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AUGUST O

AUGUST 2026

CONTENTS 4

WELCOME

ABOUT THE HOLLYWOOD BOWL

ABOUT THE LA PHIL

FEATURE: How Miles Davis Brought Herbie Hancock to the Cosmos

DONOR PROFILE: Nancy and Bruce Silverman

FEATURE: A Force for Unity

FEATURE: Keeping It Green at the Bowl: Seven Decades of Shuttles

SUMMER ESSENTIALS AT THE BOWL STORE

ABOUT THE CONCERTS

LEAVE THE DRIVING TO US!

FEATURE: Do Not Fly Zone

LA PHIL STAFF LIST

CORPORATE PARTNERS

ENDOWMENT DONORS

ANNUAL DONORS

POOL CIRCLE

102

FIND IT AT THE FORD

104

GENERAL INFORMATION

GUSTAVO DUDAMEL

ANGELA HEWITT

FOO FIGHTERS

HERBIE HANCOCK

ANNA HANDLER

LOS TIGRES DEL NORTE JOHN WILLIAMS

LOOKING FOR INFORMATION ABOUT TONIGHT’S PERFORMANCE?

Download our free app to find the program details, notes, and artist biographies. hollywoodbowl.com/app

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WELCOME

LOS ANGELES PHILHARMONIC ASSOCIATION

BOARD OF DIRECTORS CHAIR

Jason Subotky*

PRESIDENT & CEO

David C. Bohnett Presidential Chair

Kim Noltemy

VICE CHAIRS

WELCOME! Nothing captures the spirit of summer like an evening at the Hollywood Bowl. For more than a century, Angelenos have gathered at this iconic venue to enjoy great music among friends and family. As a Los Angeles County Park operated by the LA Phil, the Hollywood Bowl is a beacon for our community. Through programs that distribute 50,000 $1 tickets and expand affordable and sustainable public transportation to concerts, we are ensuring that generations of music lovers will continue this cherished tradition for years to come. You might notice a few features that are debuting this summer. The Terri and Jerry Kohl Artists Pavilion is our new multipurpose space housing a brand-new restaurant. We are grateful for the generous support from the Kohls and Live Nation Hewitt Silva that has brought about this exciting addition. We have also partnered with the company L-Acoustics on a new surround-sound system— the first in the world—that provides an immersive concert experience while minimizing its effects on our neighbors. This summer also marks the first full season performed on the John Williams Stage, named in honor of the great composer who has shared so many great evenings, incredible music, and indelible memories with us. John has said: “Music is there for everybody. It’s a river we can all put our cups into and drink it and be sustained by it.” The Bowl exemplifies his words. It’s a place where we all can experience the transformational power of live performance together with our community. Thank you for joining us and being a part of this great tradition.

Thomas L. Beckmen* Reveta Bowers* Jane B. Eisner* David Meline* Diane Paul* Jay Rasulo*

DIRECTORS

Nancy L. Abell Gregory A. Adams Julie Andrews Camilo Esteban Becdach Ranjit Bhatia Linda Brittan Jennifer Broder Kawanna Brown Andrea Chao-Kharma* R. Martin Chavez Christian D. Chivaroli Jonathan L. Congdon Donald P. de Brier* Louise D. Edgerton Lisa Field David A. Ford Alfred Fraijo Jr. Hilary Garland Jennifer Miller Goff* Tamara Golihew Lori Greene Gordon David Greenbaum Carol Colburn Grigor Antonia Hernández* Jonathan Kagan* Darioush Khaledi Winnie Kho

Joey Lee Daniel R. Lewis Francois Mobasser Margaret Morgan Leith O’Leary Andy S. Park Sandy Pressman Marybeth Rehman-Dittu Geoff ich† Laura Rosenwald Michael Saei Richard Schirtzer Stacy Shirk John Sinnema G. Gabrielle Starr Jay Stein* Christian Stracke* Ronald D. Sugar* Vikki Sung Jack Suzar Sue Tsao Megan Watanabe Regina Weingarten Jenny Williams Alyce de Roulet Williamson† Irwin Winkler Debra Wong Yang

HONORARY LIFE DIRECTORS

David C. Bohnett Frank Gehry † Lenore S. Greenberg Bowen H. “Buzz” McCoy †

PAST CHAIRS**

Thomas L. Beckmen Jay Rasulo Diane Paul David C. Bohnett Jerrold L. Eberhardt John F. Hotchkis†

Warmly, Kim Noltemy President & CEO

David C. Bohnett Presidential Chair

Los Angeles Philharmonic Association

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†

In Memoriam

Executive Committee Member as of September 26, 2025

From the opening of Walt Disney Concert Hall on October 24, 2003, to present **

LOS ANGELES PHILHARMONIC PUBLICATIONS 2026

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EDITOR Amanda Angel

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ART DIRECTOR Natalie Suarez DESIGN Studio Fuse

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EDITORIAL SPECIALIST Tess Carges EDITORIAL COORDINATOR Robert Alexander E XPLORE MORE AT: laphil.com

PUBLISHER Jeff evy ART DIRECTOR Carol Wakano PRODUCTION MANAGER Glenda Mendez PRODUCTION ARTIST Diana Gonzalez DIGITAL MANAGER Lorenzo Dela Rama

DISCOVER LA’S MOST BEAUTIFUL STORE FOR 75 YEARS, FEATURING LUXURY PATIO FURNITURE & UMBRELLAS

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ADVERTISING DIRECTOR Walter Lewis ADVERTISING MANAGER Liz Moore ACCOUNT DIRECTORS Kerry Baggett, Jan Bussman, Jean Greene CIRCUL ATION MANAGER Christine Noriega-Roessler BUSINESS MANAGER Leanne Killian Riggar MARKETING/PRODUCTION MANAGER Dawn Kiko Cheng Contact Us ADVERTISING Walter.Lewis@CaliforniaMediaGroup.com WEBSITE Lorenzo.DelaRama@ CaliforniaMediaGroup.com CIRCUL ATION Christine.Roessler@ CaliforniaMediaGroup.com HONOR ARY PRESIDENT Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 303 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at performancesmagazine.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West.

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WELCOME co ntin u ed

I’m excited to welcome you to the Hollywood Bowl, one of the most historic and beloved venues in Los Angeles County. Whether this iconic facility is hosting a performance by the exceptional Los Angeles Philharmonic or a concert by a visiting world-class musician, the Hollywood Bowl is known for its commitment to excellence both on the stage and behind the scenes. It’s particularly special to me that the Hollywood Bowl finds its home in Los Angeles County’s Fifth District among the communities I have the privilege to represent. With such a rich and storied history, and as host to some of the biggest names in music today, the Bowl is one of the landmarks that make our district unique. Whether you’re visiting from down the street,

across the county, or around the world, I hope you enjoy your time at this remarkable venue. I still hold near and dear the many fond and fun memories I’ve made at the Hollywood Bowl throughout my life. I know your experience here will be just as memorable, whether it’s your first show or you’re a regular visitor. Throughout the season, I encourage you to take advantage of the incredible opportunities available to you. To hop on the convenient and affordable Park & Ride buses and Bowl Shuttles accessible from all over the county, look at the delicious food options, get a sneak peek at your seats, and find everything else you need to know, head to hollywoodbowl.com/ visit so you can make the most of your experience. You can stay in touch with me at kathrynbarger. lacounty.gov or on social media for the latest community updates and resources. I look forward to connecting with you and hope to see you at a Hollywood Bowl concert soon! Best wishes, Supervisor Kathryn Barger Fifth District, Los Angeles County

A Message from Director Norma Edith García-Gonzalez The Hollywood Bowl is one of the most iconic outdoor performance venues in the world—at its core, as a public park, it belongs to the people of Los Angeles County. As part of the County of Los Angeles Department of Parks and Recreation (LA County Parks), and in enduring partnership with the LA Phil, the Bowl continues to advance a shared mission: to expand public access, steward a treasured cultural landmark, and deliver world-class artistic experiences. The Board of Supervisors, the LA Phil, and LA County Parks remain steadfast in our commitment to access that is meaningful and equitable. Through expanded $1 ticket programs for foster youth, Title I schools, and low-income families, and through coordinated partnerships with County departments, school districts, and CBOs, the Bowl continues to broaden its reach to those who have often been underrepresented in cultural institutions.

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The Bowl reflects the County’s broader commitment to environmental stewardship. Expanded transit programs have increased ridership by more than 40%, reducing congestion and lowering carbon emissions. Visitors will experience enhancements throughout, including a new dynamic audio system, expanded water-bottle filling stations, and upgraded marketplace amenities. I attended ¡Bienvenido Gustavo!—Gustavo Dudamel’s inaugural and free community concert as Music Director. I brought my Spanish-speaking mother, who was filled with excitement. When Dudamel addressed the audience in Spanish, it was a powerful and intentional gesture—a welcome extended to immigrants, to those with accents, and to the diverse communities across Los Angeles County. The Hollywood Bowl reminds us that belonging is not passive—it is something we create through a shared commitment to one another. It is where culture and community meet, where identity is affirmed, and where the collective spirit of Los Angeles County is reflected, renewed, and celebrated. Todos están bienvenidos. Everyone is welcome. ¡Gracias Dudamel!

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ABOUT THE VENUE

ABOUT THE HOLLYWOOD BOWL

One of the largest outdoor amphitheaters in the world, the Hollywood Bowl has been the summer home of the Los Angeles Philharmonic since its official opening in 1922. This bowl-shaped location in Bolton Canyon, known as Daisy Dell at the time, was identified for its extraordinary natural acoustics. In 1924 it became a public park owned by the County of Los Angeles Department of Parks and Recreation and operated in partnership with the LA Phil, serving as Los Angeles’ summer gathering place for more than a century. Each summer, more than 1 million visitors from across Southern California as well as from around the world come

to the Hollywood Bowl to enjoy performances by the finest artists across all genres of music. Guided by the core belief that everyone should have access to the extraordinary power of live music, the Hollywood Bowl offers 50,000 $1 seats to a range of concerts each year. Conservation and sustainability efforts such as landscaping with drought-tolerant native plants and public transportation programs help to preserve the Bowl’s 88 acres of biodiverse land. In April 2026, it was named Outdoor Concert Venue of the Year at the 37th Annual Pollstar Awards, marking the 19th time it has received this honor.

Learn more about this historic landmark by visiting the Hollywood Bowl Museum, open Tuesday through Friday from 10am to showtime and Saturday through Monday four hours before showtime. Free admission. More information is at hollywoodbowl.com/museum.

LAND ACKNOWLEDGMENT We acknowledge the Gabrielino Tongva, Gabrielino Kizh, and Fernandeño Tataviam Nations as the traditional stewards of the land now called the Hollywood Bowl. We honor and respect the many Indigenous peoples connected to this land and express our admiration for their resilient and important cultural leaders in our region—past, present, and future.

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ABOUT THE ARTISTS

GUSTAVO DUDAMEL Gustavo Dudamel is committed to creating a better world through music. Guided by an unwavering belief in the power of art to inspire and transform lives, he has worked tirelessly to expand education and access for underserved communities around the world and to broaden the impact of classical music on new and ever-larger audiences. His rise, from humble beginnings as a child in Venezuela to an unparalleled career of artistic and social achievements, offers living proof that culture can bring meaning to the life of an individual and greater harmony to the world at large. He currently serves as the Music & Artistic Director of the Los Angeles Philharmonic and the Simón Bolívar Symphony Orchestra of Venezuela, and in September 2026, he becomes the Music and Artistic Director of the New York Philharmonic, continuing a legacy that includes Gustav Mahler, Arturo Toscanini, and Leonard Bernstein. Throughout 2025, Dudamel celebrated the 50th Anniversary of El Sistema, honoring the global impact of José Antonio Abreu’s visionary education program across five generations and acknowledging the vital importance of arts education. Dudamel’s advocacy for the power of music to unite, heal, and inspire is global in scope. In appearances from the United Nations to the White House to the Nobel Peace Prize Concert, Dudamel has served as a passionate advocate for music education and social integration through art, sharing his own transformative experience in Venezuela’s El Sistema program as an example of how music can give a sense of purpose and meaning to young people and help them rise above challenging circumstances. In 2007,

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Dudamel, the LA Phil, and its community partners founded YOLA (Youth Orchestra Los Angeles), which now provides more than 1,700 young people with free instruments, intensive music instruction, academic support, and leadership training. In 2012, Dudamel launched the Dudamel Foundation, which he co-chairs with his wife, actress and director María Valverde, with the goal of expanding access to music and the arts for young people by providing tools and opportunities to shape their creative futures. Dudamel's influence extends far beyond the classical music world. He has conducted at global events including the Academy Awards, the reopening of Notre-Dame Cathedral, the Super Bowl, and the FIFA World Cup Final. He has collaborated with artists including Billie Eilish, Coldplay, Cynthia Erivo, Christina Aguilera, LL Cool J, Laufey, Nas, and Ca7riel & Paco Amoroso, helping position classical music not as a relic of the past, but as a living force within contemporary culture. Dudamel conducted the score to Steven Spielberg’s new adaptation of West Side Story, and at John Williams’ personal request, he guest conducted the opening and closing credits of Star Wars: The Force Awakens. His film and television appearances include Sesame Street, The Simpsons, Mozart in the Jungle, Trolls World Tour, and The Nutcracker and the Four Realms, and in 2019 Dudamel was honored with a star on the Hollywood Walk of Fame. For more information about Gustavo Dudamel, visit his official website at gustavodudamel.com and the Dudamel Foundation at dudamelfoundation.org.

ABOUT THE ARTISTS

LOS ANGELES PHILHARMONIC The Los Angeles Philharmonic, under the vibrant leadership of Music & Artistic Director Gustavo Dudamel, presents an inspiring array of music through a commitment to foundational works and adventurous explorations. Both at home and abroad, the LA Phil—recognized as one of the world’s outstanding orchestras—is leading the way in groundbreaking and diverse programming, onstage and in the community, that reflects the orchestra’s artistry and demonstrates its vision. The 2025/26 season is the orchestra’s 107th. Nearly 300 concerts are either performed or presented by the LA Phil at its three iconic venues: the Frank Gehry-designed Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. During its season at Walt Disney Concert Hall, with approximately 165 performances, the LA Phil creates festivals, artist residencies, and other thematic programs designed to enhance the audience’s experience of orchestral music. Since 1922, its summer home has been the world-famous Hollywood Bowl, host to the fi nest artists from all genres of music. The Ford, situated in a 32-acre park and under the stewardship of the LA Phil since December 2019, presents an eclectic summer season of music, dance, fi lm, and family events that are refl ective of the communities that comprise Los Angeles. The orchestra’s involvement with Los Angeles extends far beyond its venues. Among its influential and multifaceted learning initiatives is YOLA (Youth Orchestra Los Angeles). Through YOLA, inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and

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academic support to over 1,700 young musicians, empowering them to become vital citizens, leaders, and agents of change. In the fall of 2021, YOLA opened its own permanent, purpose-built facility: the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Frank Gehry. The orchestra also undertakes tours, both domestically and internationally, including regular visits to New York, London (where the orchestra is the Barbican Centre’s International Orchestral Partner), Paris, and Tokyo. As part of its global Centennial activities, the orchestra visited Seoul, Tokyo, Mexico City, London, Boston, and New York. The LA Phil’s first tour was in 1921, and the orchestra has made annual tours since the 1969/70 season. The LA Phil has released an array of critically acclaimed recordings, including world premieres of the music of John Adams and Louis Andriessen, along with Grammy-winning recordings featuring the music of Brahms, Ives, Andrew Norman, Thomas Adès, and Gabriela Ortiz—whose Yanga received three Grammys in 2026. The Los Angeles Philharmonic was founded in 1919 by William Andrews Clark, Jr., a wealthy amateur musician. Walter Henry Rothwell became its first Music Director, serving until 1927; since then, 10 renowned conductors have served in that capacity: Georg Schnéevoigt (1927-1929), Artur Rodziński (1929-1933), Otto Klemperer (1933-1939), Alfred Wallenstein (1943-1956), Eduard van Beinum (1956-1959), Zubin Mehta (1962-1978), Carlo Maria Giulini (1978-1984), André Previn (1985-1989), Esa-Pekka Salonen (1992-2009), and Gustavo Dudamel (2009-present).

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ABOUT THE ARTISTS

THOMAS WILKINS Thomas Wilkins is Principal Conductor of the Hollywood Bowl Orchestra. He has held a titled position at the Hollywood Bowl since 2008, when he was named Principal Guest Conductor; in the spring of 2014, he became Principal Conductor. In addition, he is the Boston Symphony’s Artistic Partner for Education and Community Engagement and Germeshausen Youth and Family Concerts Conductor; Indiana University’s Henry A. Upper Chair of Orchestral Conducting, a position established by the late Barbara and David Jacobs; and Principal Guest Conductor of the Virginia Symphony. At the close of the 2020/21 season, he ended his long and successful tenure as Music Director of the Omaha Symphony. Devoted to promoting a lifelong enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, The Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious Outstanding Artist award at the Nebraska Governor’s Arts Awards for his significant contribution to music in the state, and in March 2018, the Longy School of Music at Bard College honored him with the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society.

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In 2019, the Virginia Symphony bestowed Wilkins with its annual Dreamer Award. In 2022, the Omaha Entertainment and Arts Awards presented him with its Lifetime Achievement Award for Music, the Boston Conservatory awarded him an honorary Doctorate of Arts, and he was the recipient of the League of American Orchestras’ Gold Baton Award. He has led orchestras throughout the United States. His commitment to community has been demonstrated by his participation on several boards of directors, including the Greater Omaha Chamber of Commerce; the Charles Drew Health Center (Omaha); the Center Against Spouse Abuse in Tampa Bay; and the Museum of Fine Arts as well as the Academy Prep Center, both in St. Petersburg, FL. Currently he serves as chairman of the board of the Raymond James Charitable Endowment Fund and as national ambassador for the nonprofit World Pediatric Project, headquartered in Richmond, VA, which provides children throughout Central America and the Caribbean with critical surgical and diagnostic care. A native of Norfolk, VA, Thomas Wilkins is a graduate of the Shenandoah Conservatory and the New England Conservatory. He and his wife, Sheri-Lee, are the proud parents of twin daughters, Erica and Nicole.

