RPO Bravo 7 March 21-29

ANDREAS DELFS, MUSIC DIRECTOR

JEFF TYZIK, PRINCIPAL POPS CONDUCTOR

CHRISTOPHER SEAMAN, CONDUCTOR LAUREATE

The Christopher Seaman Chair, Supported by Barbara and Patrick Fulford and The Conductor Laureate Society

IN THIS ISSUE:

The

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

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 Marie-Merrill and George M. Ewing Chair, funded in perpetuity

Brian Stotz

The Barbara and Patrick Fulford Chair, funded in perpetuity

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

Kathalee & Ian Hodge Library

Operation Endowment

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.

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

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

SEASON & SERIES SPONSORS:

SEASON SPONSOR

POPS SERIES SPONSORS

ORKIDSTRA SERIES SPONSOR LENORE P. LESSER

RPYO SPONSOR

HOLIDAY SPONSOR

RPO FOR ALL SPONSOR

SEASON MEDIA SPONSORS

CONCERT SPONSORS:

SPONSOR BAROQUE

GOVERNMENT SUPPORT:

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MAR 21

7:30 PM SUN MAR 22 2 PM

KODAK HALL AT EASTMAN THEATRE

Andreas Delfs, conductor

For Andreas Delfs’ biography, please see page 3. Gil Shaham, violin

Adele Anthony, violin

BACH Brandenburg Concerto No. 3 10:00

AVNER DORMAN A Time to Mourn and a Time to Dance 18:00 (Voices of Today commission)

INTERMISSION

DE SARASATE Navarra 6:00

WOLFGANG AMEDEUS Symphony No. 41 “Jupiter” 33:00 MOZART

BAROQUE TO BRILLIANCE

SEASON SPONSOR:

CONCERT

OFFICIAL COFFEE OF THE RPO

SPONSORS: DR. VICTOR POLESHUCK, RICHARD STERNS AND SUZANNA RUBRIGHT, AND DR. AND MRS. SIDNEY H. SOBEL

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

GIL SHAHAM, violin

Gil Shaham is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy Award-winner, also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals.

Highlights of recent years include the acclaimed recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin. In the coming seasons in addition to championing these solo works he will join his long time duo partner pianist, Akira Eguchi in recitals throughout North America, Europe, and Asia.

Appearances with orchestra regularly include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris, and San Francisco Symphony as well as multi-year residencies with the Orchestras of Montreal, Stuttgart and Singapore. With orchestra, Mr. Shaham continues his exploration of “Violin Concertos of the 1930s,” including the works of Barber, Bartok, Berg, Korngold, Prokofiev, among many others.

Mr. Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. Many of these recordings appear on Canary Classics, the label he founded in 2004. His CDs include 1930s Violin Concertos, Virtuoso Violin Works, Elgar’s Violin Concerto, Hebrew Melodies, The Butterfly Lovers and many more. His most recent recording in the series 1930s Violin Concertos Vol. 2, including Prokofiev’s Violin Concerto and Bartok’s Violin Concerto No. 2, was nominated for a Grammy Award. He will release a new recording of Beethoven and Brahms Concertos with The Knights in 2020.

Mr. Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of 7, receiving annual scholarships from the America-Israel Cultural Foundation. In 1981, he made debuts with the Jerusalem Symphony and the Israel Philharmonic, and the following year, took the first prize in Israel’s Claremont Competition. He then became a scholarship student at Juilliard, and also studied at Columbia University.

Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012, he was named “Instrumentalist of the Year” by Musical America. He plays the 1699 “Countess Polignac” Stradivarius and performs on an Antonio Stradivari violin, Cremona c1719, with the assistance of Rare Violins In Consortium, Artists and Benefactors Collaborative. He lives in New York City with his wife, violinist Adele Anthony, and their three children.

ARTISTS

ADELE ANTHONY, violin

Since her triumph at Denmark’s 1996 Carl Nielsen International Violin Competition, Adele Anthony has enjoyed an acclaimed and expanding international career. Performing as a soloist with orchestra and in recital, as well as being active in chamber music, Ms. Anthony’s career spans the continents of North America, Europe, Australia, India and Asia.

In addition to appearances with all six symphonies of the Australian Broadcasting Corporation, Ms. Anthony’s highlights from recent seasons have included performances with the symphony orchestras of Houston, San Diego, Seattle, Ft. Worth, and Indianapolis, as well as the Leipzig Gewandhaus Orchestra and the Orchestre Philharmonique de Radio France. Being an avid chamber music player, Ms. Anthony appears regularly at La Jolla SummerFest and Aspen Music Festival. Her wide-ranging repertoire extends from the Baroque of Bach and Vivaldi to contemporary works of Ross Edwards, Arvo Pärt and Phillip Glass.

An active recording artist, Ms. Anthony,s work includes releases with Sejong Soloists “Vivaldi: The Four Seasons” (Naxos), a recording of the Philip Glass Violin Concerto with Takuo Yuasa and the Ulster Orchestra (Naxos), Arvo Pärt’s ‘Tabula rasa’ with Gil Shaham, Neeme Järvi and the Gothenburg Symphony Orchestra (Deutsche Grammophon), and her latest recording of the Sibelius Violin Concerto and Ross Edwards “Maninyas” with the Adelaide Symphony Orchestra (Canary Classics/ABC Classics).

