The Orchestra 2025/26 SEASON
VIOLIN 1
Juliana Athayde+, Concertmaster
The Caroline W. Gannett & Clayla Ward Chair, funded in perpetuity
Angelina Phillips, Associate Concertmaster
The Fred M. And Lurita D. Wechsler Chair, funded in perpetuity
Shannon Nance, Assistant Concertmaster
Jeongwon An
Tigran Vardanyan
James Zabawa-Martinez
Thomas Rodgers
Anna Leunis
Molly McDonald
Kurt Munstedt
Chihiro Kakishima
Perrin Yang
Jeremy Hill
An-Chi Lin
VIOLIN 2
Jeanelle Thompson, Principal
The Dr. Ralph F. Jozefowicz Chair
Daryl Perlo, Assistant Principal
The James E. Dumm Chair, funded in perpetuity
Patricia Sunwoo
John Sullivan
Lara Sipols
Sooyeon Kim
Petros Karapetyan
Liana Koteva Kirvan
Margaret Leenhouts
Heidi Brodwin
Elin Schlichting
Ellen Stokoe
VIOLA
Joshua Newburger+, Principal
The William L. Gamble Chair, funded in perpetuity
Marc Anderson, Assistant Principal
Rebecca Christainsen
James Marshall
Olita Povero
Neil Miller
Melissa Matson
Ye In Son
David Hult
Grant Rieke
CELLO
Ahrim Kim, Principal
The Clara and Edwin Strasenburgh Chair, funded in perpetuity
Lars Kirvan, Assistant Principal
Samuel Pierce-Ruhland
Christopher Haritatos
Garri Hovsepyan
Benjamin Krug
Jennifer Carpenter^
Ingrid Bock
BASS
Cory Palmer, Principal
The Anne Hayden McQuay Chair, funded in perpetuity
Michael Griffin, Assistant Principal
Daniel Morehead
Edward Castilano
Fred Dole
Jeff Campbell+
Eric Polenik
FLUTE
Rebecca Gilbert, Principal
The Charlotte Whitney Allen Chair, funded in perpetuity
Sean Marron
Elise Kim
PICCOLO
Sean Marron
Elise Kim
OBOE
Erik Behr, Principal
The Dr. Jacques M. Lipson Chair, funded in perpetuity
Anna Steltenpohl
Megan Kyle
ENGLISH HORN
Anna Steltenpohl
CLARINET
Hector Noriega*, Principal
The Robert J. Strasenburgh Chair, funded in perpetuity
Kamalia Freyling^
Andrew Brown
E-FLAT CLARINET
Kamalia Freyling^
BASS CLARINET
Andrew Brown
BASSOON
Matthew McDonald, Principal
The Ron and Donna Fielding Chair, funded in perpetuity
Karl Vilcins
Martha Sholl
CONTRA-BASSOON
Karl Vilcins
HORN
YiCheng Gong, Associate
Maura McCune Corvington+
Nathan Ukens
Stephen Laifer+
TRUMPET
Wesley Nance+
Herbert Smith
Paul Shewan
TROMBONE
David Bruestle, Principal
The Austin E. Hildebrandt Chair, funded in perpetuity
Lisa Albrecht
Jeffrey Gray+
BASS TROMBONE
Jeffrey Gray+
TUBA
W. Craig Sutherland, Principal
The Rob W. Goodling Chair, funded in perpetuity
TIMPANI
Charles Ross+, Principal
The Harold and Joan Feinbloom Chair, funded in perpetuity
PERCUSSION
Caleb Breidenbaugh, Principal
The Barbara and Patrick Fulford Chair, funded in perpetuity
Brian Stotz
HARP
Grace Browning, Principal
The Eileen Malone Chair. A Tribute to Mr. and Mrs. Harcourt M. Sylvester
Rosanna Moore
KEYBOARD
Chiao-Wen Cheng+, Principal
The Lois P. Lines Chair, funded in perpetuity
PERSONNEL MANAGER
Fred Dole
PRINCIPAL LIBRARIAN
Kimberly Hartquist
STAGE MANAGERS
Danielle Suhr
Cederick Martinez
+ Eastman faculty
^ Year leave of absence
* 1-year appointment
ANDREAS DELFS Music Director
Andreas Delfs has built a reputation over his 35-year career as one of the most dynamic and respected conductors on the international stage. Celebrated for his visionary leadership and deep musical insight, he is equally renowned as a masterful orchestra builder and an inspiring music director. Known for his emotionally charged and dramatically nuanced interpretations—particularly of the late Romantic repertoire—Delfs has earned critical acclaim across North America and Europe. His performances are marked by an ever-deepening artistic maturity, bringing a rare combination of passion, precision, and authenticity to every podium he graces.
Educated at leading conservatories on both sides of the Atlantic and shaped by mentorships with legendary conductors, Delfs has cultivated a style forged through decades of experience. At the same time, his unwavering curiosity and enthusiasm for contemporary music have made him a champion of living composers. He has established lasting collaborations with many of today’s most compelling musical voices, conducting numerous world premieres and commissioning new works. Among his many artistic inspirations are Hans Werner Henze, György Ligeti, Philip Glass, and Roberto Sierra—composers whose diverse idioms have helped shape his unique interpretive voice. His artistry has also drawn world-class soloists to the stage, including André Watts, Emanuel Ax, Joshua Bell, Hilary Hahn, Yo-Yo Ma, Lang Lang, and Renée Fleming.
Delfs has held prominent leadership roles with orchestras on both continents. As Music Director of the Milwaukee Symphony Orchestra from 1996 to 2009—and later as its Conductor Laureate—he played a pivotal role in elevating the ensemble to national acclaim. He also led the Saint Paul Chamber Orchestra as Music Director (2001–2004) and Artistic Consultant (2004–2006). In Europe, he served as General Music Director of Hanover, Germany (1995–2000), overseeing both the city’s symphony orchestra and its distinguished opera company. Earlier appointments include Music Director of the Bern Opera, Resident Conductor of the Pittsburgh Symphony during Lorin Maazel’s tenure, and Music Director—at an impressively young age—of the Orchestre Suisse des Jeunes.
Throughout his career, Delfs has conducted many of the world’s premier orchestras. His international credits include the London Philharmonic, Royal Philharmonic, Frankfurt Radio Symphony, Leipzig Gewandhaus Orchestra, Tonhalle Orchestra Zurich, Danish National Symphony, Netherlands Philharmonic, NHK Symphony Orchestra Tokyo, Philadelphia Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Sydney Symphony, Beijing Symphony, Seoul Philharmonic, and the National Symphony Orchestra of Taiwan.
Born in Flensburg, Germany, Delfs began studying piano and music theory at the age of five. He studied under Christoph von Dohnányi and Aldo Ceccato at the Hamburg Conservatory, where, at just 20 years old, he became the youngest Music Director of the Hamburg University Orchestra and served as Musical Assistant at the Hamburg State Opera. He later continued his training at The Juilliard School, studying with Jorge Mester, Sixten Ehrling, and Leonard Bernstein, and was honored with the prestigious Bruno Walter Memorial Scholarship.
PHOTO: ALEX CASSETTI
Our Conductors
JEFF TYZIK Principal Pops Conductor
25/26 marks Jeff Tyzik’s 32nd season as RPO Pops Conductor. But his musical journey began long before his permanent residency in Kodak Hall.