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ABOUT THE ARTISTS

HOLLYWOOD BOWL ORCHESTRA The Hollywood Bowl Orchestra is composed of approximately 65 regular players, an international mix of classically trained musicians who are among the best studio musicians in Los Angeles. Many spend their days on Hollywood’s scoring stages. It might be surprising to learn that there is no overlap between the musicians of the Los Angeles Philharmonic and those of the Hollywood Bowl Orchestra—another indicator that LA has a tremendous pool of musical talent. Musicians have been performing at the Hollywood Bowl since its opening in 1922. “Bowl Orchestra” was used as early as 1925, and “Hollywood Bowl Orchestra” appeared on live recordings made in 1928. Leopold Stokowski was Music Director of the Hollywood Bowl Symphony Orchestra from 1945 to 1946. During that time, the orchestra recorded a number of classical works. In the 1950s and 1960s, Capitol Records issued an extensive series of recordings of the Hollywood Bowl Symphony Orchestra with a number of different conductors, including Carmen Dragon, Felix Slatkin, Alfred Newman, and Miklós Rózsa,

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with album titles such as Rhapsody Under the Stars, Chopin by Starlight, Fiesta!, and Marche! From the 1950s on, there was no offi cial Hollywood Bowl Orchestra, until it reappeared in 1991, under the auspices of the Los Angeles Philharmonic Association, as a completely new ensemble directed by Principal Conductor John Mauceri. After retiring from the orchestra in 2006, Mauceri was awarded the lifelong title of Founding Director of the Hollywood Bowl Orchestra. In 2008, Thomas Wilkins began an appointment as Principal Guest Conductor of the Hollywood Bowl Orchestra. In June 2014, he became the orchestra’s Principal Conductor, in which position he continues to lead the ensemble each summer in a wide range of concerts at the fabled outdoor venue. From Mozart to Motown, the repertoire of the Hollywood Bowl Orchestra is as diverse as Hollywood itself. In a single season, the orchestra may perform everything from Broadway favorites to fi lm music, pop music to jazz, and classical music to world premieres by living composers. In essence, the Hollywood Bowl Orchestra does it all.

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FEATURE

TAKIN’ OFF: HOW MILES DAVIS BROUGHT HERBIE HANCOCK TO THE COSMOS By Sadie Sartini Garner

As the jazz world marks Miles Davis’ 100th birthday, Creative Chair for Jazz Herbie Hancock celebrates his mentor, friend, and inspiration. In 1963, Herbie Hancock got a new gig that would change his life—and jazz history. The great trumpeter Miles Davis, impressed by the pianist’s album Takin’ O˜ , asked him to join a new group he was assembling. By late 1964, that group would be ﬁ nalized with the addition of Wayne Shorter on saxophone. Together with bassist Ron Carter and drummer Tony Williams, they’d release a string of legendary studio and live albums that turned jazz into a kind of cubist music—you could recognize every shape, but the way they ﬁ t together was always unexpected. They’d be known forevermore as the Second Great Quintet, and their

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creative spirit still resonates well beyond the world of jazz. Miles Davis was born 100 years ago, on May 26, 1926, in Alton, IL. Over the next year, as music fans around the globe celebrate his centennial, both Walt Disney Concert Hall and the Hollywood Bowl will pay tribute with special concerts dedicated to his music. On August 19, Herbie fetes his former boss, mentor, and friend at the Hollywood Bowl. And on February 19, 2027, an all-star group will come together at Walt Disney Concert Hall for a night of interplay and virtuosity that shows the depth and emotional resonance of Miles' music. As it is with any time Herbie steps

onto a stage, you can expect him to travel far and wide. With the music he and Miles made together as a starting point, you can go just about anywhere. “Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore,” Herbie said. And that’s exactly what the Second Great Quintet did right from the beginning. The group had jelled quickly, with the players able to anticipate one another’s changes on a nearly molecular level. That level of chemistry had its drawbacks, though. “We’d gotten so cohesive as a band that it had become easy to play together.

FEATURE

We had fi gured out a formula for making it work, but of course playing by formula was exactly the opposite of what we wanted to do. We needed to put the challenge back in, to fi gure out ways to take more risks.” By the time they arrived in Chicago for a two-week stand at the Plugged Nickel for the 1965 holiday season, they had found a way. On the flight over, Williams suggested to the other sidemen that they play “anti-music,” or the exact opposite of what might sound “right” or expected in a given moment. Here was the trick: They’d do it without telling the boss what they were planning. The recordings made over those two weeks show them taking apart familiar standards and classics from Miles’ catalog. They forced one another into odd corners, challenging Miles to keep up and recontextualize songs he’d played hundreds of times. If that seems cruel, they were only following Miles’ directives. Early in their stint together, Miles leaned over to Herbie during a

performance and said, “Don’t play the butter notes.” Or so Herbie thought. What were the butter notes? Herbie had no idea, but decided that because butter is fat, Miles must have been telling him to avoid excess notation. Herbie dutifully cut the root note from his chords, which opened his playing and allowed him a new level of freedom. It wasn’t until decades later, talking to another musician, that he learned Miles had told him to avoid “the bottom notes”—the very roots Herbie had snipped from his playing. In a bit of magical serendipity, he’d arrived at the right place via an odd route, a neat encapsulation of everything jazz is supposed to be. Even after the Second Great Quintet dissolved, Herbie and Miles continued to work together, making forwardthinking music that greatly broadened jazz’s horizons. With its starry-eyed keyboards, very gradual development, and orderly sense of possibility, In A Silent Way is considered by

some to be one of the ﬁrst-ever ambient records, its 1969 release preceding Brian Eno’s Ambient 1 by a full decade. The heavy jazz-rock of Jack Johnson, which was recorded as a soundtrack to a documentary about the titular boxer, followed two years later. And in 1972, On the Corner would bring together the heady pop-funk of Sly and the Family Stone with methods straight from the mind of experimental composer Karlheinz Stockhausen for a knotty, hardedged form of jazz-funk that still sounds fresh over 50 years later. This open-ended approach, and the desire to pursue interesting sound even if it led beyond jazz’s borders, would inform the rest of Herbie’s career. In 1971, he’d form Mwandishi, one of the most out-there and experimental groups jazz had ever seen at that point, playing a form of cosmic synthesizer music that seemed beamed in from another planet. The year after On the Corner, Herbie broke up Mwandishi and started Headhunters, the supremely funky group that would make him a superstar; their debut, Head Hunters, became the best-selling jazz album of all time and Miles found himself in the unusual position of opening shows for his protégé. Working with Miles Davis would ultimately be one of the most profound experiences of Herbie Hancock’s life. “I was always frightened playing with Miles,” he told the BBC with a laugh. “It was very intimidating. I always wanted to be at my best, because I admired him so much.” But that fear pushed him to greater heights. “It was fear on one hand,” he added. “On the other hand, it was exciting. And when things were at their best, it was really inspiring.”

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DONOR PROFILE

GIVING BACK TO THE CITY THEY LOVE:

NANCY AND BRUCE SILVERMAN For Nancy and Bruce Silverman, the Hollywood Bowl is more than a summer tradition. It is part of what makes Los Angeles feel like home. That’s why they made the extraordinary commitment to join the Clark Society by including the LA Phil in their estate plans, helping ensure that future generations can experience the same joy and inspiration music has brought to their lives. For 40 years, the Silvermans have subscribed to the Bowl, beginning with seats “up in the trees,” as Bruce puts it, and gradually making their way closer to the stage. Then came a memorable call asking whether they might like to cross into “the Promised Land”—one of the Bowl’s coveted boxes. They said yes, and the Bowl became an even more meaningful part of their lives. That sense of good fortune is central to how Nancy and Bruce talk about the LA Phil. “We feel lucky to have this incredible resource that we can listen to and enjoy,” Bruce says. Their relationship with the LA Phil deepened after Walt Disney Concert Hall opened in 2003. Drawn first to the architecture, they took a chance on subscribing and loved every concert. “We realized how incredibly lucky we were to have this great

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orchestra, this great programming, right here in Los Angeles,” Nancy says. Since then, music has become woven into their lives. They attend pre-concert lectures, which, Bruce says, make them “a little bit smarter.” They have toured the LA Phil Music Library and Walt Disney Concert Hall’s organ, marveling at the care behind every performance. Nancy even returned to the flute, an instrument she had not studied since childhood. After successful careers in advertising and radio, the Silvermans understand that ticket sales alone cannot sustain great cultural institutions. With four grown children well established, including the LA Phil in their estate plans felt like a natural next step. These were a few motivations for Nancy and Bruce to establish a planned gift and join the Clark Society community. Together, they are helping to establish a brighter future for lovers of art and music in Los Angeles. “If you’re going to live in a city,” Nancy says, “you need to use the city—and help it.” To learn more about joining Nancy and Bruce as members of the LA Phil’s Clark Society, reach out to us today at legacy@laphil.org.

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FEATURE

A FORCE FOR UNITY

Beethoven’s belief in music’s ability to bridge cultural divides and foster connection runs through the legacy of Music & Artistic Director Gustavo Dudamel. By Liliana Morales Music has long been one of humanity’s greatest tools for unity. Across cultures and political divides, music has overcome language barriers and served as a source of inspiration, resistance, and connection. It has the ability to express what words cannot and to remind people that their existence serves something larger than themselves. At the turn of the 19th century amid profound political and social upheaval throughout Europe, Ludwig van Beethoven used music as a vehicle to advance ideals of shared humanity and communal strength in works such as his Ninth Symphony, which features Friedrich Schiller’s poem “Ode to Joy.” The symphony invites the audience to recognize the possibility of overcoming universal struggles by looking past our di˜ erences and coming together. Beethoven’s Ninth also provides the most vivid example I have of music acting as a uniting force while playing alongside my peers. On October 3, 2009, to celebrate the appointment of Gustavo

Dudamel as Music Director of the Los Angeles Philharmonic, I was onstage at the Hollywood Bowl as part of YOLA (Youth Orchestra Los Angeles) performing “Ode to Joy” at the ¡Bienvenido Gustavo! concert. At the age of 8, I did not recognize the signiﬁcance of the moment, but I did understand the feeling of playing with my friends, performing a piece we had worked tirelessly to prepare. In that moment, the anxiety of performing before a crowd that seemed to stretch into the sky gave way to the pride we felt in sharing the experience with one another.˛ In the centuries between Beethoven’s time and my debut at the Bowl, music has been a driving force in promoting connection during divisive times. There is perhaps no better exemplar of music’s ability to express the shared experiences we all have than Dudamel. Having emerged from El Sistema, a Venezuelan program that provides children with access to classical music, he has always viewed music and social responsibility as inherently intertwined. El Sistema’s founder, José Antonio Abreu, believed access

to music was a human right and regarded orchestras as places to build community and foster purpose through collective achievement. Dudamel’s career has been a living testament to this philosophy, with inﬂuence that extends far beyond the stage. In 2007 he and the LA Phil founded YOLA, an El Sistema-based program through which thousands of young musicians across Los Angeles have been provided free instruments, professional instruction, and opportunities to perform on world-renowned stages. He demonstrates that unity is not to be viewed in the abstract but as something that must be built intentionally through inclusion and opportunity, when people are given the tools to participate. Dudamel envisions music as a universal language capable of bridging cultural divides beyond the limits of words through rooted joint intention. His dedication to arts education reﬂects the belief that unity begins with providing people the tools to engage meaningfully with one another. Just as music combines the distinct sounds of each musician into a cohesive

GUSTAVO DUDAMEL LEADS MUSICIANS OF YOLA DURING ITS 2019 TOUR TO MEXICO CITY. PHOTO BY GERARDO NAVA.

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FEATURE

whole, it has the capacity to connect people through a shared purpose built on harmony. In a world grappling with polarization and inequality, the legacy of Beethoven and Dudamel remain profoundly relevant. Bringing a symphony together offers a parallel to our own lives by illustrating how we can create a beautiful world around us through active engagement and investment in our shared spaces. Gustavo Dudamel made his debut with the LA Phil in 2005 at the age of 24, and now at 24 myself, I look back on my experience with new appreciation. The 2009 concert and the following 16 years I have known Dudamel continue to shape the way I view the world. Our parallel timelines now feel especially signifi ant. At 8 years old I saw Dudamel as someone far removed from me. During the rehearsals leading up to the ¡Bienvenido Gustavo! concert, there was undeniable energy in the room— news cameras, journalists, and an atmosphere bordering on frenzy. Yet the moment Dudamel raised his baton, everything stilled. There was silence. He spoke to us in a way that made us feel capable, treating us as professional musicians, not children. His unwavering belief in our abilities became the foundation of our newfound confiden e. Looking back,

I recognize how young Dudamel was when he stood before us leading YOLA with clarity and conviction. This realization has reframed how I think about my own life. Dudamel did not wait for permission or certainty before becoming an agent of change; he stepped into the role with assurance and taught me that impact is determined not by age or status but by conviction in one’s beliefs and abilities. Dudamel’s vision of music as a force for unity did not just shape the sound that evening in 2009; it shaped how I saw myself in relation to others. Touring with YOLA and meeting young musicians from around the world, sharing music even when we did not share a spoken language, taught me to see myself as a member of a global community. The friendships I formed through YOLA remain some of my strongest and most cherished. Coming together each week over the course of a decade, building, creating, and growing alongside my friends, left a lasting imprint. On August 20, the journey comes full circle with the Celebrating Gustavo at the Bowl concert where YOLA students will perform Beethoven’s Ninth Symphony alongside the Los Angeles Philharmonic. When I sit in the

audience, I will see a reflection of my younger self in the musicians onstage and hear the echoes of my own memories in every note performed. It will feel like witnessing a passing of the baton, a bridge connecting past and present generations of young musicians shaped by Dudamel and the LA Phil. The concert will be a reminder that while individual members may come and go, the traditions and communities they build endure. By investing in the youth of Los Angeles, Dudamel and the Los Angeles Philharmonic have created a legacy that is continually renewed. Each class of young musicians adds a chapter to the story, like a new variation of a theme, leaving a new rendition for the next to experiment with and carry forward. Through YOLA, I learned what it meant to be a part of something greater than myself and came to understand that it is necessary to be engaged in our communities to cultivate spaces of shared belonging that inspire us to push our limits. When I think back to being on that stage at 8 years old, I no longer picture a child performing. I see the beginning of a perspective and a transformation that have continued to resonate long after the fi al notes were played.

Liliana Morales, a YOLA alumna, has performed at Walt Disney Concert Hall and the Hollywood Bowl and toured internationally with the Los Angeles Philharmonic. A University of California at San Diego graduate, she founded an El Sistemainspired organization in her hometown of La Habra that blends her passions for music, science, and community service.

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FEATURE

KEEPING IT GREEN AT THE BOWL By Piper Starnes

A LOOK AT THE NUMBERS AND RIDERS OF THE HOLLY WOOD BOWL’S TRANSPORTATION SYSTEMS For more than 70 years, Bowl Shuttles and Park & Ride buses have been bringing Los Angeles’ enthusiastic music lovers to the Hollywood Bowl from all across the region. With up to 165 buses operating on our busiest nights across 15 wheelchair-accessible pickup locations, and a team of nearly 200 helpers— drivers, dispatchers, parking lot staff, security personnel, and county partners—our robust network makes up the largest shuttlebus system west of the Mississippi River.

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LA Phil President and Chief Executive Officer Kim Noltemy says, “It is our responsibility not only to create an ambitious and innovative artistic program, but to ensure that we match the excellence of our program with the best visitor experience possible for our audiences, and we know that experience begins before you arrive at your seat.” During the 2025 season, 39% of concertgoers took the shuttle to the Bowl—a 13% increase in ridership in just the past three years. This amounts to keeping more than 2,000 cars off the streets every night, improving air quality throughout the neighborhood. This season we have expanded our fleet of low- and zero-emission shuttles. Our partner Transit Systems (TSUI) currently operates 20 electric buses at our Ovation, Burbank,

Ventura, and LA Zoo shuttle locations in addition to 40 buses that run on compressed natural gas (CNG), which reduces smog-related tailpipe emissions and greenhouse gases by about 20% over diesel fuel. Park & Ride lots are strategically selected based on capacity, accessibility, safety, and proximity to local businesses and other public transportation stops. Tickets start at $8. Shuttle rides are just $6—or free, if you take the Metro and show the attendant your valid TAP card or GoMetro Round-Trip Pass. Across the decades, the commitment toward easing the public’s travel to this iconic venue has shaped how audiences arrive, gather, and enjoy the Bowl experience—just take a look at some of the photos from over the years.

FEATURE

VALLEY RESIDENTS BOARD THE BUS AT QUEEN’S ARMS RESTAURANT IN ENCINO TO SEE PIANIST VAN CLIBURN PERFORM AT THE BOWL. AUGUST 1, 1958. ( LOS ANGELES PUBLIC LIBRARY)

GRAND OPENING OF THE EAST LA PARK & RIDE BUS. JUNE 28, 1995.

VALLEY VOLUNTEERS OF THE HOLLYWOOD BOWL LAUNCH THEIR ANNUAL “BUS TO BOWL” PROGRAM. JUNE 28, 1965. (LOS ANGELES PUBLIC LIBRARY)

BOWL SHUTTLE DRIVER. MAY 11, 2024. (ELIZABETH ASHER )

CONCERTGOERS BOARD THE FIRST BUSES TO THE HOLLYWOOD BOWL ON OPENING DAY OF THE EAST LA PARK & RIDE. JUNE 28, 1995.

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RETAIL

BRING HOME THE MAGIC OF THE HOLLYWOOD BOWL This summer, find one-of-a-kind items from local artists, tees and totes featuring vintage Bowl designs, and chic everyday essentials at the Bowl Stores. MOSAIC COLLECTION

For the fourth consecutive year, designer and artist Justina Blakeney brings her vibrant style to an exclusive Hollywood Bowl collection, titled Mosaic. Blakeney writes, “Mosaic celebrates the magic of the Hollywood Bowl, the way music, art, and community come together in little bits of color, rhythm, and story. The design is a reminder that beauty is made collectively—one note, one voice, and one moment at a time.”

CLASSIC COLLECTION

Featuring the unmistakable Hollywood Bowl logo and iconic shell, the Classic Collection offers a wide range of essentials— from hats to coffee mugs and quarter-zips to stickers.

VINTAGE COLLECTION

Hollywood Bowl history comes alive in the Vintage Collection. Inspired by art from the LA Phil’s archives, these designs are perfect for music lovers, antique enthusiasts, and anyone who relishes a night under the stars at the Bowl.

Hollywood Bowl Vintage Tote

Hollywood Bowl Classic Quarter-Zip

Hollywood Bowl Vintage Tee

Hollywood Bowl Mosaic Fan

Hollywood Bowl Classic Mug

Hollywood Bowl Mosaic Woven Throw Blanket

The inspiration for some of the pieces in the Vintage Collection: a Hollywood Bowl program book cover from July 1967.

Find the Mosaic, Classic, and Vintage collections and other exclusive merchandise for you or the Bowl fan in your life at the Bowl Stores, the LA Phil Store, and at laphilstore.com.

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The Iconic Retreat

A Life in Harmony As a remarkable chapter in Los Angeles music comes to a close, we’re reminded of the lasting power of connection, expression and shared experience.

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From the creative spirit of Los Angeles to the cultural richness of Pasadena, and the welcoming traditions of Claremont to the thoughtful design of Anaheim, each community reﬂects a shared belief: That life continues to evolve. That belonging matters. And that where you live should support not just how you live, but who you are.

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PROGRAM

MENDELSSOHN & HAYDN TUESDAY AUGUST 4, 2026 8PM Los Angeles Philharmonic Louis Langrée, conductor Marc Bouchkov, violin

MENDELSSOHN

The Hebrides (Fingal’s Cave), Op. 26 (c. 10 minutes)

MENDELSSOHN

Violin Concerto in E minor, Op. 64 (c. 26 minutes)

Allegro molto appassionato Andante Allegretto non troppo—Allegro molto vivace

Marc Bouchkov INTERMISSION

HAYDN

Symphony No. 104 in D major, “London” (c. 30 minutes)

Adagio—Allegro Andante Menuetto and Trio: Allegro Finale: Spiritoso

This performance is generously supported in part by the Kohl Virtuoso Violin Fund. Programs and artists subject to change.