Adele Anthony performs on an Antonio Stradivarius violin, crafted in 1728.

PROGRAM NOTES

JOHANN SEBASTIAN BACH

Brandenburg Concerto No. 3 in G Major, BWV 1048

B. EISENACH, GERMANY March 21, 1685

D. LEIPZIG, GERMANY July 28, 1750

Bach wasn’t granted many opportunities to travel beyond his posts as a church and court composer. He spent his entire life in a relatively small geographic area of Germany. But he did get one significant opportunity to leave town in 1719 when Prince Leopold, his employer in Cöthen, Germany, sent him to Berlin to help purchase a new harpsichord. It was there that Bach met Christian Ludwig, Margrave of Brandenburg-Schwedt, who asked Bach to send examples of his work. Bach took the opportunity to write not just one but six works for the Margrave (though based on previous materials), which he sent in 1721 with a self-conscious note. Bach’s ‘Brandenburg’ Concertos were generally written for a group of soloists who alternated solo moments with the ripieno (orchestra), a structure called a concerto grosso. But the third concerto—written for three violins, three violas, three cellos, and with a basso continuo (usually the bass and harpsichord) supporting the harmonic movement—breaks with that tradition by giving each instrument a chance in the spotlight. It also has an unusual structure: the middle movement of the three-movement work is only two chords long, a minor-mode, half-cadence breather between the outer fast movements. It is sometimes used as an opportunity for a cadenza. The opening Allegro is characterized by a springy neighbor-note rhythm, and the final Allegro is powered by perpetual sixteenth notes.

AVNER DORMAN

A Time to Mourn and a Time to Dance

B. TEL AVIV, ISRAEL April 14, 1975

I had been meaning to write a concerto for Gil and Adele for quite a while. The opportunity to do so came at a particularly challenging time in the world – especially for my country of origin, Israel, and the Jewish people. The attack of October 7th and the ensuing war have touched me personally and have cast a cloud over everything during the past year. In trying to cope with these events and challenges, I found myself looking for rituals that deal with loss and that would connect me to the collective experience. I have found that the Jewish tradition often combines practices of mourning with those of celebration – a combination that holds a deep meaning for me. The piece is written in four movements. The first is a meditative lament that begins with a soft, distant drone. The solo violins introduce the main theme – an elegiac melody that incorporates Jewish prayer gestures and the ‘sigh’ motif – a descending half step. Through the movement these elements and the theme travel between the soloists and larger ensemble, ending with a simple solemn prayer. An upbeat dance in changing meters, the second movement employs the same scales and thematic materials of the first, but now they serve as the building blocks of an exciting drama. The movement is structured as a series of dance tunes and various textural explorations, reaching its culmination in a reprise of the harmonic sighs of the opening movement, now as a cathartic release. Deeply sorrowful, the third movement opens with the return of persistent drones, and the sigh motif permeates almost every bar of the melody. The movement is structured like a large triple fugue, beginning with the individual solo players and slowly spreading throughout the ensemble. After an intense yet still lamentful climax, the movement continues to slow down as if time stands still – ritualistic, slowly, and softly. An exuberant and exciting dance, the fourth movement is mostly in an asymmetrical 7/16 meter. Joy, almost forgotten in the lament, returns in full force, though the material includes both elements of happiness and grief. This joy acknowledges the pain and sorrow yet embraces the opportunity to dance again.

– Avner Dorman

PROGRAM NOTES

PABLO DE SARASATE

Navarra

,

Op. 33 for two violins

B. PAMPLONA, SPAIN

March 10, 1844

D. BIARRITZ, FRANCE

September 20, 1908

When the Spanish violinist Pablo de Sarasate was only 11 years old, a newspaper described his playing as, “He has a bright and flawless technique, remarkable intonation, selfassurance on stage, and a wonderful sense of phrasing.” That 11-year-old went on to become one of the major virtuosos of his time, inspiring composers to write some of the most celebrated violin repertoire, including Lalo’s Symphonie espagnole, Bruch’s Scottish Fantasy, and Saint-Saëns’s Violin Concerto No. 3, among other works. Sarasate also channeled his wizardly skills into works from his own pen, including Navarra for two violins, composed in 1889. The title is a nod to his hometown, the Navarra region of Spain, and the work features the quick rhythms of the traditional jota Spanish dance. The intricate steps of the jota are transferred to two violins, who must play Sarasate-style pyrotechnics—showy double and triple stops, pizzicatos, and harmonics—in complete lockstep.

