly, III

Ralph H. Baxter, Jr.

Mr. and Mrs. Richard T. Crawford

Gail Charnley and E. Donald Elliott

Mr. and Mrs. Glenn Finch

$6,000-9,999

Janice and Larry Clark

Phil and Joan Currie

Mr. and Mrs. Dennis de Tray

Mr. Edward A. Farquhar

Henrietta “Etta” Fielek

Drs. Jorge R. Gallardo-García and Viviana Vélez-Grajales

Mr. Woolf P. Gross

Dr. Elaine S. Jaffe and Mr. Michael Evan Jaffe

The Dallas Morse Coors Foundation for the Performing Arts

Dr. Gary Mather† and Ms. Christina Co Mather

Dana A. Hearn and Kevin J. McCloskey

Thelma Z. Lenkin

Jacqueline Badger Mars

Eric Shin

Larry Driver

Tom and Pamela Green

Janet and Jerry Kohlenberger

The Honorable Jan M. Lodal

Stella Boyle Smith Trust, Catherine and Michael Mayton, Trustees

Ms. Judy Honig and Mr. Stephen Robb

Mr. Frank F. Islam and Ms. Debbie Driesman

Helen Jackson and Joseph Sassoon

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Orchestrated Lives

Each month, the National Symphony Orchestra (NSO) spotlights a different musician. For this program, section percussionist and Assistant Principal Timpani Scott Christian discusses onstage awe, the importance of an audience, and the special relationship between bassists and percussionists.

Name: Scott Christian

Hometown: Red Wing, Minnesota

Instrument: Timpani

Years with the NSO: 7

What most distinguishes percussion from other instrument groups?

One of the things that I like about playing percussion is that it’s the only instrument group where you are supposed to know the whole family of instruments. If I were stuck practicing one instrument, I don’t know if my attention span would last that long. Yet it’s really difficult to keep all those instruments up at a high level, because there are only so many hours in a day. There are weeks when I might not be able to play a certain instrument, and I have to go through some basic exercises to get back to a performing level.

Are there any percussion instruments for which you wish composers would write more?

Not necessarily. I think that composers could learn the instruments better to be able to use them to their fullest potential. For example, Béla Bartók wrote for the timpani in incredible ways—challenging but completely doable. Sometimes we’ll get a timpani part that isn’t super thought out, or that could be doing a lot more. But, for composers, it’s a lot to learn what is and isn’t idiomatic to an instrument. Ultimately, if the music is less idiomatic but quite gripping, I would much rather work around those problems than play something that is technically virtuosic but lacking in connection.

In the February “Orchestrated Lives,” bassist Charles Nilles mentioned how the percussion section and the bass section have a special relationship, a real rapport. What do you think makes that relationship so special?

Charlie wishes that our relationship was special! No, no… I’ll just put it this way: the percussion section is not the meat and potatoes of the orchestra. We’re not always playing the melody, but we’re the spice. When we get a piece of music, it just says “triangle,” or it just says “cymbal;” it doesn’t tell us which cymbal we’re supposed to use. It’s a lot of fun for us to find the correct sound for that moment, and if the sound is wrong, it's like adding too much spice to a dish. If we go unnoticed, we’re doing our job, and I think it’s similar for the bass section. They’re so pivotal in creating that bass tone that everybody else can tune off of in their intonation.

Do you have a favorite onstage memory from your time at the NSO?

Generally speaking, when I look around and watch my colleagues play at such a high level, I just feel so lucky to be on stage with them. I also like to take moments to look out into the audience. I’m always amazed that all of us practice, come to rehearsals, and work on these small details, waiting for the finished product—and that product requires an audience to be there. I like to think about all the stuff that the audience has had to do to get to the concert. They’ve had to buy their ticket, pay for parking, or maybe change their outfit. All that preparation comes together. You say that the audience has to be there for the final product. What role would you say the audience plays in a live performance?

With an audience, there’s communication happening. Otherwise, it’s like an actor practicing their lines in front of a wall. Every concert is a little different. You might have somebody in the audience who’s known this piece since they were a kid, or somebody who’s hearing it for the first time. There might be somebody who really needs this moment—somebody who wanted to come to the concert, but it’s been a really tough week, and they’re barely able to stay awake. You have so many different people sitting next to each other, all focused on this one thing, and I think that that’s such a special moment. That’s what’s so interesting about music, versus a book where you can keep reading a passage over and over again, or an artwork that you can stand in front of as long as you want. It’s very ephemeral; it’s there, and then it’s gone.