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ABOUT THE PROGRAM

THE HEBRIDES (FINGAL’S CAVE), OP. 26 Felix Mendelssohn (1809–47) Composed: 1830; revised 1832 In spring 1829, the 20-yearold Felix Mendelssohn went to England to begin what would become an on-again, off-again three-year European tour. Such tours were common for children of the well-to-do (his father had amassed a considerable fortune in the banking business), but Mendelssohn was no ordinary rich kid. He had already composed such landmark works as the Opus 20 Octet and the Midsummer Night’s Dream Overture, and his name was known in musical circles throughout Northern Europe. He wasted no time getting before the London public, scoring a major success conducting the London Philharmonic in his First Symphony in May. At the end of July, with the concert season over, he left with his friend Karl Klingemann for Edinburgh, where he conceived the “Scottish” Symphony that he would finish a dozen years later. A week later, on the island of Mull in the Inner Hebrides west of the Scottish mainland, he wrote in a letter home to Berlin, “In order to make you realize how extraordinarily the Hebrides have affected me, the following came into my head there.” The “following” was extraordinary indeed: 21 bars in piano score, with orchestration indicated, of what we now know as the opening of The Hebrides. The next day, he and Klingemann took a steamer to the tiny island of Staffa o see one of Europe’s great tourist attractions, Fingal’s Cave, a sort of Hibernian Carlsbad Caverns. According

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to Klingemann, the trip made Mendelssohn seasick, and judging from the absence of any mention of it in Mendelssohn’s otherwise detailed travel notebook, the cave made far less of an impression on him than other scenery. As spontaneous a stroke of genius as that opening theme is, the overture did not come easily. He apparently “finished” at least two versions, and as late as 1832 he was still wrestling with it, writing to his sister that it did not savor enough of “oil and seagulls and dead fish.” The overture turned out to be one of his greatest successes, even if there has never been agreement about what to call it. A publisher seems to have stuck the name “Fingal’s Cave” on it, no doubt because Fingal’s Cave was far better known than the Hebrides islands (much as “Grand Canyon Suite” has more sales appeal than “Northwest Arizona Suite”), but couldn’t manage to get it straight: In the 1834 publication the score is labeled “Fingal’s Cave” and the parts titled “The Hebrides.” The confusion is unimportant except as a hint that we should not look for overly specific programmatic content in the overture. Clearly, it evokes the sea; never has a composer set a scene more aptly than Mendelssohn does in the opening few seconds, with the undulating theme in the low strings set against the still marine air held notes of the violins and woodwinds. Mendelssohn spins more themes out of that opening motif in a seamless web, then fashions them into a sonata structure along the lines of a symphony’s first movement. It is full of deft touches and evocative nuances—perhaps most memorable is the way the second

subject, which first appears in the cellos and bassoons (when the music first moves from the home key of B minor to D major) as yet another evocation of ocean waves, reappears just before the end in the clarinets, in a passage of tranquil, wistful reminiscence before the work ends in a stormy flurry and a distant echo. —Howard Posner

VIOLIN CONCERTO IN E MINOR, OP. 64 Felix Mendelssohn Composed: 1844 Mendelssohn participated in musical performances at his family’s Berlin home as early as age 9, and in his 13th year he composed a charming concerto for violin and string orchestra. That work, in D minor, was not intended for his own performance but rather for his slightly older teacher, Eduard Rietz—later a founder of the Berlin Philharmonic Society and concertmaster for Mendelssohn’s epochal 1829 revival of Bach’s St. Matthew Passion. If the D-minor Concerto is the handiwork of a precocious youth, betraying its indebtedness to earlier models, this evening’s work—the Concerto in E minor—is not only the creation of a mature master but also sui generis, brimming with lyric inspiration and structural inventiveness. It was written for another violinist friend of the composer, Ferdinand David, whom Mendelssohn appointed concertmaster upon becoming conductor of the Leipzig Gewandhaus Orchestra in 1835. “I would like to write a concerto for you,” Mendelssohn wrote to David in 1838, “one with an

ABOUT THE PROGRAM

E-minor theme that keeps running through my head, preventing me from thinking about anything else.” The work was begun shortly thereafter, but its completion was delayed by other projects and by Mendelssohn’s frequent bouts of ill health. He never abandoned the score for long, however, and at intervals shared sketches with David, soliciting practical advice from its eventual dedicatee at every stage. The composer was particularly interested in David’s opinion of the cadenza—not only whether it would be too difficult to play, but also whether its unusual placement would prove detrimental to the whole. As it turns out, the cadenza is the work’s pivotal episode and one of Mendelssohn’s greatest inspirations—one that distinguishes it from earlier concertos and sets a course for future composers. In earlier concertos, the cadenza often constituted an unwelcome break in continuity at the end of the first movement, with the orchestra falling silent to allow the soloist an opportunity for—more often than not—mindless display. In his two earlier major concertos for piano, Mendelssohn solved this problem by omitting cadenzas altogether. Here, instead of placing the cadenza at the end of the first movement, Mendelssohn introduces it just beyond the midpoint, allowing it to serve an integral structural role. It grows organically out of the development and enriches everything that follows in a score that is seamless, both literally and figuratively. The three movements are performed without pause and may be understood as variations on a single, evolving musical idea. —Herbert Glass

SYMPHONY NO. 104 IN D MAJOR, “LONDON” Joseph Haydn (1732–1809) Composed: 1795 By 1790, Haydn was no longer in service to Hungary’s noble Esterházy family. His longtime patron, Prince Nikolaus, had died, leaving Haydn a handsome pension while he maintained some connection with the court. However, the new Prince, Anton, although he increased Haydn’s pension, dismissed the entire musical establishment, leaving Haydn with little to do. So the composer moved to Vienna. Abundant job offers came his way, but nearing 60, famous and secure financially, the composer decided that he had no need to seek another permanent appointment. Instead, he accepted the most beguiling of the many commissions he was offered: for a half dozen symphonies, ordered by Johann Peter Salomon of London, an impresario, violinist, and conductor of his own orchestra, reportedly England’s finest. Haydn was treated like royalty— or at least like Europe’s greatest composer—upon his arrival in England at the beginning of 1791 for a residency during which the first set of Salomon’s symphonies, Nos. 93–98, would be presented. Later, another series of six—the rest of the 12 so-called “London Symphonies”— was composed in Vienna. Haydn returned to a breathlessly expectant London in February 1794. The English were not disappointed. The last symphony, tonight’s work, to which the name “London” has become particularly attached, was first heard on April 13, 1795, and was also the main event of Haydn’s London farewell concert, for his own benefit, three weeks later. Of the

latter, Haydn recorded in his diary: “The hall was filled with a picked audience. The whole company was delighted and so was I. I took in this evening 4,000 gulden. One can make as much as this only in England.” By this time Salomon was no longer able to afford his own series, and Haydn had become associated with another presenter. Whether or not Haydn had decided that this would be his last symphony—which it is— everything about it projects the feeling of a “statement,” including the boldly decisive, symmetrical introduction—two portentous D-minor episodes framing a smaller one in the key of F major— distinct from the improvisatory feeling Haydn conveys in similar circumstances elsewhere. The dark drama nonetheless gives way to something quite different (otherwise it wouldn’t be Haydn, master of the unexpected): a charging, joyous Allegro. Reversing the procedure, the Andante begins with an innocent, lilting G-major melody in the first violins, which darkens almost imperceptibly as the other strings enter, then changes its personality as the winds play a little lament, whereupon the whole orchestra bursts out in (minor-key) fury. The burly Menuetto has a particularly jaunty trio, dominated by solo oboe and bassoon, while the grand Finale—to London and to Haydn, the symphonist—is a potpourri of Slavonic folk tunes that Haydn had heard during his years on the Esterházy estates. The opening theme had long been thought of as a London tribute, quoting from the street song “Hot Cross Buns,” but was later identified as “Oj, Jelena,” a ballad sung by the Croatians living in Eisenstadt when Haydn made his home there. —H.G.

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ABOUT THE ARTISTS

LOUIS LANGRÉE

PHOTO : CHRIS LEE

LOUIS LANGRÉE Louis Langrée is Director of the Théâtre national de l’Opéra Comique, a position he has held since 2021, and Music Director Laureate of the Cincinnati Symphony Orchestra. A regular presence in New York, Langrée was the ﬁ nal Music Director of the Mostly Mozart Festival and has conducted the New York Philharmonic, the Metropolitan Opera,

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the Orchestra of St. Luke’s at Carnegie Hall, and at The Juilliard School. Worldwide guest conducting appearances have included the Berlin, Czech, London, Vienna, Tokyo, and Los Angeles Philharmonic orchestras; the Chicago, London, Pittsburgh, NHK, and Shanghai symphony orchestras; and the Philadelphia, Budapest Festival, Leipzig Gewandhaus, and the Orchestre de Paris. He frequently conducts at the Vienna Staatsoper, Teatro alla Scala, London’s Royal Opera

House (Covent Garden), Opéra de Paris, Lyric Opera of Chicago, and Bavarian Staatsoper, and at festivals including Glyndebourne, Aix-en-Provence, BBC Proms, Edinburgh International, Ravinia, Hong Kong Arts Festival, Wiener Festwochen, Salzburg Whitsun, and Mozartwoche. A strong advocate for the music of our time, Langrée has conducted world premieres by Daníel Bjarnason, Julia Adolphe, Guillaume Connesson, Jonathan Bailey Holland, Anna Clyne, Thierry Escaich, David Lang, Julia Wolfe, Nico Muhly, Caroline Shaw, André Previn, Christopher Rouse, and Anthony Davis, among dozens of others. In 2025/26 Langrée returned to the National Symphony Orchestra, New York Philharmonic, Orchestra of St. Luke’s, the Los Angeles Philharmonic at the Hollywood Bowl; appeared at the Cincinnati, Kansas City, and Barcelona symphony orchestras; and conducted the Orchestre de l’Opéra de Lyon at the Evian Festival and the Orchestre Philharmonique de Radio France at the Festival Berlioz in France. A native of Alsace, France, Langrée is a Chevalier de la Légion d’Honneur and a Commandeur des Arts et des Lettres.

ABOUT THE ARTISTS

MARC BOUCHKOV A Belgian violinist of RussianUkrainian heritage, Marc Bouchkov is a sophisticated artist of impeccable aplomb and is proving to be one of the most distinctive and multifaceted musicians of the new generation. Recent highlights include his debut with the Israel Philharmonic Orchestra with Lahav Shani; his debut with the Budapest Festival Orchestra and Gábor Takács-Nagy; a tour with the Verbier Festival Chamber Orchestra in China and Hong Kong; an orchestra tour in Japan with Norichika Iimori; his debut with Sunwook Kim in Seoul; the end of his residency with the Netherlands Philharmonic under the batons of Lorenzo Viotti, Ryan Bancroft, and Hannu Lintu; Brahms’ Double Concerto with cellist Mischa Maisky under the baton of Christoph Eschenbach; and the complete cycle of Beethoven Violin Sonatas at the Verbier Festival, Oji Hall in Tokyo, and the Israel Philharmonic hall with pianist Mao Fujita. Upcoming highlights include a return to the Barcelona Symphony Orchestra with Juanjo Mena and a concert with the Orchestra Sinfonica Nazionale della RAI and Marta Gardolińska. During the 2025 Verbier Festival, Bouchkov performed with partners including Klaus Mäkelä, Lahav Shani, Mao Fujita, Blythe Teh Engstroem, Martin Frost, and Julien Quentin and had his soloist debut with Teodor Currentzis. Recently, Deutsche Grammophon Gold published his live performances of Ysaÿe’s sonatas and Violin Concerto in E minor from the previous edition

MARC BOUCHKOV

of the Verbier Festival. He also recorded an all-Mendelssohn CD with pianist Claire Huangci on the Berlin Classics label. Bouchkov’s very ﬁrst album on Harmonia Mundi featured premiere recordings of two works by Ysaÿe and two of his own compositions. The album was awarded a Diapason d’Or and a Diapason Découverte. A keen friend of a few living composers, Bouchkov also recorded a chamber music album of works by Igor Raykhelson and two violin concertos by Alexey Shor. Additional orchestral appearances have included the Orchestra Filarmonica della Scala and Lorenzo Viotti, the Munich Philharmonic and Philippe Jordan, hr-Sinfonieorchester and Christoph Eschenbach, the Mariinsky Orchestra and Valery Gergiev, and the Brussels Philharmonic under Nikolaj Szeps-Znaider, among others. In great demand as a recitalist, Bouchkov is a regular guest of the Verbier Festival in Switzerland,

the Tsinandali Festival in Georgia, and the Jerusalem International Chamber Music Festival in Israel. A ﬁne chamber musician, he has performed with Evgeny Kissin, Mischa Maisky, András Schiff, Lahav Shani, Klaus Mäkelä, and Behzod Abduraimov, among others. He won a gold medal at the Montreal International Musical Competition and a silver medal at the Tchaikovsky Competition. Marc Bouchkov was born into a family of violinists. He received his ﬁrst lessons at the age of 5 from his grandfather, and studies with Claire Bernard and Boris Garlitsky followed. He went on to study with Mihaela Martin as a Young Soloist in a postgraduate course at the Kronberg Academy. For many years he has been under the musical tutelage of Eduard Wulfson. Bouchkov currently serves as professor on the faculty of the Conservatoire royale de Liège (Belgium) and from April 2025 as professor at the Folkwang University of the Arts in Essen, Germany.

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PROGRAM

BRAHMS & BIZET THURSDAY AUGUST 6, 2026 8PM Los Angeles Philharmonic Louis Langrée, conductor Augustin Hadelich, violin

FARRENC

Overture No. 1, Op. 23 (c. 8 minutes)

BIZET

L’Arlésienne Suite No. 1 (c. 17 minutes)

BIZET

Selections from Carmen Suites Nos. 1 & 2 (c. 19 minutes)

Prélude Minuet Adagietto Carillon

Les Toréadors Prélude and Aragonaise La Garde montante Intermezzo Séguedille Les dragons d’Alcala Danse Bohème

INTERMISSION BRAHMS

Violin Concerto in D major, Op. 77 (c. 40 minutes)

Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace—Poco più presto

Augustin Hadelich

This performance is generously supported in part by the Kohl Virtuoso Violin Fund. Programs and artists subject to change.

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ABOUT THE PROGRAM

OVERTURE NO. 1, OP. 23 Louise Farrenc (1804–75) Composed: 1834 As a pianist, educator, and composer, Louise Farrenc was one of the most prominent musicians in mid-19th-century France. She was the only woman of her time to serve as professor at the Paris Conservatory, a position she held for 30 years. She was twice awarded the prestigious Chartier Prize for her contributions to French chamber music. And with her husband, Aristide, she founded Éditions Farrenc, which became one of France’s leading music publishers. Yet today, Farrenc’s life and music are largely unknown. How could such achievements and a large catalog of work— encompassing music for solo piano, chamber ensembles, choir, and orchestra—have been consigned to the shelves of history for 150 years? The primary culprit, of course, is the systemic sexism long upheld by the classical music establishment—including her alma mater, the Paris Conservatory, which didn’t allow women to study composition until 1870. Even after the school appointed Farrenc professor of piano, she could accept only female students into her studio, was barred from teaching composition, and received a lesser salary than her male colleagues. But when it came to her orchestral music, gender wasn’t Farrenc’s only obstacle. French audiences simply didn’t care for abstract orchestral scores, preferring instead the spectacle of opera and vaudeville. Those hungry to hear symphonies

were interested only in the works of Beethoven, Mendelssohn, and Robert Schumann. And the one Parisian ensemble performing new symphonies, the Conservatory Concert Society, always programmed premieres alongside a Beethoven symphony, inviting direct comparisons with the German colossus. Farrenc was wise to these obstacles—and savvy enough to use them to her advantage. To stand any chance of having her orchestral music performed, she would have to stick to the established Austro-German tradition. And that’s exactly what she did with her first work for orchestra: Overture No. 1, penned in 1834. Here she adopts the style of Haydn and Mozart, from the slow, stately introduction—in which bombastic fanfares alternate with wistful woodwind interjections— to the stormy string writing and driving, dramatic sweep. But despite having to color within these conservative lines, Farrenc projected a progressive voice through her gift for melodic invention, her knack for building musical momentum, and her dazzling approach to orchestral color. —Michael Cirigliano II

L’ARLÉSIENNE SUITE NO. 1 Georges Bizet (1838–75) Composed: 1872 In his collection Letters from My Windmill, French author Alphonse Daudet included a story about 20-year-old Jan from a Provençal farm who falls in love with a girl from Arles (the eponymous Arlésienne). When it is revealed that she has taken other lovers, the aff ir comes to an abrupt end,

but Jan’s infatuation remains. Unable to recover from his heartbreak, Jan kills himself. Daudet later expanded the story into a three-act play, which premiered at Paris’ Théâtre du Vaudeville in 1872 with incidental music by Georges Bizet. A musical prodigy who entered the Paris Conservatory at age 9, Bizet enjoyed early success and won the Prix de Rome, the most prestigious award for young French composers. But over the subsequent years he struggled to bring projects to completion, in part due to serving in France’s National Guard during the Franco-Prussian War of 1870–71. With the war over and peace returning to France, theater director Léon Carvalho commissioned Bizet to write incidental music for Daudet’s play, and the composer delivered 27 individual pieces for a small ensemble. The play was a failure by most measurements, but Carvalho presciently assessed the production, saying: “The piece is a little too somber for my theater, but I think the music will be a powerful attraction, and it will soften somewhat the cruelty of the play.” Bizet capitalized on this bright spot and created the first L’Arlésienne Suite for full orchestra that same year. His collaborator Ernest Guiraud later arranged a second suite, after Bizet’s untimely death at age 36. The first suite begins with a stately theme that undergoes several transformations through various combinations of instruments culminating in the full orchestra—until a melancholy theme performed by solo alto saxophone emerges. L’Arlésienne was among the first purely symphonic compositions to

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ABOUT THE PROGRAM

feature Adolphe Sax’s invention and marked a turning point for the instrument’s inclusion in orchestral works. The charming Minuet floats by with twirling triplets and skipping staccatos, before the violins, violas, cellos, and the alto sax join for the swooning Adagietto that seems to embody the term bittersweet. The last-movement Carillon opens with a brilliant horn fanfare, but soon a mournful tune intercedes; unlike the tragedy of the original play, though, the fanfares return, ushering in an ending full of cheer and sunshine. —Amanda Angel

SELECTIONS FROM CARMEN SUITES NOS. 1 & 2 Georges Bizet Composed: 1875, posthumously arranged by Guirard (1837–92) The same year that L’Arlésienne premiered, Bizet received a commission from Paris’ OpéraComique for a full-length opera. Though the Opéra-Comique was primarily known for staging comedies of manners in which upstanding morals and general goodness prevail, Bizet decided to turn toward a darker subject—one filled with lust, jealousy, rage, and murder. Inspiration for the opera came from Prosper Mérimée’s 1845 novella about a seductive tobacco factory worker, Carmen,

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and the soldier Don José, whose infatuation turns fatal. Bizet engaged two experienced librettists, Henri Meilhac and Ludovic Halévy, who helped shape the stage work with additional supporting characters. Though Bizet had never traveled to Spain, he infused the opera with Iberian touches such as castanets and traditional dances such the seguidilla and habanera (the latter infl enced by 19th-century Spanish composer Sebastián Yradier). Still, a lyrical French sensibility runs throughout. When it opened at the OpéraComique in 1875, Carmen scandalized audiences. Writing in Le Siècle, the critic Oscar Comettant declared, “Carmen is neither scenic nor dramatic. One cannot express musically the savagery and the caprices of Mlle. Carmen with orchestral details.” However, fascination with the new opera fueled the public’s interest in the work, and accompanied by Bizet’s untimely death exactly three months after Carmen’s opening, the opera sustained a lengthy first run of more than 40 performances. Within a few years, Carmen would become an international sensation, celebrated for its novel fusion of drama and music. To this day it is a perennial favorite at opera houses around the world, leaving musical theater lovers questioning what future brilliance Bizet might have produced had he lived longer.