Born in Hyde Park, New York, he started playing cornet at age nine—inspired by the buglers during an Independence Day parade in nearby Poughkeepsie. He switched to trumpet at age 11, and eventually went on to attend Rochester’s Eastman School of Music, ultimately earning Bachelor of Music and Master of Music degrees.
Even before Tyzik’s schooling was completed, his star was on the rise. While at Eastman, Tyzik met Chuck Mangione, with whom he worked between 1973 and 1980 —both as lead trumpeter in Mangione’s band and as co-producer of four albums. During that time, Tyzik befriended Tonight Show band leader Doc Severinsen, who eventually invited Tyzik to London to record two albums. That relationship proved fruitful, with Tyzik producing the Grammy-winning The Tonight Show Band with Doc Severinsen, Vol. 1. Severinsen’s albums with Tyzik would go on to earn three additional Grammy nominations.
Tyzik also recorded his own albums as a solo trumpeter between 1981 and 1990, when he and his big band frequently performed in Rochester.
In 1993, Tyzik proposed a four-concert series featuring RPO members dubbed “All in the Family.” The first debuted Oct. 22 and highlighted Kenneth Grant (clarinet), Joseph Werner (piano), and percussionists William Cahn and Dave Mancini. Less than a month later, Tyzik was asked to become Principal Pops Conductor.
Jeff quickly made his mark on the orchestra, in his second season performing the first in his endearing, enduring Gala Holiday Pops series. He also made RPO history conducting an all-Gershwin album featuring pianist Jon Nakamatsu. The recording topped the Billboard Classical chart and remained in the top 10 for three months.
Over five decades, Tyzik has guest-conducted more than 100 orchestras, including the Boston Pops, Cincinnati Pops, and Milwaukee Symphony. In September 2023, he made his debut with the New York Philharmonic and returned later that season to conduct the Philadelphia Orchestra’s 2023–24 finale.
He’s also shared the stage with a remarkable range of artists across genres—from Tony Bennett and Leslie Odom Jr. to Wynonna Judd, Art Garfunkel, Marilyn Horne, Arturo Sandoval, The Chieftains, Megan Hilty, Dawn Upshaw, and John Pizzarelli.
In 2012, Tyzik and his daughter Jami co-founded the management and production company Greenberg Artists. Since 2016, in partnership with Schirmer Theatrical, they’ve developed dozens of orchestral Pops programs now performed by nearly 200 orchestras.
In 2023, Tyzik launched TyzikMusic.com, a digital publishing platform featuring more than 150 of his arrangements, orchestrations, and compositions for symphony orchestra, chamber ensembles, and wind ensemble.
CHRISTOPHER SEAMAN Conductor Laureate
The Christopher Seaman Chair, supported by Barbara and Patrick Fulford and The Conductor Laureate Society
Christopher Seaman was music director of the RPO from 1998-2011, and was subsequently named conductor laureate. During his 13-year tenure, the longest in RPO history, he raised the Orchestra’s artistic level, broadened its audience base, and created a new concert series. This contribution was recognized with an award from the American Society of Composers, Authors, and Publishers. In May 2009, the University of Rochester made him an honorary doctor of music.
Previous positions include music director of the Naples Philharmonic Orchestra (Florida) for 10 years, conductor-in-residence with the Baltimore Symphony Orchestra, and artistic advisor of the San Antonio Symphony.
He is recognized for his wealth of repertoire, which ranges from baroque to contemporary, and in particular the works of Bruckner, Brahms, and Sibelius Seaman also is highly regarded for his work with younger musicians, and he served as course director for the Symphony Services International Conductor Development Program (Australia) for many years.
Recent conducting engagements include the Aspen Music Festival, Detroit, Houston, St. Louis, Cincinnati, Milwaukee, and Seattle symphony orchestras; the Warsaw Philharmonic Orchestra, Kristians Symphony Orchestra, Orchestra of Opera North, and Orquestra Filarmônica de Minas Gerais in Brazil. He frequently visits Australia and Asia where he has conducted the Hong Kong Philharmonic Orchestra and the National Taiwan, Sydney, Melbourne, Adelaide, and Singapore symphony orchestras, among others.
RPO Board of Directors 2025/26 SEASON
Maintaining and operating the Rochester Philharmonic Orchestra (Founded in 1923 —Incorporated in 1930)
OFFICERS
Diana Clarkson, Esq., Chair of the Board
Katherine Lindahl, Chair-Elect of the Board
Cindy Yancey, Vice Chair of the Board
Karen Kessler, Secretary
Richard Stein, Treasurer
Ross P. Lanzafame, Esq., Immediate Past Chair
TERM EXPIRES JUNE 2026
Daisy R. Algarin
Diana Clarkson, Esq.
George Daddis
Catherine Frangenberg
Allyson Hiranandani
Dr. Diane Lu
Sujatha Ramanujan
Elizabeth F. Rice
Ronald E. Salluzzo
Dr. Eva P. Sauer
George J. Schwartz, M.D.
Richard Stein
Dr. James Watters
TERM EXPIRES JUNE 2027
Brian Bennett
Emerson Fullwood
Kimberly Gangi
Paulette Gissendanner
Catherine Gueli
Zuzanna Kwon
Katherine Lindahl
Jack McGowan
Sidney Sobel, M.D.
Cindy Yancey DIANA CLARKSON, CHAIR OF THE BOARD
TERM EXPIRES
JUNE 2028
Ron Dougherty
Sreeram Dhurjaty
James Fulmer
Laurie A. Haelen
Ralph F. Jozefowicz. M.D.
Karen Kessler
Deborah Onslow
Keila Pena
Sara Poe
Joseph B. Rizzo, Esq.
EX-OFFICIO
Curtis S. Long
President & CEO
Ross P. Lanzafame, Esq., Immediate Past Chair
Kate Sheeran
Dean, Eastman School of Music
Nathan Ukens
Orchestra Representative Wesley Nance
Orchestra Representative
James Englert Chairperson, Honorary Board
HONORARY BOARD
James Englert, Chairperson, Honorary Board
Stephen B. Ashley
Nancy Beilfuss*
James M. Boucher
Paul W. Briggs*
William L. Cahn
Louise Epstein
Joan Feinbloom
Ilene Flaum
Betsy Friedman
Patrick Fulford
Ronald A. Furman*
Mary M. Gooley*
Suzanne Gouvernet*
David C. Heiligman
A. Thomas Hildebrandt
Harold A. Kurland, Esq.
Dr. Dawn F. Lipson
Jacques M. Lipson, MD*
Cricket and Frank Luellen*
Michael Millard
Elizabeth F. Rice
Nathan J. Robfogel, Esq.
Jon L. Schumacher, Esq.
Katherine T. Schumacher
Ingrid Stanlis
Betty Strasenburgh*
Josephine S. Trubek
Suzanne D. Welch
Patricia Wilder*
Deborah Wilson
Robert Woodhouse
The RPO expresses its gratitude to all those who have served as Honorary Board members in the past.