This interview has been edited for length and clarity.

Support your ORCHESTRA

The mission of the National Symphony Orchestra is to engage audiences locally, across the country, and around the world through excellence in performance and education. Each year, the NSO offers approximately 150 concerts as well as some of the country’s most extensive community and educational programming. It regularly participates in events of national and international importance, including performances for state occasions, highlevel government events, and regularly televised holiday appearances for Capitol Concerts and local radio broadcasts on WETA, making the NSO one of the most-heard orchestras in the country.

Give your support in this 95th season by becoming a Member, joining the NSO Circles, or pledging a Legacy Gift. Visit tkc.co/SupportNSO or scan the QR code.

Thank You to Our Supporters

The Trump Kennedy Center Board of Trustees

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Building the Future Campaign Donors

Visit tkc.co/Support for a full listing of donors and to learn how you can join us by becoming a Member.

Andrew Geraci

Romantic Titans: Sibelius, Strauss & Wagner

Strauss traces the final moments of a life: memories surface, struggles fade, and a soul wins its final release. Under the baton of Simone Young, the NSO displays the full scope of Strauss’ vision. Sergey Khachatryan brings fire to Sibelius’ Violin Concerto.

April 2, 2026 at 7 p.m.

April 3, 2026 at 11:30 a.m.

April 4, 2026 at 8 p.m.

Bruckner’s Seventh Gerlach plays Haydn

NSO Principal Trumpet William Gerlach takes center stage in one of the most celebrated pieces of his instrument’s repertoire—Haydn’s sparkling Trumpet Concerto. Gianandrea Noseda completes the evening with Bruckner’s grand Symphony No. 7, a drama of majestic horns and hushed violins.

April 10 & 11, 2026 at 8 p.m.

Noseda: Mozart and Bach

Experience the heavenly drama of Mozart’s Symphony No. 41, “Jupiter,” in the hands of Gianandrea Noseda, who opens the concert with Bach’s large-scale Brandenburg Concerto No. 1 and Jacques Loussier’s jazz-infused, neo-Bach Concerto for Violin and Tabla.

April 15 & 16, 2026 at 7 p.m April 17, 2026 at 8 p.m.

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

Romantic Titans: Sibelius, Strauss & Wagner

Thu., Apr. 2, 2026 at 7 p.m.

Fri., Apr. 3, 2026 at 11:30 a.m.

Sat., Apr. 4, 2026 at 8 p.m.

Bruckner’s Seventh Gerlach plays Haydn

Fri., Apr. 10, 2026 at 8 p.m.

Sat., Apr. 11, 2026 at 8 p.m.

Noseda: Mozart & Bach

Wed., Apr. 15, 2026 at 7 p.m.

Thu., Apr. 16, 2026 at 7 p.m.

Fri., Apr. 17, 2026 at 8 p.m.

Khatia Buniatishvili

Fri., Apr. 24, 2026 at 8 p.m.

Opera in Concert

Puccini: 3 One-Act Operas Il trittico

Wed., Apr. 29, 2026 at 7 p.m.

Fri., May 1, 2026 at 7 p.m.

Appalachian Spring & Mahler’s First

Fri., May 29, 2026 at 8 p.m.

Sat., May 30, 2026 at 8 p.m.

Porgy and Bess & Coleman Piano Concerto

Fri., June 5, 2026 at 8 p.m.

Sat., June 6, 2026 at 8 p.m.

An American in Paris & Barber Violin Concerto

Fri., June 12, 2026 at 8 p.m.

Sat., June 13, 2026 at 8 p.m.

NSO Presents*

*Please note: The National Symphony Orchestra does not perform in these concerts.

For 250 years, America’s story has been told through the voices of its artists, the rhythm of its music, the words of its writers, and the movement of its dancers. It is a story of resilience and reinvention, of dreams daring enough to redefine what was possible, and of creativity that has not only shaped a nation, but the world.

As the nation marks 250 years since the signing of the Declaration of Independence, the Center invites Americans everywhere to take part in 250 Years of US, a yearlong exploration of who we are, where we’ve been, and where we’re going. Through music, theater, dance, and visual art, 250 Years of US celebrates the boundless imagination of a people united by creativity.

SHARE THE JOY of the ARTS

A toast before the show. A meal with a view. A selfie in the foyer. At the Trump Kennedy Center, it’s not just about the performance, it’s the moments you share before and after the curtain rises. Here, you’ll find joy and awe, surprise and wonder. When you come for a performance, you’ll leave with something more. Because what you feel—and who you feel it with— becomes the memory you both carry.