Following Bizet’s death, composer Ernest Guiraud (who arranged the second L’Arlésienne Suite) fashioned a pair of orchestral suites bringing together the opera’s most famous melodies. Tonight’s program presents selections from both of Guiraud’s arrangements. It opens with the theme of the toreadors’ heroic entrance to crashing cymbals and the great bullfighter Escamillo’s song. From there ominous horns of the Prélude foreshadow tragedy before melting into a sinuous Aragonaise, a dance from northeastern Spain, punctuated with tambourine. The beginning fanfare of La Garde montante calls an amateur regiment of children imitating soldiers marching through the streets of Seville. A strumming harp evoking a Spanish guitar and gentle flute melody introduce the meltingly beautiful Intermezzo, which links Acts II and III and dissolves into placid reverie. Things pick up in the seductive Séguedille depicting the imprisoned Carmen at once enchanting Don José and devising her escape. Les dragons d’Alcala refers to the stationed cavalry outside Seville’s city walls and emerges as a lumbering march. Tonight’s compilation closes with the apotheosis of the “ardent, crazy, feverish” Bohemian lifestyle in the dizzying and intoxicating Danse Bohème, accelerating and crescendoing until it can only self-destruct. —A.A.

ABOUT THE PROGRAM

VIOLIN CONCERTO IN D MAJOR, OP. 77 Johannes Brahms (1833–97) Composed: 1878 Brahms was a great pianist, but he would never have wanted to be identified with the armies of piano virtuosos who toured Europe and composed flashy variations on tunes from Mozart’s and Verdi’s operas. His two piano concertos are stern and serious works, and when it came to writing a violin concerto, his model was unquestionably going to be Beethoven, not Paganini. He made that doubly plain by choosing the same key as Beethoven, D major, and by following his precedent with a long, lyrical first movement in full classical sonata form. Perhaps we should be surprised that he composed a violin concerto at all. Joseph Joachim, for whom it was written, was the first important musician Brahms met when he left his Hamburg home at the age of 20 to seek fame and fortune. Joachim, only two years older, was already an international star at that time, and the two struck up a firm friendship that lasted over 40 years. In composing a concerto for Joachim 25 years after their first meeting, Brahms worked closely with him in fashioning the

solo part; he clearly intended the concerto to be a test of the player’s technique and musicianship and to be free of any suspicion of unmotivated display. Display itself is of course perfectly legitimate, in fact desirable, in a concerto, so it remains for us only to judge whether the soloist’s leaps, arpeggios, double-stops, and passagework are intrinsic to the piece or not. The earliest critics were in some doubt, although the violin writing now strikes us as a model of good taste and sensitive musicianship. Others, such as the great Spanish virtuoso Pablo de Sarasate, felt it had no tunes. “Would I stand there,” he said, “violin in hand, while the oboe plays the only melody in the whole work?” The concerto was first performed in Leipzig on New Year’s Day 1879 by Joachim, the dedicatee, who composed the cadenza that is still played by many violinists today. Never fond of waste, Brahms presents his first movement’s main theme as a bare unison at the very start of the work, based on a D-major triad. Eight measures later the oboe offers something nearer to a scale; eight measures further on, the full orchestra dwells on leaping octaves. Gradually the thematic material finds its place, some presented by the

orchestra, more provided by the soloist after he has flexed his muscles (46 measures of–yes– display). Eventually we reach a gloriously lyrical second subject, which seems to express the very soul of the violin. The finest moment is reserved for the coda, after the cadenza, when the soloist soars higher and higher in dreamy flight before a final resumption of the main tempo. The slow movement, in F major, opens with a long theme for the oboe with wind accompaniment. When the soloist takes it up, the strings accompany, and the textures and harmonies become gradually more adventurous, brought back to earth only for the return of the main theme and the main key. The finale’s boisterous lilt is a tribute to Joachim’s Hungarian birth. But as with Joachim himself, who never returned to Hungary or showed sympathy for its nationalist causes, other themes of a quite un-Hungarian character intervene, including a dynamic rising scale in octaves and a beautifully lyrical episode in which the meter changes briefly from a stamping 2/4 to a gentle 3/4. The final switch to a 6/8 pulse with heavy offbeats is one of Brahms’ stranger inventions, and the dying decline of the last few bars is stranger still. —Hugh Macdonald

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ABOUT THE ARTISTS

LOUIS LANGRÉE

LOUIS LANGRÉE To read about conductor Louis Langrée, please turn to page 36.

AUGUSTIN HADELICH Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages. Hadelich has performed with all the major American orchestras as well as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra Amsterdam, Bavarian Radio Symphony Orchestra, London Philharmonic, and many other eminent ensembles. In the 2025 summer festival season, Hadelich appeared with the Boston Symphony at Tanglewood Music Festival, Mahler Chamber Orchestra at the Enescu Festival in Bucharest, and Orchestre de Paris at the Lucerne Festival, as well as BBC Proms in London, Aspen Music Festival in Colorado, and the Grant Park Music Festival in Chicago.

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AUGUSTIN HADELICH

In the 2025/26 season, Hadelich was the Artist in Residence with the Boston Symphony Orchestra, featured in concerto, chamber music, and solo recital formats. He also appeared with the Chicago Symphony, The Cleveland Orchestra, New York Philharmonic, The Philadelphia Orchestra, Pittsburgh Symphony, Houston Symphony, St. Louis Symphony Orchestra, San Diego Symphony, New World Symphony, and the National Arts Centre Orchestra in Ottawa. Further invitations bring him to Royal Concertgebouw Orchestra, Gewandhausorchester Leipzig, Staatskapelle Dresden, Bamberg Symphony, Deutsches SymphonieOrchester Berlin, Munich Philharmonic, NDR Elbphilharmonie Orchestra, Tonhalle-Orchester Zürich, Vienna Symphony, WDR Radio Symphony Cologne, Festival Strings Lucerne, Accademia Nazionale di Santa Cecilia, Barcelona Symphony, BBC Philharmonic, Belgian National Orchestra, Czech Philharmonic, Finnish Radio Symphony, NCPA Orchestra Beijing, Orchestre National de Lyon, and São Paulo Symphony. In April 2026, he was in residence at the Tongyeong International Music Festival in South Korea. Recitals take him to New York, Boston, San Francisco,

Seattle, Warsaw, Copenhagen, Graz, Heidelberg, Cremona, and Taipei. Hadelich’s discography reflects his stylistic versatility and encompasses much of the violin repertoire. In 2016, he received a Grammy Award for his recording of Dutilleux’s Violin Concerto, “L’Arbre des songes,” with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, he released his most recent album, American Road Trip, a journey through the landscape of American music with pianist Orion Weiss, in August 2024; it received an Opus Klassik award in 2025 for Chamber Music Recording of the Year. Other albums for Warner Classics include Paganini – 24 Caprices (2018); Brahms, Ligeti Violin Concertos (2019); the Grammy-nominated Bohemian Tales, which includes the Dvořák Violin Concerto with the Bavarian Radio Symphony Orchestra and Jakub Hrůša (2020); the Grammynominated recording of Bach’s complete Sonatas and Partitas (2021); and Recuerdos, a Spain-themed album featuring works by Sarasate, Tarrega, Prokofiev, and Britten (2022). Augustin Hadelich, an American and German citizen born in Italy to German parents, rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis. Further distinctions followed, including an Avery Fisher Career Grant (2009), the UK’s Borletti-Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter in the UK (2017). In 2018, he was named Instrumentalist of the Year by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, he was appointed to the violin faculty at the Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as “Leduc, ex-Szeryng,” on loan from the Tarisio Trust.

PROGRAM

MOZART UNDER THE STARS TUESDAY AUGUST 11, 2026 8PM Los Angeles Chamber Orchestra Nicolas Ellis, conductor Angela Hewitt, piano

MOZART

Overture to Don Giovanni, K. 527 (c. 6 minutes)

MOZART

Piano Concerto No. 22 in E-flat major, K. 482 (c. 38 minutes)

Allegro Andante Allegro

Angela Hewitt INTERMISSION

MOZART

Symphony No. 41 in C major, K. 551, “Jupiter” (c. 31 minutes)

Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro

This performance is generously supported by Canon Insurance Service. Moritaka Kina is chief piano technician for the Los Angeles Philharmonic. Programs and artists subject to change.

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ABOUT THE PROGRAM

OVERTURE TO DON GIOVANNI, K. 527 Wolfgang Amadeus Mozart (1756–91) Composed: 1787 Mozart’s move to Vienna in 1781 was a momentous event in the life of the young composer from Salzburg. Once he arrived in the bustling Austrian capital, his enthusiasm for and his enterprise in his adopted city were enormous; he desperately wanted to succeed on his own terms as an independent artist rather than as an indentured musician. He plunged into a schedule of various activities—composing, performing, and teaching—with a vengeance, and through his nonstop labors he quickly established an enviable career. That the popularity of this amazing genius should have peaked in three short years (1784 was his most successful season), only to go into decline after that, is an account written on one of the bitterest pages in music history. By 1786, Mozart had to travel to Prague to enjoy the acclaim that his music fully deserved. In the Bohemian city, The Marriage of Figaro had become the rage, and the Prague Opera, anxious to duplicate its success, asked the composer for a new work for the following season. Partnering again with Figaro librettist Lorenzo da Ponte, Mozart produced Don Giovanni, which premiered on October 29, 1787. If the city was not aroused to anything approaching the Figaro furor of the previous season, it still responded positively to the new work (Figaro, as a comedy, has a popularity

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quotient that is more immediate than the darker Giovanni). The overture, written in typical Mozartian style (the ink, it is said, was barely dry on its pages at the dress rehearsal), is one of the composer’s typical masterpieces. The andante opening is one of the composer’s most telling dramatic strokes, the more impressive for being a synthesis of the slow, menacing music that occurs in the opera’s penultimate scene. There, when Giovanni, the murderer, is confronted by the stone statue of his victim, the D-minor intensity is extended throughout the action; Mozart’s telescoping of this seething atmosphere at the beginning of the opera remarkably exemplifies his awareness of theatricality at its most potent. The music here murmurs and shouts and, most impressively, contains those sinister ascending and descending scales that portend the doom of the philandering Giovanni at the opera’s climax. As for the allegro that constitutes the overture proper, none of it is derived from the opera; this music, with its vigorous bravado, serves to characterize the spirited escapades of the forever pleasure-seeking Don Juan. —Orrin Howard

PIANO CONCERTO NO. 22 IN E-FLAT MAJOR, K. 482 Wolfgang Amadeus Mozart Composed: 1785 Mozart was a famous and intermittently wealthy man during his first four years in Vienna (1781–85), as the aristocracy and haute bourgeoisie fought over his services as composer, pianist,

and teacher. He was a central component of a golden age in Vienna, the capital of the AustroHungarian Empire and a city that attracted artists thanks to its number of generous patrons. There was also a music industry made up of not just composers and performers but also the requisite and rarely credited backup of copyists, publishers, and retailers (of scores and instruments) on an order that existed elsewhere only in London and Paris, both much larger cities. By the end of 1785, however, trouble for the empire—and, relatedly, for Mozart and the music industry—was beginning, with uprisings on its distant borders and the looming prospect of a war with Turkey, which the aristocracy would have to finance. Sights, and patronage, were being lowered. The three great piano concertos of 1785, K. 466, K. 467, and K. 482, might not signal the beginning of an end, but in a sense they were. There would be more quality piano concertos by Mozart—at least four additional masterpieces would follow—spread over five years. From November 1785, the month he began K. 482 and from which the first pages of The Marriage of Figaro date as well, comes the first of the free-spending composer’s pathetic begging letters, this one to his publisher, Hoffmeister, for “just a little money, since I need it very badly.” This to the firm that had only weeks before turned down the splendid G-minor Piano Quartet, K. 478, as being “too eccentric”— presumably for the amateurs who were its intended customers. Mozart completed the present E-flat Concerto (his first great piano concerto, K. 271, is in the

ABOUT THE PROGRAM

same key) on December 16, 1785, and played it that same evening between the acts of the oratorio Esther by Carl Ditters von Dittersdorf, a practice barbaric to us today but one accepted by composers and listeners in the 18th century. Still, it is difficult not to have one’s doubts about the quality of the minimally rehearsed, if rehearsed at all, orchestral performance on such an occasion. Whatever Mozart’s personal difficulties and diminishing prospects at the time, there were sufficient connoisseurs to pack the subscription concert that introduced this concerto as an independent work on December 23, 1785. It was very well received, most notably the slow movement, which was encored. K. 482 looks back structurally to the previously mentioned K. 271, sharing the distinctive complex of profundity and flippancy and engaging in some of the same practices, such as the solemn slow movement and the opera buffa nale that suddenly turns darkly introspective. But what strikes listeners most about K. 482 is the luxuriant, even by Mozartian standards, interplay between the piano and the woodwind quintet—flute along with pairs of clarinets and bassoons—in the second and third movements, the winds rising out of the orchestra almost as a separate entity to engage in poignant, private chamber music conversations among themselves and with the piano. This is all the more striking for occurring within the context of such “public” music, i.e., scored for what was in its time a large orchestra. —Herbert Glass

SYMPHONY NO. 41 IN C MAJOR, K. 551, “JUPITER” Wolfgang Amadeus Mozart Composed: 1788 Without any known commission to compose them—although there might have been plans to bring them to London on a tour that never happened—and with their author in humiliating circumstances, Mozart’s last three symphonies were created, miraculously, within a brief period during the summer of 1788. The present work, no hurler of thunderbolts in spite of its nickname (which Mozart had no part in fastening to it) represents a definitive, artful manipulation of congenial but not really striking materials. The composer blazed no new paths in this symphony and certainly gave no indications that a symphony numbered 42 would be more advanced than 41. What he did accomplish with awesome aplomb was to gather his strengths and create a work that, in its fulfillment of the highest ideals of Classical symphonism, stands on the loftiest possible plane. The first movement begins with a short, ceremonial exclamation in full orchestra, answered, after a respectful silence, by a gentle plea from the violins. A martial rhythm, much used throughout the movement, and an extended series of bravado flourishes leading to an assertive cadence are followed by the first theme repeated in violins, softly this time, with a countermelody in flute and oboe that is to become an important element. After some working out of these materials, a graceful, serenade-like second theme is introduced. It runs its gentle course, and, after a measure’s

pause, a dramatic, full-orchestra outburst in minor makes way for a tune that is as coy as it is courtly. Although this section ends with some of the familiar ceremonial flourishes, it is the courtly tune that is taken up first for development. After it has gone through some dramatic harmonic territory, the main theme and its countermelody reappear, not to signify the beginning of the recapitulation but rather themselves to be developed. When the recapitulation actually does occur, it contains some delicious harmonic departures from the original statements. The Andante second movement begins with a properly fastidious, untroubled main theme that gives no hint whatsoever of the tensions and drama that accrue in the secondary theme. Here the suspension-created dissonances and the syncopations tear apart the graceful Mozartean facade to signify, briefly to be sure, a momentous struggle. Although the development section begins with this searing material, the larger remainder of the movement maintains its lyrical poise. The Menuetto establishes and pursues its dance stylization in a manner guaranteed not to ruffle aristocratic sensibilities. The finale, however, might have furrowed a few proper brows with its grand display of contrapuntal athleticism striking a learned, though joyous, note. There are five themes to keep track of, the first a four-note subject—drawn from an old church tune—the others brief and, although unremarkable in themselves, capable of being combined magnificently in the movement’s fugal denouement. —O.H.

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ABOUT THE ARTISTS

NICOLAS ELLIS

NICOLAS ELLIS Nicolas Ellis is Music Director of the Orchestre National de Bretagne, Principal Guest Conductor of Les Violons du Roy, and Artistic Director of Orchestre de l’Agora, which he founded in Montreal in 2013. The 2025/26 season sees Nicolas’ debut with the Polish National Radio Symphony Orchestra, Norwegian Radio

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Orchestra, Swedish Chamber Orchestra, Hamburger Symphoniker, the Orchestra of the Opéra National de Lorraine, and the Baltimore and Seattle symphony orchestras; he returns for subscription concerts with the Sydney Symphony Orchestra. Highlights of the previous season included performances with the Tampere and Luxembourg philharmonics, San Diego Symphony, Orchestra of St. Luke’s, and Orchestre

Métropolitain, with which he is a regular favorite. Now in his second season as Music Director of the Orchestre National de Bretagne, he will lead works ranging from Mozart, Brahms, and Schumann to Stravinsky, Bartók, and Shostakovich; a program centered on Mendelssohn’s A Midsummer Night’s Dream involving a local youth theater; and an evening of folk music, featuring traditional folk musicians from Québec. Acclaimed for his approach to the Baroque and Classical repertoire, Nicolas recently led Mozart’s Symphony No. 25 with Les Violons du Roy in a performance described by Le Devoir as “one of the most beautiful Mozart symphonies heard in Montreal in the last 20 years.” At the Opéra de Montréal, Nicolas has led productions of Le nozze di Figaro, The Turn of the Screw, L’ incoronazione di Poppea, and L’enfant et les sortilèges. Elsewhere, he conducted Die Fledermaus at Opéra de Québec, Britten’s War Requiem at Graz Opera, and a new production of Die Zauberflöte at Opéra de Rennes.