PAST RPO CHAIRPERSONS
1930–32: Edward G. Miner*
1932–34: Simon N. Stein*
1934–38: George E. Norton*
1938–41: Leroy E. Snyder*
1941–42: Frank W. Lovejoy*
1942–43: Bernard E. Finucane*
1943–46: L. Dudley Field*
1946–48: Edward S. Farrow, Jr. *
1948–51: Joseph J. Myler*
1951–52: Joseph F. Taylor*
1952–55: Raymond W. Albright*
1955–57: Arthur I. Stern*
1957–59: Thomas H. Hawks*
1959–61: Walter C. Strakosh*
1962–63: Ernest J. Howe*
1963–65: O. Cedric Rowntree*
1965–67: Frank E. Holley *
1967–69: Thomas C. Taylor*
1969–71: Thomas H. Miller*
1971–72: Mrs. Frederick J. Wilkens*
1972–73: Edward C. McIrvine
1973–74: Robert J. Strasenburgh*
1974–75: John A. Santuccio
1975–76: Robert J. Strasenburgh*
1976–78: Dr. Louis Lasagna*
1978–80: Edward C. McIrvine
1980–82: Peter L. Faber
1982–84: Paul F. Pagerey*
1984–85: Peter L. Waasdorp*
1986–89: Robert H. Hurlbut*
1989–91: Paul W. Briggs
1991–93: Karen Noble Hanson*
1993–95: Ronald E. Salluzzo
1995–98: A. Thomas Hildebrandt
1998–00: Harold A. Kurland, Esq.
2000–04: David C. Heiligman
2004–06: Ingrid A. Stanlis
2006–09: James M. Boucher
2009–11: Suzanne D. Welch
2011–13: Elizabeth F. Rice
2013–15: Dr. Dawn F. Lipson
2015-17: Jules L. Smith, Esq.
2017-19: Ingrid A. Stanlis
2019-2024: Ross P. Lanzafame, Esq.
* Deceased
WEST HERR
AUDITORIUM THEATRE
Scott Terrell, conductor
ROY SCHEIDER
ROBERT SHAW
RICHARD DREYFUSS
JAWS
Co-starring LORRAINE GARY
MURRAY HAMILTON
A ZANUCK/BROWN PRODUCTION
Screenplay by PETER BENCHLEY and CARL GOTTLIEB
Based on the novel by PETER BENCHLEY
Music by JOHN WILLIAMS
Directed by STEVEN SPIELBERG
Produced by RICHARD D. ZANUCK and DAVID BROWN A UNIVERSAL PICTURE
Tonight’s program is a presentation of the complete film Jaws with a live performance of the film’s entire score, including music played by the orchestra during and after the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the music.
Jaws is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved.
Jaws ©1975 now available on Blu Ray/DVD
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
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JAWS IN CONCERT— 50TH
PHOTO:
Scott Terrell, conductor
PRODUCTION CREDITS
Jaws in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill
Production Manager: Sophie Greaves
Production Assistant: Katherine Miron
Worldwide Representation: IMG Artists, LLC
Technical Director: Mike Runice
Music Composed by John Williams
Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Ramiro Belgardt
Technical Consultant: Laura Gibson
Sound Remixing for Concert Performance: Chace Audio by Deluxe
The score for Jaws has been adapted for live concert performance.
With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, John Williams, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Chuck Nilsen, Mike Pastrano, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of the Rochester Philharmonic Orchestra.
www.filmconcertslive.com
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
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ARTISTS
JOHN WILLIAMS, composer
In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and the concert stage. He remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Saving Private Ryan, Lincoln, Close Encounters of the Third Kind, Superman and the Indiana Jones films. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies and more than a dozen concertos commissioned by some of America’s most prominent orchestras. He has received five Academy Awards and fifty-four Oscar nominations, seven British Academy Awards, twenty-six Grammys, four Golden Globes, and five Emmys. His other honors include the Kennedy Center Honors, the National Medal of Arts, an honorary KBE from Queen Elizabeth II, the Life Achievement Award from the American Film Institute, Spain’s Princess of Asturias Award for the Arts, and the Gold Medal from the UK’s prestigious Royal Philharmonic Society.
A NOTE FROM THE COMPOSER
When I first saw Jaws, I didn’t quite fully realize what a wonderful opportunity it presented for the orchestra to play a very personal role in the accumulated effect of the film. Steven Spielberg and I had reservations about the “thump-thump” motif of the principle musical theme. But it was fun and it seemed to have worked.
It’s thrilling for both Steven and me to realize that this unique film still captures the imagination of viewers after so many years, and that audiences now can enjoy the movie live in concert, accompanied by a magnificent orchestra like the Rochester Philharmonic Orchestra.
This is the greatest possible reward for the joyous and fun-filled task of making Jaws
JOHN WILLIAMS
ARTISTS
SCOTT TERRELL, conductor
Scott Terrell has built a major conducting career through imaginative programs, an engaging presence, and a passion for artistic excellence, teaching, and viability. An ardent champion of new music and diversity of repertoire, he is a conductor whose artistry and intellect has engaged musicians, students, and audiences. Maestro Terrell is Associate Professor of Orchestral Studies, holding the Virginia Martin Howard Chair, at Louisiana State University School of Music.
In demand as a guest conductor, he debuts this season with the Utah Symphony, Buffalo Philharmonic, and Orlando Philharmonic, while returning to the San Diego Symphony, Rochester Philharmonic, St. Louis Symphony, Louisiana Philharmonic, and Fort Worth Symphony.
Passionate about working with aspiring musicians, Terrell is an active guest clinician, teacher, and adjudicator. He has been a regular guest conductor and instructor at the Aspen Music Festival, leading concerts and mentoring students, as well as teaching internationally at the Sofia Symphonic Summit in Bulgaria and the International Masterclass for Conductors in Schladming, Austria.
Maestro Terrell has led organizations including the Philadelphia Orchestra, Houston Symphony, Pittsburgh Symphony, Vancouver Symphony, National Arts Centre Orchestra, Opera Colorado, Opera Hong Kong, Arizona Opera, Minnesota Opera, Minnesota Orchestra, Rotterdam Philharmonic, Hong Kong Sinfonietta, Milwaukee Symphony, Naples Philharmonic, Eugene Symphony, Richmond Symphony, and the Mostly Modern Festival.
With a strong affinity for vocal and operatic repertoire, his collaborations with Kentucky Opera include Stephen Paulus’ To Be Certain of the Dawn, Bernstein’s Trouble in Tahiti, Humperdinck’s Hansel and Gretel, and Golijov’s Ainadamar. Other projects include The Magic Flute at Arizona Opera, gala concerts at Opera Hong Kong, Piazzolla’s Maria de Buenos Aires with Fort Worth Opera, Aspen Music Festival, and Arizona Opera, as well as Aspen productions of Bernstein’s Trouble in Tahiti and Missy Mazzoli’s Proving Up.
Mr. Terrell was Music Director of the Lexington Philharmonic from 2009–2019, transforming the organization through higher artistic standards, diverse programming, expanded collaborations, and community support. A Michigan native, he previously served as Resident Conductor of the Charleston Symphony and Assistant Conductor of the Minnesota Orchestra. He trained at Western Michigan University, the University of Minnesota, and the Aspen Music Festival, where he received the Conducting Prize from David Zinman.