Take home... a musical memory.

Mozart Magic Flute Earrings

These exquisite earrings bring Mozart’s masterpiece to life with fluteinspired details that create a visual symphony. $42

NSO Cap and T-shirt

Our new National Symphony Orchestra cap and tee let you show your pride in our world-class symphony. $30 each

Make Your Own Music Mug

No better way to start your day than with a coffee mug imprinted with blank sheet music and sticker notes so you can compose your own melody. $20

Visit our two gift shops on Level A and in the Hall of States. Shop online 24/7 at tkc.co/shop

CURTAIN UP

Patrons share their first experiences at the Center.

Louisa and Savanah

My daughter Louisa went to her first Center performance in January 2024 at age five. It was a mother-daughter date with her friend Eliza and Eliza’s mom Joy. The girls both dressed as Elsa, and it happened to be a snowy day in D.C. The magic of Frozen, along with the wonder created by the atmosphere made for an unforgettable first experience!

Maka

I remember the first time I saw the Center. It was a tapestry of rainbow lights, holding its own in the vast D.C. skyline. I gaped as my mom drove us right up next to it. It was big, but somehow more welcoming than intimidating.

The grand hall led into yet another equally grand one, where I felt as if I were walking the red carpet, with imported

Louisa and friend Eliza, both dressed as Elsa, wait outside the Opera House to see Frozen.

crystal chandeliers far overhead. I thought that this in and of itself was magical, but the real magic was inside the theater. I whipped out my phone to take a picture of the illuminated ceiling, but as soon as the lights dimmed and the show started, I forgot phones existed. My mom and I were there to see & Juliet, and we were blown away by the acting, music, and lights that went into the production. At the end, my face hurt from smiling and my hands hurt from clapping, and it was worth it.

Diann

My family and I came to see The Princess Bride in Concert with the National Symphony Orchestra. Both of our boys play viola, and The Princess Bride is a very loved movie in our family so it was meant to be…

The best thing is, I have a service dog, Eugene, and we were welcomed without issue. The kindness started when I first emailed to see what seating was like to make sure that Eugene would fit under the chair. In the response to my email, I received kindness, dimensions, photos, and was asked to reach out to book my seats if I needed any assistance.

Overall, I was highly impressed with the hospitality of this venue. 10/10 will be attending another event!

Benjamin

As I watched the curtain rise on the opening night of the Stuttgart Ballet’s performance of Onegin, I felt a great sense of excitement swell within me. The sheer beauty of the dancers, sets, and costumes was almost overwhelming and reminded me that beauty truly is something objective, because that is the best way to describe this ballet: beautiful.

Following the bows, I could not get Onegin out of my head; something about it was so magnetic and hypnotic that I ended up returning twice more to witness the spectacle. Each night I sat in a different location around the Opera House, giving me a unique experience each performance, and each night, I picked up on new details and nuances that I had not been keen enough to see before.

While it would be impossible to name one scene as my favorite, the finale was so gut-wrenching and emotional that I will never forget what true passion looks like.

Diann’s children pose by the riverfront before The Princess Bride in Concert.

Create an experience... that will last a lifetime.

WEDDINGS AT THE REACH

REACH wedding rentals offer a variety of indoor and outdoor venues to create an unforgettable celebration of love. Situated on the south end of the Trump Kennedy Center Campus, the REACH is a premier Washington, D.C. event venue. With stunning views of the Potomac River, the largest green roof in D.C., and multifunctional event spaces, the REACH provides new elegance with a modern aesthetic.

Visit tkc.co/weddings or scan the QR code for more information.

NSO Presents: Khatia Buniatishvili

Pianist Khatia Buniatishvili, “a rock star in the classical music world” (New York Post), performs works by Schubert and Liszt ranging from intimate poetry to high-voltage power

Please note: the NSO does not perform on this program

April 24, 2026 | Concert Hall

HOME TO FIVE WORLD-CLASS THEATERS FOR RENT

UNIQUE EVENT AND MEETING VENUES

CATERING AND PRODUCTION SERVICES

INDOOR AND OUTDOOR SPACES

Build a unique event... on a creative campus. Visit tkc.co/rentals or scan the QR code for more information.

When life doesn’t stick to the script, we’re here for you.

From our connected urgent care network and on-demand 24/7 telehealth to lifesaving specialty care, we’re here when and where you need us.

Behind every visit at MedStar Health is a team of top-rated providers, who together make up one of the region’s most respected health systems.

It’s how we treat every patient…with the best of our hearts, and the best of our minds.