ABOUT THE ARTISTS

ANGELA HEWITT Angela Hewitt occupies a unique position among today’s leading pianists. With a wideranging repertoire and frequent appearances in recital and with major orchestras throughout Europe, the Americas, and Asia, she is also an award-winning recording artist whose performances of Bach have established her as one of the composer’s foremost interpreters. In 2020 she received the City of Leipzig’s Bach Medal, a huge honor in that for the first time in its 17-year history, the medal was awarded to a woman. In March 2024, Hewitt embarked on her latest major project, titled The Mozart Odyssey, comprising the composer’s complete piano concertos. This followed Hewitt’s highly acclaimed Bach Odyssey cycle (2016–22), in which she performed the complete keyboard works of Bach across 12 recitals, also presented worldwide. The Mozart project continues in 2025/26 with a variety of engagements that extend the Odyssey’s reach to 13 countries; recent and upcoming conductor-led performances include the Mozarteumorchester Salzburg, Brussels Philharmonic, Royal Liverpool Philharmonic, Warsaw Philharmonic, Estonian National Symphony, Tampere Philharmonic, Fort Worth Symphony, Montreal Symphony, NAC (Ottawa), Toronto Symphony, Vancouver Symphony, and Ulster orchestras, among others. Hewitt is also much in demand as a play-conductor, collaborating with Orchestra of St. Luke’s in New York, Cameristi della Scala, Tapiola Sinfonietta, Bochumer Symphoniker, Royal Northern Sinfonia, London Mozart Players,

ANGELA HEWITT

and Malaysian Philharmonic Orchestra as part of The Mozart Odyssey. She has previously led the Hong Kong and Copenhagen philharmonic orchestras, Lucerne Festival Strings, the Zurich, Basel, Swedish, and Stuttgart chamber orchestras, Salzburg Camerata, Orpheus Chamber Orchestra in New York, Orchestra Ensemble Kanazawa in Japan, and Tonkünstler Orchestra in Vienna’s Musikverein. Hewitt’s award-winning cycle for Hyperion Records of all the major keyboard works of Bach has been described as “one of the record glories of our age” (The Sunday Times). Her discography also includes albums of Couperin, Rameau, Scarlatti, Mozart, Beethoven, Chopin, Schumann, Liszt, Fauré, Debussy, Chabrier, Ravel, Messiaen, and Granados. Her most recent recordings include three volumes of Mozart’s complete piano sonatas, released in November 2022 and October 2023, with the final set released in June 2025. Born into a musical family, Hewitt began her piano studies at age 3, performed in public at 4, and a

year later won her first scholarship. She studied with Jean-Paul Sévilla at the University of Ottawa and, in 1985, won the Toronto International Bach Piano Competition, which launched her career. In 2018 she received the Governor General’s Lifetime Achievement Award, and in 2015 she received the highest honor from her native country—a Companion of the Order of Canada (which is held by only 165 living Canadians at any one time). That same year, she was inducted into Gramophone magazine’s Hall of Fame. In 2006 she was awarded an OBE from Her late Majesty Queen Elizabeth II. She is a member of the Royal Society of Canada, has seven honorary doctorates, and is a Visiting Fellow of Peterhouse College in Cambridge. In 2020 Hewitt was awarded the Wigmore Medal in recognition of her services to music and relationship with the hall over 35 years. Angela Hewitt lives in London and also has homes in Ottawa and Umbria, Italy, where, 21 years ago, she founded the Trasimeno Music Festival—a weeklong annual event that draws an audience from all over the world. CONTINUED

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ABOUT THE ARTISTS

LOS ANGELES CHAMBER ORCHESTRA

LOS ANGELES CHAMBER ORCHESTRA Los Angeles Chamber Orchestra (LACO) ranks among the world’s top musical ensembles. Beloved by audiences and praised by critics, the Orchestra is a preeminent interpreter of historical masterworks and, with eight ASCAP Awards for Adventurous Programming, a champion of contemporary composers. Headquartered in the heart of the country’s cultural capital, LACO has been proclaimed “America’s finest chamber orchestra” (Public Radio International), “LA’s most unintimidating chamber music experience” (Los Angeles magazine), “resplendent” (Los Angeles Times), and “one of the world’s great chamber orchestras” (Classical California KUSC). Performing throughout greater Los Angeles, the Orchestra has made 32 recordings; toured Europe, South America, and Japan; and appeared in concert across North America. laco.org.

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FIRST VIOLINS

CELLOS

BASSOONS

Margaret Batjer Concertmaster

Andrew Shulman Principal

Rose Corrigan Acting Principal

Tereza Stanislav Assistant Concertmaster

Trevor Handy Acting Associate Principal

Damian Montano

Jacqueline Brand Misha Vayman Maia Jasper White Tamara Hatwan Susan Rishik Michael Siess

Giovanna Clayton Leah Hansen

SECOND VIOLINS Josefina Vergara Principal Sarah Thornblade Associate Principal Cheryl Norman-Brick Carrie Kennedy Joel Pargman Gallia Kastner Christine Frank

VIOLAS Robert Brophy Acting Principal

BASSES David Grossman Principal Samuel Zagnit Acting Associate Principal

HORNS Michael Thornton Principal Lorenzo Robb

TRUMPETS David Washburn Principal

FLUTES

Erick Jovel

Benjamin Smolen Principal

TIMPANI

Sandy Hughes

OBOES Rong-Huey Liu Acting Principal Eder Rivera Acosta

CLARINETS

Jonathan Moerschel Acting Associate Principal

Joshua Ranz Principal

Aaron Oltman Jenny Sung

Juan Gallegos

Wade Culbreath Principal

LIBRARIAN Serge Liberovsky

PERSONNEL MANAGER Ryan Sweeney

PROGRAM

GERSHWIN, BERNSTEIN & MORE TUESDAY AUGUST 18, 2026 8PM National Symphony Orchestra Gianandrea Noseda, conductor

BERNSTEIN

Symphonic Dances from West Side Story (c. 23 minutes)

GERSHWIN

Prologue (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace e leggiero) Mambo (Meno presto) Cha-cha (Andantino con grazia) Meeting Scene (Meno mosso) Cool Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)

An American in Paris (c. 20 minutes) INTERMISSION

DVOŘÁK

Symphony No. 9 in E minor, Op. 95, B. 178, “From the New World” (c. 40 minutes)

Adagio—Allegro molto Largo Molto vivace Allegro con fuoco

This performance is generously supported by Pasadena Showcase House for the Arts. The National Symphony Orchestra thanks O’Melveny & Myers LLP, Jeanne Weaver Ruesch, Roger Sant and Doris Matsui, and Wells Fargo for sponsoring this concert. Programs and artists subject to change.

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ABOUT THE PROGRAM

SYMPHONIC DANCES FROM WEST SIDE STORY Leonard Bernstein (1918–90) Composed: 1960 A child of the Jazz Age, Leonard Bernstein wrote music that combined George Gershwin’s Russian immigrant roots with Cole Porter’s Ivy League education (Harvard, for Bernstein). His protean career developed quickly: His famous debut conducting the New York Philharmonic on short notice in a nationally broadcast concert in November 1943 was followed the next year by the premieres of his First Symphony, “Jeremiah,” with the Pittsburgh Symphony; his ballet Fancy Free, choreographed by Jerome Robbins, at the Metropolitan Opera; and his Broadway musical On the Town. From 1955 to 1957, Bernstein wrote the musical West Side Story, the work that would ensure his fame as a composer. Then— after a New York run of almost two years (772 performances) and a national tour—in the opening weeks of 1960, Bernstein revisited his score and extracted nine sections to assemble into the Symphonic Dances. They premiered at a “Valentine for Leonard Bernstein” gala concert by the New York Philharmonic (a fundraiser for the orchestra’s pension fund) under Lukas Foss’ direction, on February 13, 1961. The stylistic diversity within the Symphonic Dances is partially created by the juxtaposition of classical techniques with dance rhythms and jazz syncopations. However, the essence of the entire score is that most prominent opening melodic figure of

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“Maria” (C, F-sharp, G), with its characteristic tritone interval. The suite ends, like the musical itself, on edge, with an evocative chord containing the same interval. The crucial role of dance in West Side Story added to the challenge of adapting the music for the concert platform. The orchestrations call for vibrant instrumental combinations and a huge percussion section (not to mention the vocal talents of the orchestra members) to enhance the kinetic quality of the rhythms. More deeply, they tilt the narrative weight from a love story to gang conflict. We hear first the rivalry between the Jets and the Sharks, then the utopian opposite; their juxtaposition creates a dramatic tension that shapes the entire work. The printed score includes the following descriptions: Prologue (Allegro moderato)— The growing rivalry between two teenage street gangs, the Jets and Sharks. Somewhere (Adagio)—In a visionary dance sequence, the two gangs are united in friendship. Scherzo (Vivace e leggiero)—In the same dream, they break through the city walls and suddenly find themselves in a world of space, air, and sun. Mambo (Meno presto)—Reality again; competitive dance between the gangs. Cha-cha (Andantino con grazia)— The star-crossed lovers [Tony and Maria] see each other for the first time and dance together. Meeting Scene (Meno mosso)— Music accompanies their first spoken words.

Cool Fugue (Allegretto)—An elaborate dance sequence in which the Jets practice controlling their hostility. Rumble (Molto allegro)—Climactic gang battle during which the two gang leaders are killed. Finale (Adagio)—Love music developing into a procession, which recalls, in tragic reality, the vision of “Somewhere.” —Notes compiled from the LA Phil archives

AN AMERICAN IN PARIS George Gershwin (1898–1937) Composed: 1928 Since his early teens, Gershwin had been enamored with the music he heard uptown in Harlem, a part of Manhattan that was quickly becoming the center of the jazz universe. His first attempt at a more serious composition—the one-act opera Blue Monday—was about characters in a Harlem nightclub. Its first presentation on Broadway, with white singers performing in blackface, was a flop and received only one performance. The undaunted Gershwin next tried to merge classical music and jazz for Paul Whiteman’s “An Experiment in Modern Music” concert in February 1924. That piece is now known as Rhapsody in Blue. He followed this with his Concerto in F, which some writers called “The Jazz Piano Concerto.” These two works were popular, though critics were guarded with their praise. A trip abroad inspired Gershwin to work in earnest on a commission he had received from the New York Philharmonic.

ABOUT THE PROGRAM

His idea for the work solidified as he was shopping for Parisian taxi horns to take back to the US: Capture the tumult of Paris’ streets in music and create a concert work that didn’t center on the piano. Back in New York, Gershwin finished An American in Paris, which he subtitled “A Tone Poem for Orchestra.” In an interview in the August 18, 1928, edition of Musical America, he said, “This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I have yet attempted.” He also gave a brief “program note” on the work: “The opening gay section is followed by a rich ‘blues’ with a strong rhythmic undercurrent. Our American… perhaps after strolling into a café and having a few drinks, has suddenly succumbed to a spasm of homesickness. The harmony here is both more intense and simple than in the preceding pages. This ‘blues’ rises to a climax followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening part with its impressions of Paris. Apparently the homesick American, having left the café and reached the open air, has downed his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.” Though still not a critical success, An American in Paris was wildly and widely embraced by audiences—and Hollywood— and established Gershwin as an original voice in concert halls worldwide, a voice that resonates to this day. —Dave Kopplin

SYMPHONY NO. 9 IN E MINOR, OP. 95, B. 178, “FROM THE NEW WORLD” Antonín Dvořák (1841–1904) Composed: 1893 Czech composer Antonín Dvořák sought his inspiration in all quarters. In a famous essay, “Music in America,” he wrote: “Nothing must be too low or too insignificant for the musician. When he walks, he should listen to every whistling boy, every street singer or blind organ player. It is a sign of barrenness, indeed, when such characteristic bits of music are not heeded by the learned musicians of the age.” In 1892, already a “learned musician,” Dvořák was invited to become Artistic Director and Professor of Composition at the National Conservatory of Music of America, based in New York City. The conservatory management wanted the “old world” master to help establish an American sound in the concert hall, so upon his arrival at the conservatory, Dvořák sought out music that was distinctly American. He wrote: “In the Negro melodies of America I have discovered all that is needed for the creation of a great and noble school of music. These beautiful and varied themes are the product of the soil, they are the folk songs of America.” There is no doubt that the Czech composer was under the spell of both African American spirituals and Native American music, but his output reflects mostly the European concert tradition. Indeed, the subtitle, “From the New World,” was only an afterthought added by the composer just as he was

about to send the score off o the publisher. The symphony is conventional in form, a four-movement work that follows the established pattern. The opening is more reminiscent of Beethoven than of folk music, particularly the forceful timpani swats that seem to echo similar moments in Beethoven’s Ninth. Low strings, then horns, introduce a bold theme that will be heard throughout the entire work. The Largo second movement has been the focus of much speculation. An African American spiritual—or at least the fivenote, pentatonic scale that is often prominent in those songs—seems to have inspired the plaintive melody that begins this movement. It is moving and melancholy music with a tangible feeling of nostalgia (Dvořák was quite homesick during his time in America). In the scherzo, Dvořák carefully balances the Beethovenian bluster with a waltz that could easily have come from a Czech village dance. The finale begins with another brassy melody that has the energy of a folk dance. Then comes a new, wistful second theme in the clarinets; a wacky, three-note “Three Blind Mice” transition; another reference or two to Beethoven; and continual reiterations of themes from the beginning of the first movement and the finale’s opening. In the long run, it really doesn’t make any difference where Dvořák found his inspiration. We continue to value the “New World” Symphony precisely because it has come to mean many things to many people. —Excerpted from a note by Dave Kopplin

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ABOUT THE ARTISTS

NATIONAL SYMPHONY ORCHESTRA

GIANANDREA NOSEDA

GIANANDREA NOSEDA Gianandrea Noseda is one of the world’s most sought-after conductors, equally recognized for his artistry in both the concert hall and the opera house. The 2025/26 season marks his ninth as Music Director of the National Symphony Orchestra. Noseda’s leadership has inspired and reinvigorated the National Symphony Orchestra, which makes its home at the Kennedy Center. The renewed artistic recognition and critical acclaim have led to invitations to Carnegie Hall and international concert halls, as well as digital streaming and a record label distributed by LSO Live, for which Noseda also records as principal guest conductor of the London Symphony Orchestra. Noseda’s discography of over 80 recordings includes dozens of critically acclaimed albums with a wide range of orchestras and repertoire for various labels, including Deutsche Grammophon and Chandos. Noseda became General Music Director of the Zurich Opera House in September 2021 and reached an important milestone in May 2024, conducting two highly praised complete Ring cycles. He was recognized as Best Conductor by the jury of the German Oper! Awards, specifi ally for his Wagner interpretations. From 2007 to 2018, Noseda served as Music Director of the Teatro Regio

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Torino, where his leadership marked the opera house’s golden era. Noseda has conducted the most important international orchestras, opera companies, and festivals, and had significant roles at the BBC Philharmonic (chief conductor), Israel Philharmonic Orchestra (principal guest conductor), Mariinsky Theatre (principal guest conductor), Orchestra Sinfonica Nazionale della RAI (principal guest conductor), Pittsburgh Symphony Orchestra (Victor de Sabata Chair), Rotterdam Philharmonic (principal guest conductor), and Stresa Festival (artistic director). Working with the next generation of musicians is important to Noseda, and in the summer of 2025 he led a tour of major concert halls in China, South Korea, and Japan with Carnegie Hall’s National Youth Orchestra of the USA. In 2019 he was appointed the founding Music Director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia. A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Conductor of the Year by both Musical America and the International Opera Awards. He is also a recipient of the Puccini Award, whose past recipients include legendary opera stars Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

The 2025/26 season is the National Symphony Orchestra’s 95th and Music Director Gianandrea Noseda’s ninth season. Noseda serves as the orchestra’s seventh music director, joining the NSO’s legacy of distinguished leaders: Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic leadership also includes Principal Conductor and Artistic Advisor Steven Reineke. Since its founding in 1931, the NSO has been committed to performances that enrich the lives of its audience and community members. In 1986, the National Symphony became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed since the Center opened in 1971. The 96-member NSO participates in events of national and international importance, including the annual nationally televised concerts on the lawn of the US Capitol, live-streamed performances on medici.tv, and local radio broadcasts on WETA Classical 90.9 FM. Since launching its eponymous recording label in 2020, the NSO has embarked on ambitious recording projects including its ﬁrst complete Beethoven symphony cycle and the release of the ﬁrst-ever cycle of George Walker’s sinfonias, both led by Noseda. Recent projects include the album Four Symphonic Works, live recordings of pieces by Kennedy Center Composer-in-Residence Carlos Simon conducted by Noseda; and William Shatner’s So Fragile, So Blue, recorded live in the Concert Hall with the NSO under Reineke. Forthcoming releases with Noseda include music by Gustav Mahler and William Grant Still and Samuel Barber’s opera Vanessa. The NSO’s community engagement and education projects are nationally recognized, and career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuitionfree Summer Music Institute.

ABOUT THE ARTISTS

Gianandrea Noseda Music Director The Roger Sant and Congresswoman Doris Matsui Chair

Steven Reineke Principal Conductor and Artistic Advisor

FIRST VIOLINS Nurit Bar-Josef Concertmaster Ying Fu Associate Concertmaster

The Jeanne Weaver Ruesch Chair

Ricardo Cyncynates Assistant Concertmaster Xiaoxuan Shi 2nd Assistant Concertmaster Jane Bowyer Stewart Heather LeDoux Green Lisa-Beth Lambert Jing Qiao Marina Aikawa Peiming Lin Derek Powell Regino Madrid** Meredith Riley** Sue Midkiff**

SECOND VIOLINS Marissa Regni Principal Dayna Hepler Assistant Principal Cynthia R. Finks Deanna Lee Bien Glenn Donnellan Natasha Bogachek Carole Tafoya Evans Jae-Yeon Kim Wanzhen Li Hanna Lee Benjamin Scott Malorie Blake Shin Angelia Cho Kei Sugiyama**

VIOLAS Daniel Foster Principal

The Mrs. John Dimick Chair

Nancy Thomas Jennifer Mondie Tsuna Sakamoto Ruth Wicker Mahoko Eguchi Abigail Evans Kreuzer Rebecca Epperson Jacob Shack Johanna Nowik Chiara Dieguez**

CELLOS

OBOES

TROMBONES

Nicholas Stovall Principal

Craig Mulcahy Principal

The Volunteer Council Chair

Jamie Roberts Assistant Principal

The Hans Kindler Chair The Strong Family and the Hattie M. Strong Foundation

Raymond Tsai Assistant Principal

English Horn Kathryn Meany Wilson***

Scott Christian Assistant Principal

PERCUSSION Eric Shin Principal

The Hechinger Foundation Chair

Erin Dowrey Assistant Principal

Steven Wilson

Scott Christian Jason Niehoff*

Contrabassoon Sean Gordon

KEYBOARD

HORNS

Lisa Emenheiser*

Abel Pereira Principal

The National Trustees’ Chair

James Nickel Acting Associate Principal

Adriana Horne Principal

Markus Osterlund*** Scott Fearing Robert Rearden Geoffrey Pilkington**

FLUTES

TRUMPETS

Aaron Goldman Principal

William Gerlach Principal

HARP

Leah Arsenault Barrick Assistant Principal

* Regularly Engaged Extra Musician *** Leave of Absence ** Temporary Position

The Marion E. Glover Chair

David Young Assistant Principal

Jeff ey Weisner Ira Gold Paul DeNola Charles Nilles Alexander Jacobsen Michael Marks

Dana Kelley Assistant Principal

Jauvon Gilliam Principal

Sue Heineman Principal

Richard Barber Assistant Principal

Piccolo Carole Bean

TIMPANI

Eugene Mondie Assistant Principal

BASSOONS

Robert Oppelt Principal

TUBA The James V. Kimsey Chair

Bass Clarinet Peter Cain

BASSES

Bass Trombone Matthew Guilford

Seth Cook Acting Principal

Lin Ma Principal

Paul Cigan

David Teie Rachel Young Mark Evans Eugena Chang Riley Loewi Lin Britton Riley Noah Krauss

Matthew Ross

David Murray

Harrison Linsey***

CLARINETS

David Hardy Principal

Evan Williams Assistant Principal

LIBRARIANS Elizabeth Cusato Schnobrick Principal Zen Stokdyk Associate Karen Lee Assistant

PERSONNEL Karyn Garvin Director

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

Brooke Bartalome Manager

Michael Harper Assistant Principal

Sufyan Nayman** Coordinator

Michail Thompson Tom Cupples

STAGE MANAGER N. Christian Bottorff Acting Stage Manager

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

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PROGRAM

HERBIE HANCOCK CELEBRATES MILES DAVIS WEDNESDAY AUGUST 19, 2026 8PM Excerpts from Miles Davis and Gil Evans’ albums Porgy and Bess and Miles Ahead Vince Mendoza, conductor Terence Blanchard, solo trumpet Christian McBride, bass Dan Higgins, Greg Huckins, Sean Franz, Mark Hollingsworth, woodwinds Laura Brenes, Melia Bedalian, Dylan Hart, horns Wayne Bergeron, Dan Fornero, Chris Gray, Aaron Janik, trumpets Charlie Morillas, Ivan Malespin, Alex Iles, Alan Kaplan, trombones Tiffany Johns, tuba Joe LaBarbera, drums INTERMISSION Quintet Herbie Hancock, piano Ron Carter, bass Terence Blanchard, trumpet Kenny Garrett, saxophone Vinnie Colaiuta, drums Electric Miles Herbie Hancock, piano and keyboards Marcus Miller, bass and Musical Director Terence Blanchard, trumpet Kenny Garrett, saxophone Vinnie Colaiuta, drums Julian Pollack, keyboards

This performance is generously supported by Pasadena Showcase House for the Arts. Produced by FestivalWest Inc. for the LA Phil. Programs and artists subject to change.