WOLFGANG AMADEUS MOZART

Symphony No. 41 in C major, K. 551, “Jupiter”

B. SALZBURG, AUSTRIA

January 27, 1756

D. VIENNA, AUSTRIA

December 5, 1791

Three jolting C’s with preceding flourishes open Mozart’s Symphony No. 41, as if Mozart is throwing bolts of lightning at the audience. Completed in 1788, Mozart was unaware that this would be the opening of his final symphony before his untimely death in 1791 at the age of 35. When the symphony received a posthumous London premiere in 1821, the concert promoter Johann Peter Salomon (who was also responsible for Haydn’s 12 final London symphonies) added the nickname “Jupiter” as a clever marketing slogan. But the nickname stuck for its congruence: not only do those hurling thunderbolts of C seem to be straight from the Roman god of the sky, Jupiter, but the treatment of the symphony’s materials places Mozart as a comparable figure to the King of Gods for what musicologist Neal Zaslaw described as “[transcending] the boundaries of the genre as it was then understood.” Schumann famously wrote that the symphony was beyond discussion for its greatness. The 41st symphony is part of Mozart’s final trilogy of symphonies, which includes the 39th in E-flat major and the 40th in G minor. Mozart wrote the three within a quick nine-week span and without commission. That last point is important because Mozart was, at this time, broke. In 1781, he rebelliously quit his court position in Salzburg to pursue a freelance life in Vienna. A confluence of factors left him in financial straits: a possible gambling habit, his wife Constanze’s medical bills from chronic health issues, and some lackluster premieres (the 1787 Vienna premiere of Don Giovanni, for instance, didn’t go as well as hoped). He had also suffered a series of personal tragedies: his father, Leopold, with whom Mozart had a complex relationship, died in 1787, and then Mozart’s six-month-old daughter died of intestinal issues in 1788. Despite it all, the year 1788 was a prolific one for Mozart: he wrote 30 new works to add to his catalogue. It is thought, perhaps, that the symphonies were meant as money makers for the London market, but they were never premiered, as far as we know, during the remainder of Mozart’s lifetime.

After the opening thunderbolts and fanfare, the first-movement Allegro vivace’s exposition shifts to a more lyrical, singing second theme, finding moments to shock in C minor, and then closes with a strutting theme right out of an opera. That closing theme takes center stage in the development, with some crafty subversions of the opening theme. The brief second movement, Andante cantabile, also in sonata form, is graceful and lyrical, with some passionate instances of the minor key. The regal third movement is in the expected minuet form, with a shrewd middle ‘trio’ section (both sections are in binary form). The final movement returns to sonata form with jubilance, opening with a simple but effective four-note motive, repeated staccato notes, and rushing down the C major scale. A secondary theme bounces up the C major scale with a trill and skip. These melodic fragments will all come together in the movement’s coda, where Mozart engineers a breathtaking five-part fugue. Program notes © 2026 Anna Reguero, PhD, a Rochester-based scholar and arts writer.

FRI MAR 27

7:30 PM SAT MAR 28

7:30 PM

KODAK HALL AT EASTMAN THEATRE

John Devlin, conductor

VARIOUS 007: Through The Years 8:00 (ARR. BULLA)

GEORGE S. CLINTON Shagadelic Suite: 6:00 The Music of Austin Powers

LALO SCHIFRIN Mission: Impossible Theme 3:00 (CUSTER, CALVIN)

ELMER BERNSTEIN Theme from The Magnificent Seven 5:00 (ARR. RUSS)

KLAUS BADELT Pirates of the Caribbean 6:00 (RICKETTS)

BERNARD HERRMANN Psycho - A Short Suite 7:30 for String Orchestra  Prelude, The Murder, Finale

LEONARD BERNSTEIN West Side Story Overture 5:00

INTERMISSION

SEASON SPONSOR:

SERIES SPONSORS: OFFICIAL COFFEE OF THE RPO

CONCERT SPONSORS: ANDREW J. BURKEASSOCIATE REAL ESTATE BROKER, RE/MAX REALTY GROUP

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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HEROES & VILLAINS: MOVIE MUSIC CLASSICS

HEROES & VILLAINS: MOVIE MUSIC CLASSICS

JOHN WILLIAMS Harry Potter and the Sorcerer’s Stone 4:00  IV. Harry's Wondrous World

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ARTISTS

JOHN DEVLIN, conductor

Conductor John Gennaro Devlin is an ardent champion of American music, an innovator of concert design, and a thought leader in the field of classical music. Currently in his seventh season as Music Director of the Wheeling Symphony Orchestra (WSO), Devlin is only the ninth conductor in its 90-year history to hold that title. In 2025, Devlin began his tenure as the Music Director of the Lancaster (OH) Festival Orchestra.

For his work with the WSO, Devlin was named a recipient of the 2023 Georg Solti Foundation Career Assistance Award. Also in 2023, Devlin was honored by Wheeling’s mayor, Glenn F. Elliott, with the Mayor’s Award for “distinguished service, loyalty, and dedication to our city.”

Devlin’s artistry and versatility make him a frequent guest conductor with major orchestras across the nation. His engagements include performances with the National Symphony Orchestra, Utah Symphony, Rochester Philharmonic Orchestra, Louisville Orchestra, Sarasota Orchestra, North Carolina Symphony, Colorado Springs Philharmonic, Virginia Symphony Orchestra, Hawai’i Symphony Orchestra, Columbus Symphony, Omaha Symphony, Princeton Symphony Orchestra, Kalamazoo Symphony Orchestra, Greenville Symphony Orchestra, Allentown Symphony Orchestra, York Symphony Orchestra, Alexandria Symphony Orchestra, Wintergreen Festival Orchestra, Elgin Symphony Orchestra, and the American Repertory Ballet. Of his debut with the National Symphony Orchestra and violin soloist Joshua Bell, Anne Midgette of The Washington Post wrote that Devlin “led the evening with flair … and was visibly in his element.”