SCOTT TERRELL
7:30 PM
SUN NOV 16
Karen Gomyo, violin SAT NOV 15
2 PM
KODAK HALL AT EASTMAN
THEATRE
François López-Ferrer, conductor
GABRIELA ORTIZ Kauyumari 7:00
FELIX MENDELSSOHN
Violin Concerto in E minor, op. 64 26:00
Allegro molto appassionato Andante
Allegretto non troppo - Allegro molto vivace
Karen Gomyo, violin
INTERMISSION
MANUEL DE FALLA
Suite No. 2 from The Three-Cornered Hat 12:00
I. The Neighbor’s Dance
II. The Miller’s Dance (Farruca)
III. Final Dance (Jota)
PIOTR ILYICH
Suite from The Sleeping Beauty, Opus 66a 20:00 TCHAIKOVSKY
I. Introduction: La Fée des lilas
II. Adagio: Pas d’action
III. Pas de caractère: Le chat botté et la chatte blanche
IV. Panorama
V. Valse
We kindly ask you to please silence all cellphones and electronic devices. Also, please note that photography and video recordings are prohibited during the performance.
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TCHAIKOVSKY’S SLEEPING BEAUTY
ARTISTS
FRANÇOIS LÓPEZ-FERRER, conductor
Spanish-American conductor François López-Ferrer has carved an impressive path in the world of classical music, distinguished by his dynamic artistry and compelling performances. Recipient of the prestigious 2024 Sir Georg Solti Conducting Award, his international career has been marked by recent debuts with esteemed orchestras worldwide, including the Chicago Symphony Orchestra, Los Angeles Philharmonic (LA Phil) at the Hollywood Bowl, Hong Kong Philharmonic, Opéra national de Paris, Detroit Symphony Orchestra, Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Verbier Festival Orchestra, Ensemble intercontemporain, Opéra de Lausanne, and George Enescu Philharmonic. Upcoming engagements include debuts with the Orquesta Sinfónica de Madrid at the Teatro Real de Madrid in a production of Verdi’s Il Trovatore, Houston and Utah Symphonies, Orchestra Sinfonica G. Rossini at the Rossini Opera Festival, Basque National Orchestra, Biel Solothurn Symphony Orchestra, New Mexico Philharmonic, and Opera San Antonio leading Rossini’s The Barber of Seville, as well as returns to the Omaha Symphony, Rochester Philharmonic, Orquesta Sinfónica de Castilla y León, Orquesta Sinfónica de Puerto Rico, Orchestra di Padova e del Veneto, and the Symphony San Jose.
FRANÇOIS LÓPEZ-FERRER
His journey began as Associate Conductor of the Cincinnati Symphony (CSO) and May Festival, where he made a significant impact on audiences and critics alike. In January 2022 he seamlessly stepped in for Louis Langrée with the CSO for the US premiere of Mark Simpson’s Violin Concerto, featuring Nicola Benedetti. López-Ferrer’s artistry was further refined during his tenure as a 2021-22 Dudamel Fellow with the LA Phil, as well as Resident Conductor of the Opéra de Paris’s Académie. He was a featured conductor in the 2022 Bruno Walter National Conductor Preview alongside the Louisiana Philharmonic. Early career achievements include serving as Associate Conductor of the Orquesta Sinfónica Nacional de Chile and Principal Conductor of the Ballet Nacional Chileno. As a 2018 Verbier Festival Conducting Fellow, he made a memorable debut stepping in for Iván Fischer in a shared program alongside Sir Simon Rattle and Gábor Takács-Nagy. Furthermore, he is a two-time recipient of the Solti Foundation U.S.’s Career Assistance Award, winner of the inaugural 2015 Neeme Järvi Prize at the Menuhin-Gstaad Festival, and former member of the Deutsche Dirigentenforum. López-Ferrer holds a master’s degree in Orchestral Conducting from the Haute École de Musique de Lausanne and a bachelor’s in Composition from the University of Cincinnati College-Conservatory of Music. Born in Switzerland and raised in the United States, he embodies a rich multicultural lineage, with a Cuban mother and Spanish father, and speaks six languages fluently.
ARTISTS
KAREN
GOMYO, violin
Karen Gomyo, “a first-rate artist of real musical command, vitality, brilliance and intensity” (The Chicago Tribune), possesses a rare ability to captivate and connect intimately with audiences through her deeply emotional and heartfelt performances. With flawless command of the instrument and an elegance of expression, she is one of today’s leading violinists. Following a highly successful 2024/25 season which included debuts with the NDR Elbphilharmonie Orchestra, Orchestra RAI Torino, and the Helsinki, Oslo, and Warsaw Philharmonic Orchestras, as well as returns to the Baltimore, Indianapolis, Montreal, Toronto, Sydney, and Melbourne Symphony Orchestras, Karen’s 2025/26 season will bring more highly anticipated appearances. She returns to the New York Philharmonic, the New World Symphony, the National Symphony Orchestra Taiwan, Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, Residentie Orkest in The Hague, and the Helsingborg Symphony Orchestra. She will also make debuts with the SWR Symphonieorchester Stuttgart, Tonkünstler-Orchester Niederösterreich, Malaysian Philharmonic, and the Hyogo Performing Arts Centre Orchestra.
Other recent highlights include debuts with the Gewandhausorchester Leipzig under Semyon Bychkov, the Tokyo Metropolitan Orchestra with Jakub Hrůša, the Pittsburgh Symphony, Orquesta Nacional de España, and the Czech Philharmonic, as well as returns to the Dallas Symphony, Chicago Symphony, Orchestre Philharmonique de Radio France, Bamberg Symphony, and WDR Sinfonieorchester Köln.
As a passionate chamber musician, Karen has performed with artists such as Olli Mustonen, Leif Ove Andsnes, Enrico Pace, James Ehnes, Noah Bendix-Balgley, Daishin Kashimoto, Emmanuel Pahud, Julian Steckel, the late Heinrich Schiff, mezzo-soprano Susan Graham, trumpeter Tine Thing Helseth, and guitarist Ismo Eskelinen, with whom she recorded the duo album Carnival on BIS Records.
She is also a champion of the nuevo tango music of Astor Piazzolla, having collaborated with Piazzolla’s longtime pianist and tango legend Pablo Ziegler, as well as with bandoneon players Héctor del Curto, JP Jofre, and Marcelo Nisinman. In 2021, Karen released A Piazzolla Trilogy (BIS Records), recorded with the Strings of Orchestre National des Pays de la Loire and guitarist Stephanie Jones.
Each season, Karen features a work written by a living composer. She gave the U.S. premieres of Samy Moussa’s Violin Concerto Adrano with the Pittsburgh Symphony, Matthias Pintscher’s Concerto No. 2 Mar’eh with the National Symphony Orchestra in Washington, D.C. under the composer’s baton, and Xi Wang’s YEAR 2020: Concerto for Violin, Trumpet and Orchestra with the Dallas Symphony Orchestra and trumpeter Tine Thing Helseth, conducted by Fabio Luisi. In 2018, she performed the world premiere of Samuel Adams’ Chamber Concerto with members of the Chicago Symphony Orchestra and Esa-Pekka Salonen, written for her and commissioned for the CSO’s MusicNOW 20th anniversary series.
Born in Tokyo, Karen began her musical career in Montréal and New York. She studied under the legendary pedagogue Dorothy DeLay at the Juilliard School before continuing her studies at the Indiana University Jacobs School of Music and the New England Conservatory with Mauricio Fuks and Donald Weilerstein, respectively. She also studied privately for a formative period in Vienna with Heinrich Schiff. Karen participated as violinist, host, and narrator in a documentary film produced by NHK Japan about Antonio Stradivarius, The Mysteries of the Supreme Violin, which was broadcast worldwide on NHK WORLD.