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ABOUT THE ARTISTS

HERBIE HANCOCK

HERBIE HANCOCK Now in the seventh decade of his professional life, Herbie Hancock remains where he has always been: at the forefront of world culture, technology, business, and music. Herbie Hancock has been an integral part of every popular music movement since the 1960s. A member of the Miles Davis Quintet that pioneered a groundbreaking sound in jazz, he also developed new approaches on his own recordings, followed by his work in the ’70s—with record-breaking albums such as

Head Hunters—that combined electric jazz with funk and rock in an innovative style that continues to infl ence contemporary music. “Rockit” and “Future Shock” marked Hancock’s foray into electronic dance sounds; during the same period, he also continued to work in an acoustic setting with V.S.O.P. Hancock holds an Academy Award for his ’Round Midnight film score and 14 Grammy Awards, including Album of the Year for River: The Joni Letters and two 2011 Grammy Awards for the globally collaborative album The Imagine Project.

Hancock serves as Creative Chair for Jazz for the Los Angeles Philharmonic Association and as Institute Chairman of the Herbie Hancock Institute of Jazz. In 2011, Hancock was named a UNESCO Goodwill Ambassador, and in December 2013, he received a Kennedy Center Honor. His memoir, Herbie Hancock: Possibilities, was published by Viking in 2014, and in February 2016, he received the Grammy Lifetime Achievement Award. Hancock is currently in the studio at work on a new album.

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NEWS

HOLLY WOOD BOWL ON CL ASSICAL CALIFORNIA

Classical California’s SoCal Saturday Night series to air Los Angeles Philharmonic concerts from the 2026 Hollywood Bowl Season

For the 19th year in a row, Classical California (91.5 FM in Los Angeles, classicalcalifornia.org) is airing Los Angeles Philharmonic concerts recorded live at the Hollywood Bowl, this year on its SoCal Saturday Night program. Classical California’s weekly spotlight on local concerts allows hundreds of thousands of listeners across Southern California—and the world—to experience performances from the Bowl each week. Hosted by KUSC’s Brian Lauritzen, the programs air weekly at 7PM on Saturdays from August 22 to October 24, and they are also available to stream on the Classical California website for one week following the broadcast.

UPCOMING BROADCASTS SoCal Saturday Nights at 7PM on Classical California AUGUST 22

Thomas Wilkins, conductor Valerie COLEMAN

Fanfare for Uncommon Times

STILL

Mother and Child

BERNSTEIN

Three Dance Episodes from On the Town

ELLINGTON

Harlem

AUGUST 29

Roberto González-Monjas, conductor; Mao Fujita, piano KORNGOLD

Straussiana

MOZART

Piano Concerto No. 19

BRAHMS

Symphony No. 4

Mao Fujita appears courtesy of Sony Classical, a label of Sony Music Entertainment.

SEPTEMBER 5

Marin Alsop, conductor; Conrad Tao, piano Anna CLYNE

Masquerade

GERSHWIN

Rhapsody in Blue

SHOSTAKOVICH

Symphony No. 5

SEPTEMBER 19

OCTOBER 10

FARRENC

Overture No. 1

BIZET

L’Arlésienne Suite No. 1

John ADAMS

BIZET

Selections from Carmen Suites Nos. 1 & 2

BRAHMS

Violin Concerto

Louis Langrée, conductor; Augustin Hadelich, violin

SEPTEMBER 26

Gustavo Dudamel, conductor; Members of YOLA (Youth Orchestra Los Angeles); Los Angeles Master Chorale; Los Angeles Children’s Chorus; Education Through Music-Los Angeles; Saioa Hernández, soprano; Tamara Mumford, mezzo-soprano; David Portillo, tenor; Ryan Speedo Green, baritone Michael New work GIACCHINO/ Amanda GORMAN BEETHOVEN

Symphony No. 9, “Choral”

OCTOBER 3

SEPTEMBER 12

Emmanuel Tjeknavorian, conductor; Zlatomir Fung, cello KHACHATURIAN Selections from Gayane TCHAIKOVSKY

Variations on a Rococo Theme

MUSSORGSKY (arr. RAVEL)

Pictures at an Exhibition

Anna Handler, conductor; Bing Wang, violin; Robert deMaine, cello; Joanne Pearce Martin, piano Grace-Evangeline ABLAZE THE MOON MASON BEETHOVEN

Concerto for Violin, Cello, and Piano

BEETHOVEN

Symphony No. 5

Gemma New, conductor; Jeneba Kanneh-Mason, piano

RACHMANINOFF Piano Concerto No. 2 RACHMANINOFF Symphonic Dances

OCTOBER 17

Anja Bihlmaier, conductor; Bomsori, violin GIBSON

beyond the beyond

BRUCH

Violin Concerto No. 1

DVOŘÁK

Symphony No. 8

OCTOBER 24

Philippe Jordan, conductor; Jean-Yves Thibaudet, piano SAINT-SAËNS

Bacchanale from Samson et Dalila

RAVEL

Piano Concerto in G

RAVEL

La valse

DEBUSSY Clair de lune (arr. STOKOWSKI) RAVEL

Boléro

Programs and artists subject to change.

This series is made possible through the endowed LA Phil Broadcast Program Fund, generously supported by the Lenore S. and Bernard A. Greenberg Fund.

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Short Ride in a Fast Machine

An Oasis for the Active and Independent Senior

Nestled in the heart of Pasadena’s walkable Playhouse Village neighborhood, Brantwood offers well-appointed private residences in a unique and tranquil setting, with community events and programs for the culturally minded.

For more information visit brantwood.com or call (626) 639-8900

The Bowl’s food and wine team--James Beard Award Winners chef Suzanne Goin and restaurateur Caroline Styne of celebrated restaurants Lucques, a.o.c., Larder Baking Company and catering for The Music Center--are now in their eleventh year of providing exceptional cuisine designed to make your concert experiences even more spectacular. From supper in your box seats to freshlyprepared picnic baskets and market-driven fare, there’s truly something for everyone.

FOOD + WINE AT-A-GLANCE

PHOTOGRAPHY BY SUZANNE LANZA

SUPPER IN YOUR SEATS

THE BACKYARD

Enjoy a delicious pre-concert meal in the comfort of your box seats. Menu selections include Suzanne Goin’s three course menus, family-style feasts, a la carte starters, main courses, desserts, and wine. Order by 4pm the day before your concert.

Set in the gorgeous natural surroundings of the Bowl, this al fresco space has the feel of a chic backyard in the Hollywood Hills. Two large wood-burning grills are the focus of this farmers’ market-driven restaurant serving grilled fish, chops, steaks, vegetables, salads, and raw bar items.

MARKETPLACES

ANN’S WINE BAR by a.o.c.

Specialty sandwiches, premium sushi, seasonal grab-and-go salads, cheese + charcuterie plates, snacks, beer, wideranging variety of approachable and delicious wines await at all of three of our Marketplaces. You’ll find everything you need to build a picnic from scratch or simply add to what you brought from home.

Inspired by the original a.o.c. on 3rd St., Ann’s Wine Bar features a wide selection of Caroline’s favorite new and old world wines to be explored by both experienced and novice wine lovers, all paired with Suzanne Goin’s signature small plates menu. Reservations recommended.

LUCQUES AT THE CIRCLE

CATERING AT THE BOWL

Fine dining for subscribers of the Pool Circle, with a seasonal made-to-order menu and an exceptional wine list styled from the awardwinning restaurant Lucques.

Give your guests the experience of a lifetime when you host your next event at the Bowl! Our selection of seven beautiful venues is perfect for events of all sizes, from intimate gatherings to elaborate affairs.

STREET FOOD & SNACKS

KITCHEN 22

A variety of delicious options are available throughout the bowl, including hearty homemade burritos, vegan hot dogs, fried chicken, salads, specialty sandwiches, gourmet pizza, pulled pork, artisan baked goods, sweets, and popcorn.

Kitchen 22 is the best place to indulge in fan favorites like burgers, French fries and fried chicken.

MOBILE ORDERING: Download the Hollywood Bowl app or scan one of the many QR codes to place an order from the comfort of your seat and skip the line at pick up. Mobile ordering is available throughout the venue.

PICNIC BOXES

It’s easier than ever to enjoy a picnic supper before your concert with multiple options for delectable fresh-made picnic boxes from Food + Wine. Simply pre-order online by 4 pm the day before your concert, and your choice will be waiting for you when you arrive at the Bowl.

SEE MENUS, BOOK A TABLE, AND ORDER AHEAD: HOLLYWOODBOWL.COM/FOOD+WINE • 323 850 1885

Center Theatre Group Student Matinee; photo by Cristina Burgos

The Music Center Foundation was established in 1973 by Dorothy Buffum Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Companies: Center Theatre Group, LA Master Chorale, LA Opera, and LA Phil. By making a gift through the Foundation, you can support performances that thread our community together.

To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Justin Marsh: 213-972-8046, jmarsh@musiccenterfoundation.org

For more information on the Music Center Foundation musiccenterfoundation.org

2026

2 TONY AWARDS

OLIVIER AWARD

INCLUDING

BEST DIRECTOR

BEST ENTERTAINMENT OR COMEDY PLAY

2025

2 DRAMA LEAGUE AWARDS

PULITZER PRIZE

FINALIST

INCLUDING

BEST PLAY

“HOWLINGLY

FUNNY.

A BONA FIDE PHENOMENON.” THE WALL STREET JOURNAL

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ABOUT THE ARTISTS

LOS ANGELES PHILHARMONIC SECOND VIOLINS

Gustavo Dudamel Music & Artistic Director

Melody Ye Yuan Principal

Walt and Lilly Disney Chair

Zubin Mehta Mark Kashper Conductor Emeritus Associate Principal Esa-Pekka Salonen Isabella Brown Conductor Laureate Assistant Principal [Position vacant] Kristine Whitson Assistant Conductor Johnny Lee Ann Ronus Chair Ingrid Chun John Adams Jin-Shan Dai John and Samantha Miika Gregg Williams Creative Chair Chao-Hua Jin Herbie Hancock Jung Eun Kang Creative Chair for Jazz Vivian Kukiel FIRST VIOLINS Nickolai Kurganov Varty Manouelian [Position vacant] Emily Shehi Concertmaster Michelle Tseng Marjorie Connell Gabriel Esperon* Wilson Chair Bing Wang Acting Concertmaster

VIOLAS

Barbara and Jay Rasulo Chair

[Position vacant] First Associate Concertmaster Ernest Fleischmann Chair

[Position vacant] Assistant Concertmaster Philharmonic Affiliates Chair

Rebecca Reale Deanie and Jay Stein Chair

Jeongmin An Bianna Bell Minyoung Chang

I.H. Albert Sutnick Chair

HORNS

TUBA

Robert deMaine Principal

Sarah Jackson+

Andrew Bain Principal

Mason Soria Principal

Bram and Elaine Goldsmith Chair

Ben Hong◊ Associate Principal Sadie and Norman Lee Chair

Dahae Kim Assistant Principal

Piccolo Sarah Jackson+

OBOES Ryan Roberts Principal Carol Colburn Grigor Chair

John Cecil Bessell Chair

TIMPANI David Cooper Associate Principal Joseph Pereira Principal Gregory Roosa Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable Trust Chair

Jonathan Karoly+ David Garrett Barry Gold Jason Lippmann Gloria Lum

Marion Arthur Elyse Lauzon Kuszyk Ethan Bearman Associate Principal Elizabeth Linares Anne Marie Gabriele Montero*

Zachary Mowitz Serge Oskotsky Brent Samuel Keeon Guzman*

CLARINETS

Linda and Maynard Brittan Chair

BASSES

English Horn [Position vacant]

Nancy and Leslie Abell LA Phil Resident Fellow Chair

TRUMPETS

Thomas Hooten Boris Allakhverdyan Principal Principal M. David and Diane Michele and Dudley Rauch Chair

Paul Chair

John Connell Chair

and Ron Miller Chair

Soyoung Cho Associate Principal

Kaelan Decman Associate Principal

Jenni Seo Assistant Principal

Oscar M. Meza Assistant Principal

Dana Lawson Richard Elegino Ingrid Hutman Michael Larco Hui Liu Meredith Snow Leticia Oaks Strong Minor L. Wetzel Bradley Parrimore*

David Allen Moore Ted Botsford Jory Herman Brian Johnson Peter Rofé Matthew Peralta*

Pasadena Showcase House for the Arts LA Phil Resident Fellow Chair

FLUTES Denis Bouriakov Principal Virginia and Henry Mancini Chair

Catherine Ransom Karoly Associate Principal Mr. and Mrs. H. Russell Smith Chair

◊

Mari L. Danihel Chair

Ben Ullery Principal

* Judith and Thomas L. Beckmen LA Phil Resident Fellow On Sabbatical

Elise Shope Henry

Christopher Hanulik James Wilt Andrea Caputo Principal Associate Principal Associate Principal Nancy and Donald Diane Disney Miller

Tianyun Jia Jordan Koransky Ashley Park Katherine Woo Weilu Zhang

CELLOS

On Leave

de Brier Chair

Andrew Lowy Taylor Eiffert

Christopher Still

E-Flat Clarinet Andrew Lowy

Jeffrey Strong

Bass Clarinet Taylor Eiffert

BASSOONS Whitney Crockett Principal

Ronald and Valerie Sugar Chair

Cecilia and Dudley Rauch Chair

David Riccobono Assistant Principal

PERCUSSION Matthew Howard Principal Wesley Sumpter Assistant Principal David Riccobono Jeremy Davis*

KEYBOARDS Joanne Pearce Martin Katharine Bixby Hotchkis Chair

HARP Emmanuel Ceysson Principal Ann Ronus Chair

TROMBONES

LIBRARIANS

David Rejano Cantero Principal

Stephen Biagini Benjamin Picard KT Somero

Koni and Geoff Rich Chair

CONDUCTING

[Position vacant] James Miller FELLOWS Associate Principal Associate Principal Ann Ronus Chair Kinga Głowacka Judith and Thomas L. Beckmen Chair Ana María Evan Kuhlmann Patiño-Osorio Paul Radke Contrabassoon José Salazar Evan Kuhlmann Bass Trombone Miguel Sepúlveda Mark Houston Dalzell John Lofton and James DaoDalzell Chair for Artistic Service to the Community

The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

Miller and Goff Family Chair

The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.

62 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

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ABOUT THE ARTISTS

HOLLYWOOD BOWL ORCHESTRA Thomas Wilkins Principal Conductor John Mauceri Founding Director

FIRST VIOLINS Kathryn Eberle Concertmaster Marisa Sorajja Principal Grace Oh Associate Principal Chloe Szu-Yun Chiu Christine Frank Radu Pieptea Adrianne Pope Yutong Sharp Shelly Shi Mari Tsumura

SECOND VIOLINS Kathleen Sloan Principal Cheryl Norman Brick Associate Principal Pam Gates Natalie Leggett Carolyn Osborn Robert Schumitzky Olivia Tsui Vivian Wolf

VIOLAS

OBOES

TUBA

Erik Rynearson Principal

Lelie Resnick Principal

[position vacant] Principal

Jonah Sirota Associate Principal

Noah Breneman

TIMPANI

English Horn Catherine Del Russo

Tyler Stell Principal

CLARINETS

DRUMS

[position vacant] Principal

Brian Miller Principal

Bass Clarinet [position vacant]

PERCUSSION

Carrie Holzman-Little Carole Kleister-Castillo Stefan L. Smith Phillip Triggs Hyeree Yu

CELLOS Dennis Karmazyn Principal Armen Ksajikian Associate Principal Giovanna Moraga Clayton Trevor Handy Julie Jung Erin Breene Schumitzky

BASSES Andrew Chilcote Principal Denise Briesé Associate Principal

BASSOONS Elliott Moreau Principal Contrabassoon Allen Savedoff

HORNS Dylan Hart Principal Allen Fogle Associate Principal

TRUMPETS

Paul Macres Barry Newton

Robert Schaer Principal

FLUTES

Robert Frear

Heather Clark Principal

TROMBONES

Lawrence Kaplan Piccolo [position vacant]

William Booth Principal

Wade Culbreath Principal Gregory Goodall

HARP Cristina Montes Mateo Principal

KEYBOARDS Alan Steinberger Principal

SAXOPHONE [position vacant]

ASSOCIATE CONDUCTOR Scott Dunn

LIBRARIAN Stephen Biagini

Alexander Iles Bass Trombone Todd Eames

The Hollywood Bowl Orchestra string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically.