Devlin has recent or upcoming performances with many significant American soloists, including Yo-Yo Ma, Joshua Bell, Time for Three, Chris Thile, Sasha Cooke, Clarice Assad, Joshua Roman, Stefan Jackiw, Tessa Lark, Shara Nova, Xavier Foley, Eunice Kim, Third Coast Percussion, Soloman Howard, Madeline Adkins, Tracy Silverman, and Maxim Lando.

Music of the stage and of the cinema are also focuses of Devlin’s work with American artists. A lover of all things Broadway, he has collaborated with Sutton Foster, Renée Elise Goldsberry, Sierra Boggess, Morgan James, Hugh Panaro, Scarlett Strallen, Capathia Jenkins, Dee Roscioli, Christiane Noll, Debbie Gravitte, Anne Runolfsson, and Ryan Shaw. He is also active as a conductor of films with live orchestra soundtrack, including the Harry Potter series, other John Williams scores such as Jurassic Park, and Disney Films projects.

Committed to serving the wider arts community beyond the podium, Devlin is the co-chair of the Conductor Constituency Group of the League of American Orchestras, advocating for conductors nationally. Previously, he served on the Conductors Guild’s Board of Directors. He also delivered the keynote TED talk on “Innovation in Crowded Marketplaces” at a TEDx symposium.

John Gennaro Devlin is an American conductor of Italian and Irish heritage and currently resides in New York City's Upper West Side and in beautiful Wheeling, West Virginia with his wife, Camille Cintrón Devlin, and their beloved dog Arya. He completed his master's and doctoral degrees in orchestral conducting under the tutelage of James Ross at the University of Maryland School of Music. As an undergraduate student, Devlin attended Emory University as a Robert W. Woodruff Scholar, graduating summa cum laude with a double major in Clarinet Performance and Latin. Devlin has also benefitted enormously from his time as a member of the New York Youth Symphony, at the Boston University Tanglewood Institute, and at the Pierre Monteux School. His professional career has been shaped by his time as an assistant to conductors Gianandrea Noseda, Christoph Eschenbach, Rossen Milanov, and Victoria Gau.

NAZARETH

UNIVERSITY –BESTON HALL, GLAZER MUSIC

PERFORMANCE CENTER

Andreas Delfs, conductor

For Andreas Delfs’ biography, please see page 3.

Erik Behr, oboe

The Dr. Jacques M. Lipson Chair

JOHN ADAMS Tromba Lontana 4:00

WOLFGANG AMEDEUS

MOZART

Concerto in C Major for Oboe and Orchestra, 22:00

K.285d [314]

I. Allegro aperto

II. Adagio non troppo

III. Rondo: Allegretto

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SERGEY PROKOFIEV

Pavane pour une infante défunte 6:00

Classical Symphony, Opus 25 15:00 [Symphony No. 1]

Allegro con brio Larghetto

Gavotte: Non troppo allegro

Finale: Molto vivace

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ARTISTS

ERIK BEHR, oboe

The Dr. Jacques M. Lipson Chair

Erik Behr has held the position of Principal Oboe at the Rochester Philharmonic Orchestra since 2007, after serving as Principal Oboe at the Houston Grand Opera and Houston Ballet. He has also served as a guest principal with several orchestras, including the San Francisco Symphony, the Atlanta Symphony, the Saint Paul Chamber Orchestra, and the Nashville Symphony. During the summer season, Behr is the principal oboe of the Sun Valley Music Festival and played for many years with the Mainly Mozart Festival Orchestra. Additionally, he has performed at the Edinburgh International, Casals, Maribor, and Spoleto festivals.

Behr’s extensive repertoire includes a variety of concerto performances, including the premiere of Allen Shawn’s Oboe Concerto in 2018, which was commissioned for Behr and the RPO. Behr and his wife, RPO Concertmaster Juliana Athayde, serve as Co-Artistic Directors of the Society for Chamber Music in Rochester. In 2017, Behr premiered Guggenheim Fellow Adam Roberts’ Oboe Quartet, commissioned for Behr and SCMR. Behr recorded this work with the JACK Quartet and it was released by New Focus Recording in late 2021. Behr is committed to promoting new music, having works written for him by composers such as Jeff Tyzik’s Dance Suite for oboe and orchestra (2020) and Jim Willey’s Oboe Quartet (2021).

Behr’s musicianship has garnered praise from critics, who have described his playing as “bold and graceful” (Washington Post), “immaculate” (Sunday Tribune), and commended his “tremendous musicianship and sense of style” (Irish Examiner), as well as his “ease and eloquence” (Rochester Democrat and Chronicle).

Currently, Behr serves as an Adjunct Professor at Roberts Wesleyan College, and has served as a guest oboe teacher at the Cleveland Institute of Music, Oberlin Conservatory of Music, and Rice University. Behr has also held a position on the oboe faculty at the University of Houston and served as a visiting lecturer at Cornell University. During the summer, Behr teaches at the National Orchestral Institute + Festival and Carnegie Hall’s NYO-USA, as well as giving masterclasses internationally. Behr holds a B.M. (cum laude) from Arizona State University, a M.M. from Temple University, and a D.M.A. from Rice University, having studied with Robert Atherholt, Richard Woodhams, and Martin Schuring.