KAREN GOMYO
PROGRAM NOTES
GABRIELA ORTIZ
Kauyumari
B. MEXICO CITY, MEXICO December 20, 1964
Gabriela Ortiz remembers delaying bedtime as a child to listen to her parents rehearse with the musical group Los Folkloristas, a now long-standing ensemble preserving Latin American folk music, in their Mexico City home. Those colors, syncopations, and instruments of Mexican music became an organic part of Ortiz’s musical language, which seeps into works such as the driving orchestral opener she composed in 2021 called Kauyumari. Ortiz based Kauyumari on the Mexican indigenous Huichol people’s ‘blue deer’ legend, in which a blue deer spirit guides four young hunters to a peyote plant with hallucinogenic powers that saves the village from impending famine. The use of the peyote plant is now a yearly ritual, aiding the Huichol in communicating with their ancestors. Primordial syncopated rhythms—a 3-3-2-2-2 eighth-note pattern—provide the work’s foundation, with spirited melodies atop. Opening atmospherically with a low drone, off-stage trumpets first sound. Then, the texture and rhythmic action grow progressively thicker and more colorful, the blue deer leading the hunt towards the magical plant. Listen for the array of percussion, such as shakers, bongos, and even the hollowed gourd güiro, and watch for raised bells in the horns at the end. Kauyumari is featured on Ortiz’s 2025 album, Revolución diamantina, which won three Grammy Awards.
FELIX MENDELSSOHN
Violin Concerto in E Minor, Op. 64
B. HAMBURG, GERMANY February 3, 1809
D. LEIPZIG, GERMANY November 4, 1847
Mendelssohn’s Violin Concerto in E minor, with its sweet melodies and delicate textures, exemplifies the interior turn in Romanticism, a new lease on expressing intimate, inner human emotions. The inspiration for Mendelssohn? An enduring friendship. He composed the work for his childhood friend Ferdinand David, a top-flight violinist in Germany. Mendelssohn proposed writing a concerto for his violinist friend shortly after landing the music director position at the Leipzig Gewandhaus Orchestra in 1835, where Mendelssohn had already chosen David as its concertmaster. Concerned about writing a work worthy of their friendship, Mendelssohn went back and forth with David about what was feasible for the violin, resulting in one of the closest collaborations between a composer and soloist at the time. Still, Mendelssohn didn’t finish it for six years. David premiered the concerto with the Gewandhaus Orchestra in 1845. Now a staple of the violin repertoire, Mendelssohn did more than write a nice work for a friend: he reimagined the concerto form. Instead of opening with an orchestral exposition, the violin steps right out into the spotlight with the main, urgent theme, out of which the violin’s virtuosity organically develops. Newly, Mendelssohn wrote the first movement cadenza as a bridge to the recapitulation, rather than at the movement’s end. Lastly, the movements seamlessly flow into the next without pause—into the tender second movement and the frisky third—an innovation that prioritized the work’s emotional impact over rigid form.
PROGRAM NOTES
MANUEL DE FALLA
The Three-Cornered Hat, Suite No. 2
B. CÁDIZ, SPAIN
November 23, 1876
D. ALTA GRACIA, ARGENTINA November 14, 1946
Andalusian composer Manuel de Falla wouldn’t be known as he is today without Paris. Feeling the lack of opportunity for orchestral music in Spain, Falla moved to Paris in 1907. It was there that he met the young Igor Stravinsky when the Ballets Russes—a Russian ballet troupe founded in Paris by the Russian theater entrepreneur Sergei Diaghilev—commissioned and choreographed The Firebird. When the Ballets Russes later toured Spain, and Falla was at his compositional height back in Madrid, Stravinsky would introduce Falla to Diaghilev, which led to the Ballets Russes commissioning Falla’s Three-Cornered Hat Suite.
The suite is a farce about a buffoonish, three-cornered-hat-wearing mayor’s attempt to steal away a miller’s wife. To devise time alone with the miller’s wife, the mayor arranges for the miller to be arrested in his house during an evening neighborhood dance party, which sets off a series of events that include borrowed clothes and mistaken identities. It results in the mayor being arrested while dressed as the miller. Falla initially composed the music for a mime play, but then reworked it into a two-part ballet for the Ballets Russes, and, soon after, into two colorfully orchestrated symphonic suites. Falla generously drew on the acerbic flair and Phrygian-mode inflections of Andalusian folk music in his Three-Cornered Hat Suite. The second suite opens with “Dance of the Neighbors,” a freewheeling movement of neighborhood fun, featuring the seguidilla dance’s quick-footed patterns. The second movement, where the miller shows off his moves for his guests before being abruptly arrested, features dramatic solos for the French and English horns in the style of the intense Flamenco farruca dance. The final movement of the suite is a jota, meaning “to jump,” and is the most impressionistic of all, energized by wild sweeps through the orchestra that sound almost like Stravinsky’s Firebird. A prankish staccato theme reminds listeners of the plot’s antics, but things dissolve into chaos for a quick ending, just as the story does.
PYOTR ILYICH TCHAIKOVSKY
Sleeping Beauty Suite, Op. 66a
B. VOTKINSK, UDMURT REPUBLIC, RUSSIA
May 7, 1840
D. ST. PETERSBURG, RUSSIA
November 6, 1893
The story of Princess Aurora and the kiss that would awaken her and her kingdom from a cursed 100-year slumber is well known to most contemporary audiences through the 1959 Walt Disney classic animated feature, Sleeping Beauty. Audiences of Tchaikovsky’s time, in the nineteenth century, would’ve been most familiar with the fairytale adaptation by the Brothers Grimm in 1812, which drew upon an even earlier seventeenth-century version by Charles Perrault. That was the version that Tchaikovsky set in his Sleeping Beauty ballet, completed in 1889, which has become a repertory piece for ballet companies today. Parts of the ballet were combined as an orchestral suite posthumously. If the melodies sound familiar, it’s because Disney executives were insistent that the film’s composers use Tchaikovsky’s music as their source. The suite opens with two themes: one representing the wicked witch Carabosse (known from Disney’s version as Maleficent), and the other representing the good forces of the guardian fairy. The story’s fairytale atmosphere is fully constructed in the second movement, opening with an extended, enchanted harp solo and leading into the famous “Rose Adagio,” where four princes vie for the hand of Princess Aurora. But by the third scene, she has both succumbed to the spell and been awakened by the prince’s kiss, and two zany, fairytale characters—Puss in Boots and the White Cat—arrive at their wedding. The fourth scene gives a panoramic view of the fairytale kingdom. The final movement is the famous “Garland Waltz:” the waltz of lovers who walked together once upon a dream. Program notes by Anna Reguero, PhD © 2025
7:30 PM SAT NOV 22
7:30 PM
Jeff Tyzik, conductor For Jeff Tyzik’s biography, please see page 6. Troupe Vertigo, dance Madrigalia, chorus FRI NOV 21
KODAK HALL AT EASTMAN THEATRE
RICHARD STRAUSS Introduction to 2:00 Also sprach Zarathustra, op. 30
COURAGE, MCCARTHY Star Trek Through The Years 9:00 CHATTAWAY, GOLDSMITH (CUSTER)
JOHN WILLIAMS Excerpts from 8:15 Close Encounters of the Third Kind
CARY RATCLIFF Aurora Borealis 2:00
GUSTAV HOLST Mars from The Planets 6:45
JEFF TYZIK Star Suite 15:00
SERIES SPONSORS:
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PHOTO:©2017 GEORGE SIMIAN
FRI NOV 21
7:30 PM SAT NOV 22
7:30 PM
Jeff Tyzik, conductor
For Jeff Tyzik’s biography, please see page 6.