6 4 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

Incredible Events: AUGUST 13

Let’s Groove Dance Series: Hip Hop AUGUST 28

Friday Movie Night: School of Rock SEPTEMBER 10

Let’s Groove Dance Series: Salsa SEPTEMBER 25

Friday Movie Night: Shrek *double feature in English & Spanish SEPTEMBER 26

Oktoberfest

Incredible Dining: La Popular The Win~dow Bopomofo Café Oakberry Acai Café de Leche Coffee Roasters

Scan here to Stay in the Know of all things Ovation Hollywood! ovationhollywood.com | @OvationHollywood

ABOUT YOLA

YOLA

Through YOLA (Youth Orchestra Los Angeles), inspired by Gustavo Dudamel’s own training as a young musician, the LA Phil and its community partners provide free instruments, intensive music training, and academic support to over 1,700 young musicians—aged 6 to 18—locally and nationally, empowering them to become vital citizens, leaders, and agents of change. YOLA’s four local program hubs serve

6 6 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

students and families in the Rampart District, Westlake/ MacArthur Park, East Los Angeles, and Inglewood, including sites hosted in partnership with Heart of Los Angeles and Camino Nuevo Charter Academy. YOLA engages musicians from more than 200 schools in culturally vibrant and ethnically diverse communities across LA County. Music study is complemented by leadership development opportunities, workshops, and performances. YOLA’s young musicians have

performed on great stages, from the LA Phil’s iconic venues—the Hollywood Bowl and Walt Disney Concert Hall— to national and international television broadcasts, and alongside the greatest artists. On October 16, 2021, the Los Angeles Philharmonic opened the Judith and Thomas L. Beckmen YOLA Center at Inglewood, designed by Gehry Partners, LLP, the first permanent, purposebuilt facility for YOLA. For more information, please visit laphil.com/yola.

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LEAVE THE DRIVING TO US! Take the stress out of your next concert trip. Audiences have been taking part in the Hollywood Bowl bus program since 1974, helping to make it the largest and most comprehensive transportation system of any concert venue west of the Mississippi. The Hollywood Bowl has added a transportation hub to help streamline access for Park & Ride, Bowl Shuttle, Metro, and rideshares. These efforts help reduce the number of cars coming to the Bowl by more than 2,000 vehicles each evening, making your night run more smoothly. Plan your next trip at hollywoodbowl.com/gettinghere.

DID YOU KNOW? � When you show your

same-day Park & Ride or Shuttle ticket at the Plaza Marketplace, you get 20% off your purchase.

� During the 2025 season, 39% of concertgoers rode the shuttle.

� We’ve expanded our

fleet of low- and zeroemission shuttles to 20 electric buses and 40 buses that run on CNG (compressed natural gas)—an alternative fuel that reduces smog-related pollution by about 20%.

Illustration by Radha Vishnubhotla

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OPTIMISM AT ITS WORST.

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FEATURE

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DO NOT FLY ZONE Since 1977, the LA Phil has commissioned eye-catching posters alerting pilots to avoid ﬂ ying over the Hollywood Bowl and The Ford when their iconic white searchlights beam into the night sky indicating performers are onstage. This year’s design by Juan Manuel Nares celebrates the bucolic oases of both venues, putting native plant species found at the sites center stage.

W a a

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LOS ANGELES PHILHARMONIC STAFF

Kim Noltemy

PRESIDENT & CEO David C. Bohnett Presidential Chair

Paula Michea

EXECUTIVE ASSISTANT TO THE CEO

FINANCE AND I N F O R M AT I O N T E C H N O L O GY

Glenn Briffa

CHIEF FINANCIAL OFFICER

Finance

Brand

Scott Arenstein SENIOR DIRECTOR, BRAND

Caila Gale

SENIOR DIGITAL PRODUCER

Tara Gardner

SENIOR MANAGER, DIGITAL MARKETING

Karin Haule SENIOR DESIGNER

Alexis Kaneshiro ART DIRECTOR

Katie Manos SENIOR DESIGNER

Jyoti Aaron CONTROLLER

Adriana Aguilar PAYROLL ADMINISTRATOR

Steven Cao

ACCOUNTING MANAGER

Katherine Franklin

VENUE OPERATIONS ACCOUNTANT

Allyson Grossa

SETTLEMENT ACCOUNTANT

Lisa Hernandez

ACCOUNTS PAYABLE MANAGER

LaTonya Lindsey

ACCOUNTS PAYABLE COORDINATOR

Debbie Marcelo

FINANCIAL PLANNING MANAGER

Luz Myrick PAYROLL MANAGER

Kristine Nichols PAYROLL COORDINATOR

Yuri Park

SENIOR FINANCIAL ANALYST

Nina Phay

PAYROLL ADMINISTRATOR

Lisa Renteria

ACCOUNTS PAYABLE SPECIALIST

Sierra Shultz STAFF ACCOUNTANT

Robert Siegel

Natalie Suarez

SENIOR CREATIVE DIRECTOR

Kahler Suzuki

SENIOR VIDEO PRODUCER

Noah Tingen VIDEO PRODUCER

Lauren Winn

SENIOR PROJECT MANAGER, CREATIVE SERVICES

Communications Robert Alexander EDITORIAL COORDINATOR

Amanda Angel DIRECTOR, EDITORIAL

Leah Price

DIRECTOR, PUBLIC RELATIONS

Anna Ress

SENIOR DIRECTOR, COMMUNICATIONS

Sadie Sartini Garner CREATIVE COPYWRITER

Piper Starnes CREATIVE COPYWRITER

Marketing and Partnerships Mary Allen

DATABASE ADMINISTRATOR

SENIOR DIRECTOR, MARKETING & PARTNERSHIPS

SENIOR MANAGER, SOCIAL MEDIA

Lisa Burlingham

CLOUD INFRASTRUCTURE ENGINEER

Charles Carroll

SYSTEM SUPPORT III

Kevine Ecliserio-Velez

INFRASTRUCTURE MANAGER

Jeff Matchan

DIRECTOR, INFORMATION TECHNOLOGY

Sergio Menendez SYSTEM SUPPORT I

Edward Mesina

INFRASTRUCTURE ENGINEER, INFORMATION TECHNOLOGY

Angela Morrell TESSITURA SUPPORT

Marius Olteanu

IT SUPPORT ENG I, INFORMATION TECHNOLOGY

Sean Pinto

DATABASE APPLICATIONS MANAGER

Miguel Ponce SYSTEM SUPPORT I

Chris Prince TESSITURA SUPPORT

Meredith Reese SENIOR MANAGER, INFORMATION TECHNOLOGY

MANAGER, DIRECT MARKETING MANAGER, PROMOTIONS AND PARTNERSHIPS

Jennifer Hoffner

ASSOCIATE DIRECTOR, ADVERTISING

Jediah McCourt

MANAGER, CORPORATE PARTNERSHIPS

Amy Meros

PROMOTIONS AND PARTNERSHIPS COORDINATOR

Erin Puckett

SENIOR MANAGER, CORPORATE PARTNERSHIPS

Sales and Customer Experience Joe Carter

Stephanie Bates

CONTRACTS & RISK MANAGEMENT ADMINISTRATOR

Aly Zacharias DIRECTOR, LEGAL

Yuko Makuuchi

SENIOR OPERATIONS MANAGER, RETAIL SERVICES

MARKETING, Kevin Nam C O M M U N I C AT I O N S , STORE MANAGER, RETAIL SERVICES AND SALES Jonathan Thomas

Nora Brady

MARKETING DATABASE SPECIALIST

CHIEF MARKETING AND COMMUNICATIONS OFFICER

Lushia Anson

MARKETING AND COMMUNICATIONS OPERATIONS MANAGER

PATRON SERVICES MANAGER

SCHEDULING MANAGER

PATRON SERVICES REPRESENTATIVE

PRODUCTION MANAGER

REPRESENTATIVE

ASSOCIATE DIRECTOR, PRODUCTION

AUDIENCE SERVICES MANAGER

ASSOCIATE TECHNICAL DIRECTOR

REPRESENTATIVE

ASSOCIATE DIRECTOR, PRODUCTION

PATRON SERVICES REPRESENTATIVE

PRODUCTION MANAGER

Linda Holloway

Tina Kane

Jennifer Hugus

Taylor Lockwood

Bill Minor

Kimberly Mitchell

Rosa Ochoa

Cameron Pieratt

Karen O’Sullivan

Christopher Slaughter

Christopher Selland

Jon Thompson

Williams Eden Vancil-Palomino Bill PRODUCTION ADMINISTRATOR REPRESENTATIVE

Rachael Zambias

AUDIENCE SERVICES SUPERVISOR

Audience/Patron Services Denise Alfred REPRESENTATIVE

PEOPLE AND CULTURE

Emanuel Maxwell CHIEF PEOPLE OFFICER

Gema Alatorre

Bessy Arizmendi

Jamia Buchanan

Amber Blanco

Alejandra Cabrales

Katie Kromelow

Angelica Carbajal

Monica Ly

Irene Chow

Andrew Moreno

David Cranton

Bryan Namba

TICKET SELLER TICKET SELLER

1ST ASSISTANT TREASURER

2ND ASSISTANT TREASURER 2ND ASSISTANT TREASURER

Shawana Deloach 2ND ASSISTANT TREASURER

Juan Fernandez

BENEFITS AND OPERATIONS MANAGER SR. PEOPLE AND CULTURE BUSINESS PARTNER OFFICE MANAGER/RECEPTIONIST

MANAGER, ANNUAL GIVING

DIRECTOR, BOARD PHILANTHROPY

Gisela Morales SENIOR PHILANTHROPIC ENGAGEMENT OFFICER

Michelle Mountain DIRECTOR, SPECIAL EVENTS

Ryan Murphy

ASSISTANT MANAGER, SPECIAL EVENTS

PARKING MANAGER

Mark Ladd

DIRECTOR, OPERATIONS/HOLLYWOOD BOWL

Megan Ly-Lim EVENT MANAGER

Tom Waldron

ASSOCIATE DIRECTOR, OPERATIONS

ASSOCIATE DIRECTOR, ANNUAL GIVING

Hollywood Bowl/ Ford Summer Staff

DONOR RELATIONS ASSOCIATE

CUSTODIAL MANAGER

Andrea Perez-Rulfo Claire Pomeroy

Soﬁ a Rosenberg

SPECIAL EVENTS COORDINATOR

Carina Sanchez

ASSOCIATE DIRECTOR, RESEARCH

Marie Santana

ASSISTANT MANAGER, SPECIAL EVENTS

Dustin Seo

PHILANTHROPIC ENGAGEMENT OFFICER

Rochelle Siegrist

SENIOR COORDINATOR, ANNUAL GIVING

Peter Szumlas

ASSOCIATE DIRECTOR, PHILANTHROPY OPERATIONS

Tyler Teich

SENIOR GIFT AND DATA SPECIALIST

Derek Traub

MANAGER, PHILANTHROPY COMMUNICATIONS

Hanh Walker

SENIOR MANAGER, ANNUAL GIVING

Morgan Walton

ASSOCIATE DIRECTOR, AFFILIATES & VOLUNTEER ENGAGEMENT

PEOPLE AND CULTURE BUSINESS PARTNER

SR. PEOPLE AND CULTURE BUSINESS PARTNER

PROGR AMMING, H O L LY W O O D B O W L , AND THE FORD

PHIL ANTHROPY

PRESIDENT, HOLLYWOOD BOWL AND CHIEF PROGRAMMING OFFICER

ASSISTANT, OFFICE SERVICES

EVENT MANAGER

Meghan Umber

Joel Argueta

Edwin Bonilla

FACILITY SERVICES MANAGER

Oswaldo Camarena LOT MANAGER

Janelle Cuevas LOT MANAGER

Janette Cuevas LOT MANAGER

Michael Forrest BOWL SECURITY

Pierre Gamble BOWL SECURITY

Tamir Gilboa

VALET PARKING MANAGER

Lucy King

FORD HOUSE MANAGER

Gabriel Maceo HOUSE MANAGER

Ruben Reyes

ASSOCIATE HOUSE MANAGER

Thao Tran LOT MANAGER

Frank Varela

FORD FACILITY MANAGER

Fred Vogler SOUND DESIGNER

Shutter Cut Lighting Design LLC LIGHTING DESIGNER

TICKET SELLER

Mitch Bassion

2ND ASSISTANT TREASURER

Sara Kim

TICKET SELLER

Annalise Aguirre

2ND ASSISTANT TREASURER

Marcella Ribeiro Akop

TICKET SELLER

Robert Albini

Programming

STR ATEGIC INITIATIVES A N D E N G AG E M E N T

1ST ASSISTANT TREASURER

Joshua Alvarenga

SENIOR DIRECTOR, PROGRAMMING

Summer Bjork

ARTISTIC ADMINISTRATOR

Kevin Ma

Johanna Rees

Nancy Fitzgerald

CHIEF PHILANTHROPY OFFICER

Noricel Fulay Cole

VICE PRESIDENT, PHILANTHROPY

Carla Galvez

PHILANTHROPIC ENGAGEMENT OFFICER

Kim Havens

COORDINATOR, PHILANTHROPIC ENGAGEMENT

Russell Healey

DIRECTOR, PHILANTHROPIC ENGAGEMENT

Liliana Hernandez

ASSOCIATE DIRECTOR, PHILANTHROPIC ENGAGEMENT

Lili Herrera

BOARD LIAISON

Brian Grohl

MANAGER, GIFT PLANNING

Ljiljana Grubisic

DIRECTOR, STEWARDSHIP

Eun Lee

SENIOR GIFT PLANNING OFFICER

Casey Lewis

2ND ASSISTANT TREASURER 1ST ASSISTANT TREASURER

Jason Horst

2ND ASSISTANT TREASURER 2ND ASSISTANT TREASURER 2ND ASSISTANT TREASURER

Mark McClain Wilson

Jennifer Berger Taylor Burrows Scott Busiel

Abigail Butts

Michelle Carrasquillo

UNION TREASURER

1ST ASSISTANT TREASURER

VICE PRESIDENT, VENUE OPERATIONS

Linda Diaz

PROGRAMMING AND VENUE OPERATIONS EXECUTIVE ASSISTANT

Alan J. Benson

Kristen Flock-Ritchie ASSOCIATE DIRECTOR, PROGRAMMING ARCHIVES AND MUSEUM DIRECTOR PROGRAMMING MANAGER, ORCHESTRAL SETTLEMENT AND VISA SPECIALIST

Rafael Marino

Jessica Farber

ASSOCIATE DIRECTOR, MEDIA INITIATIVES

Raymond Horwitz

PROJECT MANAGER, MEDIA INITIATIVES

CHIEF STRATEGY OFFICER

ASSOCIATE DIRECTOR, STRATEGIC INITIATIVES

Community and Government Engagement Cynthia Fuentes

VICE PRESIDENT, COMMUNITY AND GOVERNMENT ENGAGEMENT

Jackelinne Rodriguez

DIRECTOR, INSTITUTIONAL GIVING

CREATIVE PRODUCER

Learning

SENIOR RESEARCH ANALYST

PROGRAM MANAGER

ASSISTANT MANAGER, PHILANTHROPY OPERATIONS

SENIOR DIRECTOR, PROGRAMMING

TICKET SELLER

Kishisa Ross

Kelvin Vu

Media Initiatives

ASSISTANT MANAGER, COMMUNITY AND GOVERNMENT ENGAGEMENT

DATABASE MANAGER, PHILANTHROPY OPERATIONS

Marz Richards

VICE PRESIDENT, PROGRAMMING AND CREATIVE PARTNERSHIPS

SENIOR PROGRAM MANAGER

TICKET SELLER

Sarah Stanley

MANAGER, AUDIENCE GROWTH AND ENGAGEMENT

Michael Vitale PRODUCTION MANAGER

DIRECTOR, RETAIL SERVICES

Jordan Kauffman

Production

REPRESENTATIVE

Steve Sims

DIRECTOR, SALES AND CUSTOMER ENGAGEMENT

Norm Kinard

MANAGER, ORCHESTRA PERSONNEL

Ryan Chollet

VICE PRESIDENT, SALES AND CUSTOMER EXPERIENCE

Janice Bartczak

Emilia House

Allison Mitchell

Luis Gaitan

Richard Martinez

Rochell Rotenberg

Chandler Martin

Maren Slaughter

DIRECTOR, ORCHESTRA MANAGEMENT

REPRESENTATIVE

DIRECTOR, CORPORATE PARTNERSHIPS

Justin Foo

GENERAL COUNSEL

Jacquie Ferger

Shana Bey

VICE PRESIDENT, PRODUCTION AND PRODUCING DIRECTOR

Tomorrow Kitchen

Andrew Radden

ASSOCIATE DIRECTOR, AUDIENCE STRATEGIES AND ANALYTICS

Mona Patel

SUPERVISOR

MARKETING MANAGER

Elias Feghali

LEGAL

Diego De La Torre

2ND ASSISTANT TREASURER

SOCIAL MEDIA MANAGER

Charles Koo

SUPERVISOR

PUBLICIST

Lev Mamuya

Information Technology

Dean Hughes

Brendan Broms

EDITORIAL SPECIALIST

Tess Carges

Micaela Accardi-Krown

Kevin Higa

PATRON/AUDIENCE SERVICES REPRESENTATIVE

Hollywood Bowl/ Ford Box Office

SENIOR ACCOUNTANT

Michael Chang

Alex Blangozian

Julia Cole

Mark McNeill

Joel Fernandez

Ray Melencio

Camille Delaney-McNeil

Elan Fields

Julia Ward

Jermaine Banks

Stephanie Yoon

Lorenzo Johnson

Rebeca Zepeda

Mariam Kaddoura

VICE PRESIDENT, LEARNING

ASSOCIATE OPERATIONS DIRECTOR, YOLA DIRECTOR OF PROGRAMS AND INSTRUCTIONAL PARTNERSHIPS

TICKET SELLER

Fabian Fuertes

1ST ASSISTANT TREASURER

Luke Gay

TICKET SELLER

Genevieve Goetz

The Ford

Angelina Grego

DIRECTOR OF THE FORD

Diana Melgar

COORDINATOR, THE FORD

Karla Melgar

Fabio Tassone Jose Villasenor ORCHESTR A , O P E R AT I O N S , AND PRODUCTION

GIFT PLANNING OFFICER

SENIOR DIRECTOR, PHILANTHROPY DIRECTOR, GIFT PLANNING MANAGER, AFFILIATES & VOLUNTEER ENGAGEMENT

Gerry Heise

Daniel Song

SENIOR PHILANTHROPIC ENGAGEMENT OFFICER

Laura Connelly

MANAGER, INSTITUTIONAL GIVING

CHIEF OPERATING OFFICER

VICE PRESIDENT, CAPITAL PROJECTS

Orchestra Management Lila Atchison

MANAGER, ORCHESTRA PERSONNEL

Julian Kehs Emily Lair

SENIOR PHILANTHROPIC ENGAGEMENT OFFICER

MANAGER, ARTIST SERVICES

ASSISTANT TO THE MUSIC AND ARTISTIC DIRECTOR

Chelo Montoya Gaby Hernandez Gina Leoni

ASSOCIATE DIRECTOR OF OPERATIONS & LOGISTICS

Hollywood Bowl Steve Arredondo TRANSIT/TRAFFIC MANAGER

Shannon Larner

Dreima Flores

Christina Magaña

Sienna Garcia

DIRECTOR, ANNUAL GIVING

MANAGER, DONOR RELATIONS

OPERATIONS ADMINISTRATOR PARKING AND TRAFFIC ASSISTANT

MANAGER, LEARNING

Sarah Little

SENIOR DIRECTOR, LEARNING AND OPERATIONS PROGRAM OUTCOME MANAGER, YOLA PROGRAM MANAGER, YOLA AT TORRES

Michael Salas

SENIOR ARTISTIC MANAGER, YOLA

Gaudy Sanchez YOLA ARTISTIC DIRECTOR

LaPorsha Smith

PROGRAM MANAGER, YOLA AT INGLEWOOD

Julie West

FACILITIES MANAGER, BECKMEN YOLA CENTER

Miles Williams

SENIOR PROGRAM COORDINATOR, YOLA AT INGLEWOOD

The Philharmonic Box Offi ce and Audience Services Center are staffed by members of IATSE Local 857, Treasurers and Ticket Sellers. 74 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

THE MUSIC CENTER’S 2026/2027 DANCE SEASON Ballet Festival: Jerome Robbins CURATED BY TILER PECK

October 23–25, 2026

The Surge: An Ode to Sinéad O’Connor January 15–17, 2027

Alvin Ailey American Dance Theater March 31–April 4, 2027

The Joffrey Ballet in The Sleeping Beauty June 24–27, 2027

Compañía Nacional de Danza in Don Quixote July 15–18, 2027

Get the best seats.