PROGRAM NOTES

WOLFGANG AMADEUS MOZART

Oboe Concerto in C Major, K. 314

B. SALZBURG, AUSTRIA January 27, 1756

D. VIENNA, AUSTRIA December 5, 1791

Mozart’s Oboe Concerto in C major may be one of the greatest concertos written for the instrument. But it was first discovered as a flute concerto and took some sleuthing to figure out that Mozart originally wrote it for oboe. Mozart wrote it during a period of instability: after rebelliously ditching his court position with the Archbishop of Salzburg, he floundered for another job. He headed to Mannheim to vie for a court position there, a city with one of Europe’s best orchestras, known especially for its wind players. Mannheim’s flutist, Johann Baptist Wendling, introduced Mozart to a wealthy patron who was also an amateur flutist. The patron commissioned three concertos from Mozart in 1777. Mozart wrote only one new work for the flute (not his favorite instrument, according to letters), and instead, adapted other works to fulfill the commission, including an oboe concerto. Scholars now think that Mozart wrote the original oboe concerto while preparing to leave Salzburg. But the oboe concerto went missing for over a century, surviving only in its flute version. Some telltale signs, however, like its range, gave away that it wasn’t originally for the flute, which was confirmed when the original was finally found in 1920. Since the flute and oboe are, however, close in range, they continue to share a claim to the work. The opening movement is marked Allegro aperto—a fast yet expansive marking that grants the oboe plenty of expressive control across technical feats such as long tones, trills, and arpeggios. The lyrical second movement is an exercise in air control for the oboe, while the orchestra keeps the pulse. And the final movement is a bouncy rondo, one that Mozart liked so much he recycled its main theme in his opera The Abduction from the Seraglio, his first opera to premiere in Vienna, where he finally landed after his detour in Mannheim.

MAURICE RAVEL

Pavane pour une infante défunte

This colorful, wistful work by Ravel—with recognizable, earworm melodies— sounds like it could be an elegy. The translation of the work’s title, “Pavane for a Dead Princess,” would support that interpretation. But Ravel wrote the work in 1899 for a real princess, who was very much alive: Princesse de Polignac, also known as Winnaretta Singer, an American from the Singer sewing machine corporation family who married a French prince. She was also a significant patron of the arts and supporter of Ravel. About the title, Ravel wrote, “Do not dramatize it. It is not a funeral lament for a dead child but rather an evocation of the pavane which could have been danced by such a little princess as painted by Velázquez.” Apparently, the title drew a lot of questions. Yet the work was so popular that Ravel arranged it for orchestra from the original piano version in 1910. A pavane is a slow, majestic sixteenth-century Spanish court dance; Ravel reworked the pavane concept into picturesque impressions and affects using timbres from instruments such as the French horn, harp, oboe, flute, and strings as if they were paintbrushes on a canvas.

PROGRAM NOTES

SERGEI PROKOFIEV

Classical Symphony in D Major (No. 1), Op. 25

B. SONTSOVKA, BAKHMUTSK REGION, YEKATERINOSLAV DISTRICT, UKRAINE

April 23, 1891

D. MOSCOW, RUSSIA March 5, 1953

Prokofiev is generally known as a serious, twentieth-century Soviet composer who produced gorgeous, probing works like his Romeo and Juliet ballet (performed earlier this season by the RPO) and Fifth Symphony. But what those works don’t reveal is Prokofiev’s incisive humor and piercing wit, the Prokofiev who, in 1918—when he embarked on a trip to the United States and only one year after writing his First Symphony—answered affirmatively when San Francisco Bay immigration officials at Angel Island interrogated him about prior arrests. When asked where, Prokofiev responded in deadpan, “Here, on your island.” Unamused and suspicious that he was a Russian spy, they replied, “So you like to make jokes, do you?” Yes, he did. He even opened his autobiography with one. Prokofiev’s brand of sarcasm is likely what drew him to the works of Mozart and Haydn— two Classical-era composers with great senses of humor—while a student at the Saint Petersburg Conservatory.

Prokofiev visited the Russian countryside in the summer of 1917—turning a blind eye to the revolutions occurring in Russia that would have major consequences for him later in life—and deliberately left his piano at home as a compositional challenge. Hadyn, he thought, would be a familiar stylistic foundation to write a symphony by ear. He expounded in his autobiography, “It seemed to me that if Haydn had lived to our day, he would have retained his own style while absorbing something new at the same time. This was the kind of symphony I wanted to write: a symphony in the classical style.” It was also a bit of a game to see if he could “tease the geese” and write something successful in an older style, which would’ve been a funny detour from a composer known at that time for provoking listeners. (His style would embrace more populism when he was lured back to Russia in the 1930s.)

The result is his Classical Symphony, also known as his Symphony No. 1. It opens with a most ‘Classical’ gesture: an arpeggio that barrels upwards, a ‘Mannheim Rocket’ named for the feats of a renowned seventeenth-century German orchestra. The first movement then prances and jokes around with the clarity and texture of Haydn. But it’s not a replica. As Michael Steinberg put it, “one of the charms of the Classical Symphony lies in Prokofiev’s skill at conveying something of the essence of Haydn while not writing a single measure that could possibly occur in a Haydn symphony.” The second movement attempts to be genteel, with a veiled friskiness, while the third is a stately yet somewhat frivolous version of a French gavotte (an even beat court dance). Not a single minor chord can be found in the molto vivace (super fast) finale; it was so upbeat that Prokofiev wrote he was concerned “that its gaiety might border on the indecently irresponsible.” But it was also the movement that brought him the most delight.