Troupe Vertigo, dance
Madrigalia, chorus
KODAK HALL AT EASTMAN THEATRE JAMES HORNER Avatar Suite 9:00
JOHANN, JR. STRAUSS On the Beautiful Blue Danube, 9:00 op, 314
JOHN WILLIAMS Star Wars Suite 21:00
The Imperial March (Star Wars Suite)
Cantina Band (Star Wars Saga)
Luke and Leia (Star Wars Saga)
Duel of the Fates (Phantom Menace)
Main Title (Star Wars Suite)
JEFF TYZIK Aquarius/Let the Sun Shine 4:00
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ARTISTS
TROUPE VERTIGO, dance
Los Angeles-based theatrical circus company, Troupe Vertigo, was founded in 2009 by Aloysia Gavre (Cirque du Soleil) and her husband Rex Camphuis (Pickle Family Circus/ Film & Theater Producer). They create an eclectic and refreshing mix of circus-dance-theater works that ignite the imagination with mentally and physically spellbinding performances. Troupe Vertigo encompasses the wide spectrum of the performing arts including performances at theaters, concert halls, festivals and special events.
Troupe Vertigo has been creatively involved with world class symphonies contributing widely with their theatrical sensibilities to help create new audiences for Symphonic Concerts.
Their unique perspective on the circus arts have led to a variety of speaking engagements including with The Center Theater Group Los Angeles, Directors Lab West, TEDx Talk, and the Chicago Contemporary Circus Festival, as well in publications for the cover story of Dance Teacher Magazine {August 2016} and in the book Ordinary Acrobat
Troupe Vertigo premiered its first show in Los Angeles Big Top for a New Generation in 2010 at the Ford Amphitheater with a young rock n’ roll group - Nightmare & The Cat, featuring Django and Sam Stewart.
The company returned to the Ford Amphitheater in 2012 with Nighthawks: A Film Noir Circus, inspired by American Jazz, Edward Hopper paintings, and the gritty streets of crime novels from Hammett to Chandler.
2016 brought the creation of TABLEAUX originally presented by the Dance Resource Center at the Bootleg Theater in Los Angeles. Tableaux features five women inquiring about confinement and freedom, while finding themselves constrained on an island of boxes, trapped by the constrictions of society and themselves.
Troupe Vertigo’s facility is also home to Cirque School, LA’s premier circus training space, which inspires an appreciation for the circus arts for “Anybody with Any Body”. Due to their Los Angeles home and having Cirque School as their sister company Aloysia & Rex’s expertise are used often for the film & television industry. Most notably for Rebel Wilson’s aerial performance in Pitch Perfect 2 and with Reese Witherspoon and Christoph Waltz who utilized Cirque School resources not only for circus instruction but for character background research for the film Water for Elephants.
MADRIGALIA, chorus
Now in our 50th concert season, Madrigalia delights audiences with our beauty of sound and artistic excellence. Under the direction of Artistic Director Cary Ratcliff, our ensemble of highly skilled vocalists presents unique and challenging programs of choral music built around intriguing themes. Our music is drawn from all times and places, spanning the riches of classic choral styles, the vast range of compelling music being written in our time, and the intriguing musical expressions of cultures throughout the world. We promote the appreciation of choral singing to diverse audiences through performances, recordings, broadcasts, outreach, and the commissioning of new music.
TROUPE VERTIGO
©2017 GEORGE SIMIAN
7:30 PM
HOCHSTEIN
PERFORMANCE
HALL
Jeff Tyzik, conductor
For Jeff Tyzik’s biography, please see page 6.
Herb Smith, conductor Xavier Joseph, violin
Rochester Philharmonic Youth Orchestra In Association With The Eastman Community Music School
JOHN WILIAMS Raiders March 2:30
JOHN WILLIAMS With Malice Toward None 4:30
JOHN WILLIAMS Cowboys Overture 9:30
JOHN WILLIAMS Theme from Schindler’s List 3:30 Xavier Joseph, violin
AARON COPLAND Four Dance Episodes 7:30 III. Saturday Night Waltz IV. Hoe-down
JOHANN STRAUSS JR. Blue Danube Waltzes 9:00
JEFF TYZIK Three Latin Dances 6:00
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ARTISTS
HERB SMITH, conductor
Conductor Herb Smith is widely known in both the classical and jazz worlds as an exciting performer who inspires musicians and audiences wherever he goes. Whether he is performing, conducting, teaching, or composing, Herb’s expression of music draws from his multifaceted and dynamic musical experiences from around the world.
Herb has recent and upcoming appearances as a guest conductor with orchestras around the country, including the Indianapolis Symphony, North Carolina Symphony, Rochester Philharmonic, Syracuse Symphony, Buffalo Philharmonic, No Name Pops at the Kimmel Center in Philadelphia, Long Beach Symphony, Hawaii Symphony, Jacksonville Symphony, Sarasota Orchestra, Springfield Symphony, Arkansas Symphony, Stockton Symphony, and the Fort Wayne Philharmonic.
Herb currently directs the Eastman Youth Jazz Ensemble. He also guest conducts for All-State and All-County Bands, Orchestras, and Jazz Ensembles all across New York State. Herb recently conducted and curated a Rochester Philharmonic Orchestra Brass performance of Copland’s “Fanfare for the Common Man” at a Black Lives Matter rally and a concert honoring Harriet Tubman. This performance united the City of Rochester, the Rochester Philharmonic Orchestra, and neighborhood churches in honor of Tubman’s bicentennial celebration.
Voted “Best Instrumentalist” of Rochester 2022 by City Magazine, Herb currently holds the third trumpet position in the Rochester Philharmonic Orchestra and the principal trumpet position in the Gateways Festival Orchestra, which made its Carnegie Hall debut in April 2022. Herb also serves as principal trumpet in the Gateways Brass Collective, a nationally touring professional brass quintet sponsored by Conn-Selmer. Being a highly sought-after lead trumpeter has afforded Herb the opportunity to play with such notable musicians as Jeff Beck, Aretha Franklin, Natalie Cole, the O’Jays, Johnny Mathis, and Doc Severinsen, to name but a few. He has been a frequent guest soloist with the Buffalo Philharmonic and the Rochester Philharmonic.
Herb’s Freedom Trio (composed of trumpet played through electronics, bass, and drums) can be seen in performances around the country. This funky, eclectic group, a frequent guest at the Rochester International Jazz Festival, offers its “idiosyncratic yet charming melodies” (City Magazine) in concerts and festivals around the world.
As a composer, Herb has been commissioned by brass ensembles, high school choirs, jazz ensembles, and trumpet ensembles in addition to writing for his jazz trio and the Gateways Brass Collective. Herb’s “The Twelve Tones of Christmas,” composed for trumpet, piano, and voice, premiered in Carnegie Hall in 2008. Tony Award-winning choreographer Garth Fagan commissioned Herb to write a ballet for his Children’s Ensemble. The resulting forty-minute, six-part work ranged across many styles, including reggae, classical, jazz, and funk.
A graduate of the Eastman School of Music, Herb is a trumpet instructor at the Eastman Community Music School. He also leads masterclasses and offers lectures on trumpet technique, endurance, and sound production. From universities to elementary schools, Herb is frequently invited to serve as a teacher, teaching artist, and clinician. He co-founded Herb’s City Trumpets, a program that mentors and teaches trumpet to Black students aged 8 to 17, in partnership with the Rochester City School District.
HERB SMITH
ARTISTS
ROCHESTER PHILHARMONIC YOUTH ORCHESTRA
In association with
The Eastman Community Music School
In Alphabetical Order by Instrument
VIOLIN 1
Weston Brown
Claire Chen
Lauren Henry
Jayliana Jenkins
Xavier Joseph+
Alyssa Millar
Olivia Ofori
TingTing Rui
Jay Schrieber
Ryan Shaffer
Ben Song
Evan Yip
Emma Zhang
VIOLIN 2
Matthew Belous
Wendy Brown
Eva Chadwick
Charles Chang
Leixi Chen
Jimin Han
Jenna Liu
Helena Lu
Lily McGowan*
Eden Shin
Elise Spurling
Evelyn Yang
Selina Zhuo
VIOLA
Sophie Gagnier
Myles Hammond
Karthik Jaligama*
John Luger
Isabella Mamo
Tianze Qiu
Eva Yip
CELLO
Arianna Alfaro
Juliet Besch-Turner*
Rebecca Camilleri
Daniel Chadwick
Ben Doyley
Linah Flores
Henry Gagnier
Felicia Garnot
Jiahn Han
Haolin Jin
Adalyn Kelly
Hannah Shim
BASS
Austin Beck^
Gregory Galand^
Emma Goldberg^
Ethan Olmstead*
FLUTE
Matteo Botelho
Lilianna Fietkiewicz*
Raeha Khazanchi
Rebecca Refermat
PICCOLO
Rebecca Refermat
OBOE
Anelise Mott
Mila Norter
Tristan Zhang*
ENGLISH HORN
Mila Norter
Tristan Zhang
CLARINET
Mathew Atalla*
Daniella Miller
Michael Shi*
BASS CLARINET
Marcy Bacon^
BASSOON
Quinn Feldman*
Raylan Trapani
HORN
Lucas Childs
Zach Johnson
Liam Keeney
Ethan Stein
Benjamin Watson*
TRUMPET
Leah Cashin
Alexandra Foley
Nate France*
Nathaniel Ying*
TROMBONE
Carter Doody
Charles Stringham*
James Tolleson
TUBA
Evy Sibley
PERCUSSION
Lydia Foley
Renee Groesbeck
Will Harrington
Ben Roller*
HARP
Viviana Alfaro^
PIANO
Samuel Leung^ + Concertmaster * Principal ^ Substitute musicians
ROCHESTER PHILHARMONIC YOUTH ORCHESTRA
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IN MEMORY OF…
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Catharine “Kitty” Wise
J. Michael and Alice Smith
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Anonymous
Marie Aklin*
Betty Jane Altier*
Alva Angle*
Catherine N. Asmuth*
Jean Boynton Baker*
John B. and Margaret Barnell*
RPO GEORGE EASTMAN LEGACY SOCIETY
Members of the RPO George Eastman Legacy Society are true believers in the power of music. The RPO George Eastman Legacy Society honors those individuals who remember the Rochester Philharmonic Orchestra through a planned gift. The RPO’s team of development professionals are available to work with you and your advisors to create a plan that will help you meet your financial and philanthropic goals. For more information, please contact the Development Office at 585.454.7311.
Barbara Jean Gray-Gottorff*
George Greer*
Jean Groff*
Sue C. Habbersett*
William B. Hale*
Mrs. Laura J. Hameister
Marilyn* and Dick Hare
Walter J.* and Jeanne M. Beecher
Walter S. Beecher
Nancy and Harry Beilfuss**
Carol and John Bennett
Jack and Carolyn Bent
Donald Berens*
Ellen S. Bevan*
Stuart* and Betsy Bobry
James R. Boehler*
Marilyn Bondy
Beverly T. Bowen*
John W.* and Margaret Z.* Branch
William and Ruth Cahn
Mary Allison Callaway and Paul R. Callaway*
Catherine B. Carlson*
Norris F. Carlson*
Margaret J. Carnall*
Joan and Paul Casterline**
Susann* and Terence Chrzan
Nancy A. Clemens*
Barbara Colucci
Christine Colucci
Mary Consler*
Judy and Joe Darweesh
Alfred L. Davis*
Barbara Dechario*
Paul Donnelly*
Marilyn A. Drumm*
Amelia N. Dunbar*
Frederick Dushay
Richard and Harriet Eisenberg*
James T. and Ellen Englert
John R. Ertle*
Julia B. Everitt*
Glenn and Rebecca Fadner
Ruth H. Fairbank*
Joan and Harold* Feinbloom
Albert Fenyvessy*
Donald C.* and Elizabeth Fisher
Catherine and Elmar Frangenberg
Carolyn and Roger Friedlander
Betsy Friedman
Karyl P. Friedman
Linda and David Friedman
Patrick and Barbara Fulford
William L. Gamble*
Sharon Garelick
Rob W. Goodling
Mary M. Gooley*
Karen G. Hart*
Monica R. Hayden*
Warren* and Joyce Heilbronner
David W. Hinz*
Jean Hitchcock
Norman L. Horton*
Mrs. Samter Horwitz*
H. Larry and Dorothy C. Humm
Mr. and Mrs. Robert D. Hursh*
Carol A. Jones
Nick and Kitty Jospe
Dr. Ralph F. Jozefowicz
Nancie R. Kennedy*
Robert T. Kimbrough*
Marcella Klein and Richard Schaeffer
Glenn and Nancy Koch
Ross P. Lanzafame, Esq.
Jeanne Lareau*
Marshall and Lenore* Lesser
Drs. Jacques* and Dawn Lipson
Sue and Michael Lococo
William C.* and Elfriede K. Lotz
Mr. and Mrs. Daniel Mahar
Linda Malinich*
Joseph J. Mancini*
Gerard Mayer*
John T. McAdam*
Pete* and Sally Merrill
Donald R. Messina*
Robert J. and Marcia Wishengrad Metzger
Dan Meyers
Mrs. Elizabeth O. Miller*
Jane E. Miller*
Mary L. Mitchell*
Deanne Molinari*
Eleanor Morris*
Mrs. Marjorie Morris*
Patricia McCurdy Morse*
John S. Muenter
Diane F. Nelson*
Paul Marc and Pamela Miller Ness
Carolyn Noble*
Deborah Onslow
Margaret Paaschen*
Mary Anne Palermo
Ms. Lydia Susan Palmer
Eleanor T. Patterson*
Suzanne F. Powell
Robert and Ann Quivey
Ernest Rashiatore*
Eileen D. Ramos*
Marjorie Cohen Relin*
Doris Repenter*
Dr. Ramon L. and Judith S. Ricker
Dr. Suzanne H. Rodgers*
Nellie J. Rosenberg
Dick* and Bea Rosenbloom
Elise and Stephen* Rosenfeld
Pearl W. Rubin*
Wallace R. Rust
Ron and Sharon Salluzzo
Wesley Saucke
Peggy W. Savlov*
James G. Scanzaroli*
David G. and Antonia T. Schantz
William and Susan Schoff
Peter Schott and Mary Jane Tasciotti
Jon L. and Katherine T. Schumacher
Vicki* and Richard Schwartz
Laura M. Seifferd*
Libba and Wolf Seka
Gretchen Shafer*
Virginia Durand Shelden*
Elbis A. Shoales, M.D.