Program notes © 2026 Anna Reguero, PhD, a Rochester-based scholar and arts writer.

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James H. Kirkwood

Francine Koskinas

Barbara E. Kozel

Ronald and Nancy Kraus

John and Lisa Lacci

Alan and Deborah Lattime

Jennifer Leonard and David Cay Johnston

Katherine Lewis and Richard Chasman*

Margaret Lindsey, M.D.

Sue and Michael LococoS

Eric and Martha Logigian

Johnny and Shirley Lynn

Patrick Macey and Jeremiah Casey

Russell and Mary Lou Madsen

Joseph J. Mancini*

Scott Manspeaker

Saul and Susan Marsh

Richard and Kate Massie

Edward G. McClive

H. Winn McCray

Richard W. McGrath

John W. McNeill

Andrew and Kay Melnyk

Alice Messinger

Robert J. and Marcia

Wishengrad Metzger

Ralph and Martha Meyer

Dr. Michael T. Miller

Fritz and Maura Minges

Mary E. Miskell and Terrance Clar

James* and Geraldine Moore

Laura V. Morrissey

Pastor and Mrs. Donald Muller

Dr. and Mrs. Stephen Munson

BENEFACTOR

($500-$999)

Karen Abbas

Barbara Agor

Anonymous

Edwin Austin

Karen Bancroft

Jim and Linda Baroody

Markus and Myriam Bauer

Richard J. Beard

Kate M. Bennett

Teresa and Tim Biehler

James and Lynette Blake

Jay and Beth BlaufussS

Richard A. Bloom, M.D.

Mitchell J. Boucher

Jeff and Kathy Bowen

Henra S. Briskin

Hugh and Anne Brodie

Eileen Buholtz

Gretchen and Paul Burke

Lori Busch

Drs. David Bushinsky and Nancy Krieger

Dan and Amanda Butler

Steven Cannell

Riley and Karen Carhart

Brendan and Suzanne Casey

Victor Ciaraldi and Kathy

Marchaesi

Jim Cook

Caroline Costanza

Elison and Donald Cramer

Mr. and Mrs. Gabriel Delvecchio

Kathleen DillS

Michael DiSalle

Donald and Stephanie Doe

Terrence R. Doherty

Daniel DwyerS

Linda S. Eastman

Dr. Steven and Susan Eisinger

Mohsen Emami, M.D.

Sherman and Anne Farnham

Sarah Fitts-Romig

Susan and Leslie Foor

Ruth Freeman

Carolyn and Roger Friedlander

Nita Genova

Mr. and Mrs. Julian Goldstein

Dr. John W. and Mrs. Heather

Goodbody

Dr. and Mrs. William Grace

Kevin Nasman

Dr. and Mrs. Curtis N. Nelson

Helene Newman

Mr. and Mrs. John Norris

Peter J. Obourn

Mr. Donald W. and Mrs.

Jo-Ann R. O’Brien

John and Tobie Olsan&

Deborah Onslow&S

Elizabeth Osta and George VanArsdale

Graham Ottoson

Thomas Parker

Tom Parker

Douglas and Rose Peet

David and Marjorie Perlman

Jerry Peters

Susan and Donald Pritchard

Marcia Rausch

Richard and Susan ReedS

Rene Reixach

Mr. and Mrs. Thomas S. Richards

Linda and Michael Riordan

Ed and Terry* Grissing

Mr. and Mrs. Robert J. Guerin

Stephen Gullace

Linda and John Haight

William and Cathy Haller

Barbara and A. Michael Hanna

John and Diane Hanna

William and Patricia Hayles

Merrill and Dianne Herrick

K.L. Hersam and Paul Sawicki

Michael R. Herzog

Dr. Florence M. Higgins and Mr. John Lebens

Sanjay and Ally Hiranandani

Art and Barb Hirst

Sheila Hollander

Wayne and Anne Hulbert

William and Nancy Hunt

Agrp Ispentchian & Fulltec LLC

Dr. Dewey Jackson

Robert and Mary* Jackson

Lyle Jenks

Marilyn and James Jordan

Connie KaminskiS

Lori and Frank Karbel

Dr. and Mrs. Lester Katzel

Mr. and Mrs. James E. Keenan

Mary Kerr

Mr. Edward Klehr

Susan and James Knauer

Ann Knigge and Al Buckner

Ken Knight and Ann Curtin-Knight*

Mark and Mona Friedman Kolko

Mrs. Ellen Konar

Kraig and Susan Kummer

Mr. Thomas G. Lathrop

L. Janet Lawrence-Morse

Janet and James Leone

Ellen C. Lewis

Sarah F. Liebschutz, PhD

Rose and Roger Linscott

Jane S. Littwitz

John and Jane Littwitz

Quentin Llop

Janet and Haines Lockhart

Edwin Lopez-Soto and Patricia Braus

Susan and Chris Luedde

John and Judy Lynd

Chen and John MageeS

Family Fund at the RACF

Nancy and Art Roberts

Dr. Gerald and Maxine Rosen

Hannah and Arnold Rosenblatt

Jamal and Pam Rossi

Carolyn and Charles RuffingS&

Tom and Ellen Rusling

Joan and James* Ryan, Sr.

Dr. Alvani D. and Carol M. Santos

Justin Schiess

Paul and Barbara Schmied

Peter Schott and Mary Jane Tasciotti

Mr. and Mrs. William Schultz

Heidi B. Schwarz, M.D.&

Catherine and Richard Seeger

David Segal

Libba and Wolf Seka

John and Jenny Servo

Leonard and Elaine Simon

Bruce and Laura Smoller

Phillip and Karen Sparkes

Mr. Richard R. Spellicy

Jim and Dora Stauffer

Russell J. Mandrino

Janice D. Manning

Sheron and Bruce Marche

Phillip Marcille

Dick and Sandra McGavern

Maureen McGlynn

Marilyn Merrigan

Jonathan Mink and Janet Cranshaw

Charles Morgan

David and Monika M. MullenS

Thomas C. Munger

Michael P.* and Wendy R. Murphy

Dr. Michael Nabozny

Michael D. Nazar

Maureen and Steve Neumaier

Joan R. Nusbaum

Peggy and David Oakes

Jason Oaks

W. Smith* and Jean O’Brien

Debra and George Orosz

David Patt

Marian Payson and Helen Wiley

Glen Pearson

Christian and Sarah Peyre

Douglas and Diana Phillips

Everett Porter

Beth and Lyle Prairie

Harry J. and Margaret H. Price

Dr. and Mrs. Edwin Przybylowicz

Stan and Anne Refermat

Ray and Judy Ricker

Richard and Margery Rosen

Warren and Pamela Rosenbaum

Dr. and Mrs. G. Theodore Ruckert

Hon. Franklin T. and Cynthia Russell

Jean Ryon

Ed and Gabriel Saphar

David and Naomi Schrier

Mrs. Arthur W. Schuster, Jr.

Theresa A. Seil and Debra Celestino

Rich Sensenbach

Joseph and Mary Kathryn Shanahan

Robert E. and Susan H. Shapiro

Lily Shaw and Robert Hallstrom*

Ann H. Stevens and William J. Shattuck&

Adam and Catherine Towsley

David Evans and Sheree Usiatynski

Wayne and Anne Vander Byl

Timothy and Debbie Veazey

Stephen H. and Jody Waite

Harry and Ruth* Walker

James and Barb* Walker

James Watters

Jean and Sterling L.* Weaver

Pierce and Elizabeth Webb

Philip and Marilyn Wehrheim Fund

Mr. and Mrs. Fred Weingarten&^

Joyce and William Weir

Jeff Wright and Betty Wells

Dr. Charles Yates

Marsha Young

Bill and Wende Young

Albert and Irene Zaccor

Helen A. Zamboni

Gary and Cathleen Zdyb

Eloise Shrag

Donna Broberg Shum

Harvey Simmons

Daniel and Sarah Singal

Heidi Smith

Janet H. Sorensen

Larry Sorrell

Ms. Maureen A. Stables

David Stacey

Eleanor Stauffer

Berl Stein

Jeffrey and Kristen Storey

Glen and Lynne Suckling

Steve and Cheryl Swartout

Yoshiko Tamura and Bruce M. Lee

David and Carol Teegarden

Darbbie J. Thomas

J. Russell and Kathleen Thomas

Jeffrey J. Thompson

John* and Janet Tyler

Eugene and Gloria Ulterino

Lorraine Van Meter-Cline and Doug Cline

Jared and Beverly Voos

Robert Vosteen

Brian and Jean Waldmiller

John and Anne Walker

Mr. and Mrs. Robert Wallace

Marsha Walton

Kathleen Weber

Warren Welch

Kathleen Whelehan

Charles and Carolyn Whitfield

Bob* and Mary Ann Whitmore

Jeff and Sarah Wight

Susan and Paul Wilkens

Nancy J. Williams

Les and Wanda Wood

Eileen M. Wurzer

Patty and Rich Yarmel

Susan Yee

Lawrence and Susan Yovanoff

Susan and Maurice Zauderer

Eric Zeise and Ellen Henry

Mrs. Caroline Shipley

Robert and Carol Zimmerman

& Denotes donor(s) has/have contributed to the RPO& Comprehensive Capital Campaign.

S Denotes donor(s) has/have a recurring Sustaining Circle contribution to the RPO.

* Denotes donor(s) is/are deceased.

L Denotes donor(s) has/have contributed to the Rochester Philharmonic League (RPL).

Gay Greene and Robert Goeckel

James and Rosa Mance

^ Denotes donor(s) has/have contributed to the Rochester Philharmonic Youth Orchestra (RPYO).

Scan to view the full listing from July 1, 2025 through January 31, 2026

IN MEMORY OF…

Betsy and Stuart Bobry

Michael and Linda Raff

R. Carlos Carballada

Sam and Mimi Tilton

Ann Christiansen

Leslie C. Rowe

Douglas Cline

Patte Bishop

BRAVO TRIBUTES

The Rochester Philharmonic Orchestra gratefully acknowledges the following individuals and organizations for their generous support by honoring or remembering in memory of the individuals listed below. Listings are in recognition of tribute gifts received from July 1, 2025 through January 31, 2026.