Carol Shulman
Anna Rita Staffieri*
Ingrid Stanlis
Abby and David Stern
Patricia E. Stott
Betty Strasenburgh*
Martha Ann* and Daniel Tack
Amanda Tierson
Ivan Town*
Carol Van Hoesen*
Elizabeth Van Horn*
Harry and Ruth Walker
Patricia Ward-Baker
Margaret Webster*
Robin and Michael* Weintraub
Jean B. Wetzel*
Mildred Wischmeyer*
Kitty J. Wise
John and Laurie Witmeyer
Helen W. Witt*
Mary Alice and Robert Wolf*
Susan and Lawrence Yovanoff
Nancy and Mark Zawacki
Alan Ziegler and Emily Neece
Mr. and Mrs. Ted Zornow
* Denotes donor(s) is/are deceased. ^Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).
ADMINISTRATION
Curt Long President and CEO
Kristen Zimmer Human Resource Director
Hannah Reich Executive Assistant/Office Manager
DEVELOPMENT
Rob Dermody Vice President of Development
Bryce Davis Senior Director of Strategic Initiatives
Amy Gallaher Director of Development, Annual Giving & Special Events
Elizabeth Garijo-Garde Institutional Partnerships Officer
Dorian Delfs Development Officer
George DeMott Development Officer
MARKETING
Herb Griffith Vice President of Marketing & Communications
Lauren MacDonough Director of Marketing
Joyce Tseng
Content & Digital Marketing Manager
Meg Spoto
Creative Director
Mike Cidoni
Public Relations & Communications Manager
Sal Uttaro
Group and Corporate Sales Manager
PATRON SERVICES CENTER
Charlene Beckwith Director of Ticketing
Daniel Traina House Manager
Daniel Long
Patron Services Manager
Connor Straight
Patron Services Assistant Manager
Sammy DeAngelis
Abby Chapman-Duprey
Stephen House
Nathan Howton
Jaewon Jun
Alyssa Koh
Jacob Kundu
Hannah Moreno
Grant Simon
Patron Services Representatives
FINANCE
Katherine Rogala Vice President of Finance
Priscilla DeSoto
Staff Accountant
ARTISTIC OPERATIONS
James Barry Vice President of Artistic
Planning & Operations
Fred Dole
Orchestra Personnel Manager
Lily Wintringham
Orchestra Operations Manager
Morgan Marama-Stout
Artistic Coordinator
Danielle Suhr Stage Manager
Cedrick Martinez Assistant Stage Manager
Kim Hartquist Principal Librarian
Karl Vilcins Auditions Coordinator
EDUCATION
Barbara Brown
Lisk Morris Foundation Vice President of Education Chair
Chisato Eda Marling Manager of Education & Community Partnerships
Ashlee Allaire Youth Orchestra & Education Projects Manager
ROCHESTER
PHILHARMONIC LEAGUE
Rachel Solomon Volunteer Administrator
ABOUT US
Since its founding by George Eastman in 1922, the Rochester Philharmonic Orchestra has been committed to enriching and inspiring our community through the art of music. Currently celebrating our 102nd Season, the RPO is dedicated to maintaining its deep commitment to artistic excellence, educational opportunity, and community engagement. Today, the RPO presents up to 120 concerts per year, serving nearly 170,000 people through ticketed events, education and community engagement activities, and concerts in schools and community centers throughout the region. Nearly one-third of all RPO performances are educational or community-related. In addition, WXXI 91.5 FM rebroadcasts approximately 30 RPO concerts each year. For more information, visit rpo.org.
IMPORTANT INFORMATION
TICKETS: The RPO Patron Services Center is located at 255 East Avenue in the back of the Farash Place building in downtown Rochester. Free parking is available in a small lot between the parking garage and building. Open Monday through Friday 10 AM–5PM.
GROUP SALES: Groups of 10 or more are eligible for discounts starting at 20%! Contact Group and Corporate Sales Manager: Sal Uttaro at suttaro@ rpo.org | Office: (585) 454-7311 ext. 267 | Mobile: (585) 530-0865
NIGHT-OF-CONCERT PURCHASES: RPO will-call tickets and concert tickets are available at the RPO tables in the Eastman Theatre Box Office lobby starting 90 minutes prior to concert time.
PARKING: Paid parking for Kodak Hall at Eastman Theatre is available at the East End Garage, located next to the theatre. Open entrances/exits change frequently while the garage is under construction. Visit rpo.org/parking for the most recent updates. Paid parking for the Performance Hall at Hochstein is available at the Sister Cities Garage, located behind the school at Church and Fitzhugh Streets.
PRE-CONCERT TALKS: All ticketholders are welcome to attend free pre-concert talks held one hour before all Philharmonics concerts and all Jeff Tyzik-conducted Pops concerts. Ticketholders are asked to sit anywhere they would like in the orchestra level of the theatre, then head to their reserved seat for the concert.
SERVICES FOR PATRONS WITH DISABILITIES: Wheelchair locations and seating for those with disabilities are available at all venues; please see the house manager or an usher for assistance. Elevators are located in the Eastman Theatre Box Office lobby. A wheelchair-accessible restroom is available on the first floor.
SERVICES FOR HARD-OF-HEARING PATRONS: Audio systems are available at Kodak Hall at Eastman Theatre; headsets may be obtained from an usher prior to the performance.
CHANGING SEATS: If you find it necessary to be reseated for any reason, please contact an usher who will bring your request to the House Manager.
LOST AND FOUND: Items found in Kodak Hall will be held at the Eastman Theatre Box Office, 433 E. Main Street. For more info, call 585-274-3000.
ELECTRONIC DEVICES: The use of cameras or audio recording equipment is strictly prohibited. Patrons are asked to silence all personal electronic devices prior to the performance.
REFRESHMENTS: Food and drink are not permitted in the concert hall, except for bottled water. Refreshments are available for purchase in Betty’s Café located on the orchestra level of Kodak Hall at Eastman Theatre.
TICKET DONATION: If you are unable to attend a concert, please consider donating your tickets to us as a tax-deductible contribution. Return your tickets to the RPO no later than 2 PM the day of the performance to make them available for resale.
Bravo is published cooperatively by the Rochester Philharmonic Orchestra and Buffalo Spree
Joyce Tseng| Editor, Rochester Philharmonic Orchestra
Meg Spoto | Creative Director, m dash studio
Don Anderson | Program Annotator, Don Anderson ©
Editorial Offices: Rochester Philharmonic Orchestra
255 East Avenue, Suite LL02
Rochester NY 14604
585-454-7311 • Fax: 585-423-2256
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