Tribute gifts are a special way to remember loved ones or commemorate special occasions such as birthdays, anniversaries, weddings, births or graduations. If you would like to make a memorial or honorarium gift, please visit www.rpo.org/donate or contact the Development office at 585/454-7311 ext. 249 or email development@rpo.org.

Frances R. Howell, Jr.

Jennifer McRae Fitzsimmons

Nancy Howell

Lew D. Jones

Itai Bronshtein

Elaine L. Kraus

James Kraus

Barbara Law

Stanley and Anne Refermat

Dr. and Mrs. Harry C. Law

Timothy and Marilyn Downs

Ellen Fenger

Charles Fujita and Dulcy Lecour

Mary Anne Gillespie

Faye Shea

Josephine Trubek

Margaret Vanas

Sheila Dermody

Catherine and Elmar Frangenberg, M.D.

Ellen Englert

Renee Brownstein

Robert and Frances Clawson

Judith Cruppe

Richard DeMallie

Catherine and Elmar Frangenberg, M.D.

Robert and Christine Guistina

Gregory and Judith Graham

Antony Gugino and Earlene Siebold

High Falls Advisors

Bruce and Ann Leonard

John W. Littwitz

Ray and Patrizia Macera

Russell J. Mandrino

Mary Ann Mrva

Tracy A. Romano

Bonnie B. Sale

Joann Smith

David Strasenburgh

Anthony and Raechel Taddei

Timothy M. Verna

Suzanne Verstraten

Cynthia Whitehouse

Jane L. Garrett

Michael Garrett

Dr. Warren Glaser

June Glaser

Terry B. Grissing

Edward Grissing

IN HONOR OF…

Maura McCune and Patrick Corvington

John and Lisa Lacci

Joseph Darweesh

Debbie Brand

Fred Dole

Carol M. Wolff

James Englert

Joann Smith

Edward H. Law

Paul Littrell

Laura Joy

Jane Oberwager

David and Lois Zebelman

Gregory Lombardo

Steven and Betsy Lombardo

Vera McCune

William and Erin McCune

Mildred Ness

Lana Rottenberg

Betty Schlemitz

Carl and Pamela Angeloff

Stifel Dublin Branch Office

Sam Vogel

Albert Serenati

Nancy Snyder and Family

Leonard Simon

Elaine Simon

Anne W. Sullivan

Philip and Eleanor Hopke

R. Alan and Deborah Lattime

Robert W. Sweeney

Gerald Estes

Ann Weintraub

Joseph and Rosemary Mitchell

Leon Williams

Jerry Maus

Sheri Unglaub Williams

Heather Fuller

Douglas and Sarah Hughes

Andrew and Elizabeth Swanson

Linda Iacelli

Stephen House

Dr. Harold Kanthor’s Birthday

Joseph Rapoport & Family

Neil Miller

Dr. Etta Eskridge

Deborah Onslow

Dr. Miriam R. Iker

Margaret Perticone

Deborah Dollinger

Grant Rieke

Marc Rieke

Nathan and Susan Robfogel’s 60th Wedding Anniversary

Charles and Kathleen Salitan

Valerie Salitan

Hannah and Arnold Rosenblatt

Alice Messinger

Robert and Harriet Seigel

Katherine Smith

James and Georgine Stenger

P. Robert and Mary Anne Fox

Jeff Tyzik

G. Theodore and Sherry Ruckert

Catharine “Kitty” Wise

J. Michael and Alice Smith

Don and Anna Womack

Daniel and Edith Rice

Scan to view the full listing from July 1, 2025 through January 31, 2026

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*

Martha and Fred Hamaker

Mrs. Laura J. Hameister

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*

Michael Bobry

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*

Marilyn* and Dick Hare

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*

Robert and Merilyn* Israel

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*

Joyce Wiedrich

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

Cass Lo 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

Meg Spoto Creative Director

Kylie Beam Content/Digital Marketing Manager

Mike Cidoni Public Relations & Communications Manager

Sal Uttaro Group and Corporate Sales Manager

PATRON SERVICES CENTER

Charlene Beckwith Director of Ticketing

Daniel Long Director of Patron Experience, Data & Analytics

Daniel Traina Patron Services Manager

Connor Straight Patron Services Assistant Manager

Abby Chapman-Duprey

William Eby

Stephen House

Nathan Howton

Lauren Irschick

Jaewon Jun

Alyssa Koh

Jacob Kundu

Hannah Moreno

Grant Simon Patron Services Representatives

FINANCE

Katherine Rogala Vice President of Finance

Jennifer Clark 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

Chisato Eda Marling Director of Education & Community Partnerships

Interim VP of Education

Lisk Morris Foundation Chair

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

Kylie Beam | Editor, Rochester Philharmonic Orchestra

Meg Spoto | Creative Director, m dash studio

Anna Reguero, PhD | Program Annotator

Editorial Offices: Rochester Philharmonic Orchestra

255 East Avenue, Suite LL02

Rochester NY 14604

585-454-7311 • Fax: 585-423-2256

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