SUBSCRIBE TODAY! musiccenter.org (213) 972-0711 SCAN FOR MORE INFO

Tiler Peck. Credit: NYC Dance Project.

SUPPORT THE LA PHIL

CORPORATE PARTNERS The Los Angeles Philharmonic Association is honored to recognize our corporate partners, whose generosity supports the LA Phil’s mission of bringing music in its varied forms to audiences at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford. To learn more about becoming a partner, email aradden@laphil.org.

ANNUAL GIVING From the concerts that take place onstage at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford to the learning programs that ﬁ ll our community with music, it is the consistent support of Annual Donors that sustains and propels our work. We hope you, too, will consider making a gift today. Your contribution will enable the LA Phil to build on a long history of artistic excellence and civic engagement. Through your patronage, you become a part of the music— sharing in its power to uplift, unite, and transform the lives of its listeners. Your participation at any level is critical to our success.

FRIENDS OF THE LA PHIL Friends and Patrons of the LA Phil share a deep love of music and are committed to ensuring that great musical performance thrives in Los Angeles. As a Friend or Patron, you will be supporting the LA Phil’s critically acclaimed artistic programs at Walt Disney Concert Hall, the Hollywood Bowl, and The Ford, as well as groundbreaking learning initiatives such as YOLA, which provides free afterschool music instruction to children in culturally vibrant and ethnically diverse communities across LA County. Let your passion be your guide, and join us as a member of the Friends and Patrons of the LA Phil. For more information, or to learn about membership beneﬁ ts, please call 213 972 7557 or email friends@laphil.org.

PHILHARMONIC COUNCIL Winnie Kho and Chris Testa, Co-Chairs Christian and Tiffany Chivaroli, Co-Chairs The Philharmonic Council is a vital leadership group whose members provide critical resources in support of the LA Phil’s general operations. Their vision and generosity enable the LA Phil to recruit the best musicians, invest in groundbreaking learning initiatives, and stage innovative artistic programs, heralded worldwide for the quality of their artistry and imagination. We invite you to consider joining the Philharmonic Council as a major donor. For more information, please call 213 972 7209 or email patrons@laphil.org.

76 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

LET US MOVE YOU! June–September 2026

The Music Center is your go-to destination this summer for world-class dance, powerful music and joyful shared experiences where you too can get up and dance and feel the rhythm, right in Downtown L.A.

@musiccenterla musiccenter.org (213) 972-7211 First and third images: New York City Ballet. Photos by Erin Baiano. All other images: The Music Center’s Dance DTLA by Will Yang for The Music Center.

COUNTY OF LOS ANGELES

LOS ANGELES COUNT Y

BOARD OF SUPERVISORS

BOARD OF SUPERVISORS Hilda L. Solis Chair Holly J. Mitchell Lindsey P. Horvath Janice Hahn Kathryn Barger

DEPARTMENT OF ARTS AND CULTURE Kristin Sakoda Director Kathryn Barger FIFTH DISTRICT

Janice Hahn FOURTH DISTRICT

Hilda L. Solis FIRST DISTRICT CHAIR

Lindsey P. Horvath

Holly J. Mitchell SECOND DISTRICT

THIRD DISTRICT

The mission of the Los Angeles County Department of Arts and Culture is to advance arts, culture, and creativity throughout LA County. We provide leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross-sector creative strategies that address civic issues. All of this work is framed by our long-standing commitment to fostering access to the arts and by the County’s Cultural Equity and Inclusion Initiative. The Los Angeles County Arts Commission supports and advocates for the mission, vision, and values of the Los Angeles County Department of Arts and Culture. The Commission is an advisory group to the Board of Supervisors, with three appointees for each District. The Los Angeles Philharmonic Association’s programs are made possible, in part, by generous grants from the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture and from the City of Los Angeles Department of Cultural Affairs.

COUNTY ARTS COMMISSION Rogerio V. Carvalheiro President Sandra P. Hahn Vice President Jennifer Price-Letscher Secretary Diana Diaz Executive Committee Member Randi Tahara Immediate Past President Pamela Bright-Moon Leticia Buckley Eric R. Eisenberg Brad Gluckstein Helen Hernandez Constance Jolcuvar Alis Clausen Odenthal Anita Ortiz Tara L. Taylor Liane Weintraub

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AMERICA’S MOST CELEBRATED PROFESSIONAL CHORUS GRANT GERSHON KIKI & DAVID GINDLER ARTISTIC DIRECTOR JENNY WONG ASSOCIATE ARTISTIC DIRECTOR

We love the summer, but there’s nothing like the holidays! Join us in December for four spectacular holiday concerts at Walt Disney Concert Hall and one special concert at Cathedral of Our Lady of the Angels.

CAROLS FOR KIDS

SAT, DEC 5 AT 11 AM Includes family holiday activities and photos with Santa.

A JOURNEY OF JOY: THE MUSIC OF LAS POSADAS SUN, DEC 13 AT 7 PM

CATHEDRAL OF OUR LADY OF THE ANGELS

Featuring Mariachi Reyna de Los Angeles, America’s first all-female mariachi group.

THE MASTER CHORALE SALUTES THE HOLIDAYS SAT, DEC 5 AT 2 PM Rejoice with spectacular carols and classics from around the world.

HANDEL’S MESSIAH

MON, DEC 14 AT 7 PM In partnership with Le Concert d’Astrée, one of the world’s great Baroque ensembles.

THE GREAT MESSIAH SING-ALONG

. d e l ay i l l t ’ n o D w l i d ay s T h e h o re b e fo re be he now it! yo u k

SUN, DEC 20 AT 7 PM Lift your voice in song with 2,000 fellow music lovers.

TICKETS FOR ALL 2026/27 CONCERTS AVAILABLE AT LAMASTERCHORALE.ORG | 213-972-7282

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7/8/26 5:05 PM

ENDOWMENT

ENDOWMENT DONORS We are honored to recognize our endowment donors, whose generosity ensures the long-term health of our organization. The following list represents cumulative contributions to the Los Angeles Philharmonic Endowment Fund as of May 31, 2026. $25,000,000 AND ABOVE Walt and Lilly Disney Foundation Cecilia and Dudley Rauch

$20,000,000 TO $24,999,999 David Bohnett Foundation

$10,000,000 TO $19,999,999 Anonymous The Annenberg Foundation Lenore S. and Bernard A. Greenberg Fund

$5,000,000 TO $9,999,999 Anonymous Dunard Fund USA Carol Colburn Grigor Terri and Jerry M. Kohl Los Angeles Philharmonic Affi ates Diane and Ron Miller Charitable Fund M. David and Diane Paul Ann and Robert Ronus Ronus Foundation John and Samantha Williams

$2,500,000 TO $4,999,999 Peggy Bergmann YOLA Endowment Fund in Memory of Lenore Bergmann and John Elmer Bergmann Lynn Booth/The Otis Booth Foundation Elaine and Bram Goldsmith Norman and Sadie Lee Foundation Karl H. Loring Alfred E. Mann Elise Mudd Marvin Trust Barbara and Jay Rasulo Flora L. Thornton

Gordon Binder and Adele Haggarty Helen and Peter Bing William H. Brady, III Linda and Maynard Brittan Richard and Norma Camp Mr. and Mrs. Michael J. Connell Mark Houston Dalzell and James Dao-Dalzell Mari L. Danihel Nancy and Donald de Brier The Rafael & Luisa de Marchena-Huyke Foundation The Walt Disney Company Fairchild-Martindale Foundation Eris and Larry Field Max H. Gluck Foundation Reese and Doris Gothie Joan and John Hotchkis Janeway Foundation Bernice and Wendell Jeffrey Carrie and Stuart Ketchum Kenneth N. and Doreen R. Klee B. Allen and Dorothy Lay Los Angeles Philharmonic Committee Estate of Judith Lynne Maddocks-Brown Foundation Ginny Mancini Raulee Marcus Barbara and Buzz McCoy Merle and Peter Mullin William Powers and Carolyn Powers Koni and Geoff Ric H. Russell Smith Foundation Jay and Deanie Stein Foundation Trust Ronald and Valerie Sugar I.H. Sutnick

$500,000 TO $999,999

Ann and Martin Albert Abbott Brown Mr. George L. Cassat Kathleen and Linda and Robert Attiyeh Jerrold L. Eberhardt Judith and Valerie Franklin Thomas Beckmen

$1,000,000 TO $2,499,999

Yvonne and Gordon Hessler Barbara Leidenfrost Ernest Mauk and Doyce Nunis Mr. and Mrs. David Meline Sandy and Barry D. Pressman Earl and Victoria Pushee William and Sally Rutter Nancy and Barry Sanders Kenneth D. Sanson Richard and Bradley Seeley Christian Stracke Donna Swayze Judy Ungar and Adrienne Fritz Lee and Hope Landis Warner YOLA Student Fund Edna Weiss

$250,000 TO $499,999 Nancy and Leslie Abell Mr. Gregory A. Adams Baker Family Trust Kawanna and Jay Brown Leah Danberg Veronica and Robert Egelston Gordon Family Foundation Ms. Kay Harland Joan Green Harris Trust Bud and Barbara Hellman Bill and Ratna Jones Gerald L. Katell Norma Kayser Joyce and Kent Kresa Raymond Lieberman Mr. Kevin MacCarthy and Ms. Lauren Lexton Alfred E. Mann Charities Glenn Miya and Steven Llanusa Jane and Marc B. Nathanson Miguel A. Navarro Y & S Nazarian Family Foundation Nancy and Sidney Petersen Rice Family Foundation Robert Robinson Stacey Schuman Katharine and Thomas Stoever Sue Tsao Tom and Janet Unterman Alyce and Warren Williamson

Carole McCormac Meitus Marital Trust Sharyl and Rafael Mendez, M.D. Mr. Robert J. Abernethy John Millard William A. Allison Alfred and Rachel and Lee Ault Arlene Noreen W. Lee Bailey, M.D. Occidental Petroleum Angela Bardowell Corporation Deborah Borda Dr. M. Lee Pearce The Eli and Edythe Lois Rosen Broad Foundation Jane Carruthers $25,000 TO $99,999 Anne and James Rothenberg Pei-yuan Chia and Mr. and Mrs. Donald Tracy Rumford Katherine Shen Karl J. Abert Family Trust James and Paula Marie Baier Foundation The SahanDaywi Coburn Foundation Dr. Richard Bardowell, Foundation The Geraldine P. Coombs M.D. Mrs. Nancie Schneider Trust in memory of Jacqueline Briskin William and Gerie P. Coombs Dona Burrell Luiginia Sheridan Mr. and Mrs. Terry Cox Ying Cai & Wann S. Virginia Skinner Silvia and Kevin Dretzka Lee Foundation Living Trust Allan and Ann and Tony Cannon Nancy and Diane Eisenman Juan Carrillo and Richard Spelke Christine and Daniel Dominique Mielle Mary H. Statham Ewell Dee and Robert E. Cody Ms. Fran H. Tuchman Diane Futterman The Colburn Fund Rhio H. Weir Arnold Gilberg, M.D., Ph.D. Margaret Sheehy Collins Mrs. Joseph F. David and Paige Mr. Allen Don Cornelsen Westheimer Glickman Ginny and Jean Willingham Nicholas T. John Cushman Winnick Family Goldsborough Marilyn J. Dale Foundation Gonda Family Mrs. Barbara A. Davis Cheryl and Peter Ziegler Foundation Dr. and Mrs. Lynn and Roger Zino Margaret Grauman Roger DeBard Kathryn Kert Green and Jennifer and Mark Green LA PHIL MUSICIANS Royce Diener Freya and Mark Ivener Anonymous Jane B. and Ruth Jacobson Kenneth Bonebrake Michael D. Eisner Estate of Nancy and The Englekirk Family Mary Calfas Janos Martin Chalifour Claudia and Mark Foster Stephen A. Kanter, M.D. Brian Drake Lillian and Jo Ann and Perry Dreiman Stephen Frank Charles Kaplan Barry Gold Margaret E. Gascoigne Yates Keir Christopher Hanulik Dr. Suzanne Gemmell Susanne and Paul Kester John Hayhurst Paul and Vicki King Jory and Selina Herman Florence Glaser Sylvia Kunin Good Works Foundation Ingrid Hutman Ann and Edward Leibon Andrew Lowy Anne Heineman Ellen and Mark Lipson Gloria Lum Ann and Jean Horton Ms. Gloria Lothrop Joanne Pearce Martin Drs. Judith and Vicki and Kazue Asawa McGregor Herbert Hyman Kerry McCluggage Oscar and Diane Meza Albert E. and Heidi and Steve McLean Mitchell Newman Nancy C. Jenkins in memory of Peter Rofé Robert Jesberg and Katharine Lamb Meredith Snow and Michael J. Carmody David and Mark Zimoski William Johnson and Margaret Mgrublian Barry Socher Daniel Meeks Diane and Leon Morton Paul Stein Ms. Ann L. Kligman Mary Pickford Leticia Oaks Strong Sandra Krause and Foundation Lyndon and Beth William Fitzgerald Sally and Frank Raab Johnston Taylor Michael and Mr. David Sanders Dennis Trembly Emily Laskin Malcolm Schneer and Allison and Jim Wilt B. and Lonis Liverman Cathy Liu Suli Xue Sarah and David and Linda Ira R. Manson Shaheen Foundation

$100,000 TO $249,999

William E.B. and Laura K. Siart Terence Van Vliet and Jan Keller Magda and Frederick R. Waingrow Wasserman Foundation Robert Wood Syham Yohanna and James W. Manns

We extend our heartfelt appreciation to the many donors who have contributed to the LA Phil Endowment with contributions below $25,000, whose names are too numerous to list due to space considerations. If your name has been misspelled or omitted from this list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

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LACO

2026/27 SEASON ORCHESTRA SERIES MOVEMENT(S)! September 26 + 27 Lina González-Granados CONDUCTOR John Holiday COUNTERTENOR

STRAVINSKY, MOZART, GOODE February 12 + 13 Jaime Martín MUSIC DIRECTOR Richard Goode PIANO

STRAUSS, RAVEL, BEETHOVEN October 17 + 18 Jaime Martín MUSIC DIRECTOR Conrad Tao PIANO

HAYDN, MOZART, KALHOR April 23 + 25 Matthias Pintscher CONDUCTOR Kayhan Kalhor KAMANCHE-H

EAST MEETS WEST November 19 + 22 Ludovic Morlot CONDUCTOR Wu Man PIPA Benjamin Smolen FLUTE

BRAHMS, BEETHOVEN, RAVAEI May 15 Jaime Martín MUSIC DIRECTOR James Ehnes VIOLIN

CHAMBER SERIES PULSE & PRECISION January 9 + 10 Margaret Batjer

SHOSTAKOVICH & HAMELIN March 6 + 7 Marc-André Hamelin PIANO Yanyan Bao PIANO

BAROQUE SERIES VIVALDI’S VENICE December 5 + 6 Francesco Corti LEADER, HARPSICHORD, AND ORGAN

Rachel Barton Pine VIOLA D’AMORE

BACH: THE CHRISTMAS ORATORIO December 19 + 20 Jaime Martín MUSIC DIRECTOR Amanda Forsythe SOPRANO Tamara Mumford, ALTO James Gilchrist TENOR-EVANGELIST Tyler Duncan BASS-BARITONE Los Angeles Master Chorale singers

NEW ALBUM OUT NOW! Body in Motion presents two new concert works by five-time Emmy Award-winning composer Jeff Beal, performed by the Los Angeles Chamber Orchestra under the direction of six-time Grammy Award winner Leonard Slatkin, with acclaimed violinist Kelly Hall-Tompkins as soloist.

RECITAL SERIES ANGELA HEWITT

FRANCESCO CORTI

PIANO

HARPSICHORD

WITH

MARGARET BATJER

MISHA VAYMAN

BENJAMIN SMOLEN

VIOLIN

October 13

VIOLIN

December 3

PIANO

FLUTE

May 12

TICKETS ON SALE NOW!

LACO.ORG | (213) 221-3920 Artists, dates, times, programming, prices, and venues subject to change.

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AVAILABLE ON ALL STREAMING PLATFORMS

FAZIL SAY

APPLE MUSIC SPOTIFY AMAZON MUSIC

7/13/26 5:16 PM

ANNUAL DONORS

ANNUAL DONORS The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $2,000 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between May 1, 2025, and April 30, 2026. $1,000,000 AND ABOVE Anonymous (2)

Dunard Fund USA

Terri and Jerry M. Kohl

Anne Akiko Meyers and Jason Subotky

$500,000 TO $999,999 Anonymous Ballmer Group

Judith and Thomas L. Beckmen

Max H. Gluck Foundation Jennifer Miller Goff

Music Center Foundation

Pasadena Showcase House for the Arts Maria Seferian

Jay and Deanie Stein

GRoW @ Annenberg Foundation The Hearthland Foundation The HernandezStark Family The Hillenburg Family

Tylie Jones Ms. Ursula C. Krummel Daniel R. Lewis Los Angeles County Metropolitan Transit Authority

M. David and Diane Paul Barbara and Jay Rasulo The Rauch Family Foundation Koni and Geoff Rich

Elizabeth and Henry T. Segerstrom Linda and David Shaheen Christian Stracke

The José Iturbi Foundation Kaiser Permanente Winnie Kho and Chris Testa Philip Lieberman and Lori Miller Los Angeles Philharmonic Affiliates County of Los Angeles

Alfred E. Mann Charities Ms. Irene Mecchi Michael and Lori Milken Family Foundation John Mohme Foundation Maureen and Stanley Moore The Music Man Foundation

The Ralph M. Parsons Foundation Peninsula Committee James D. Rigler/ Lloyd E. Rigler - Lawrence E. Deutsch Foundation Michael Ritz The Rose Hills Foundation Rosenthal Family Foundation

James and Laura Rosenwald/Orinoco Foundation Katy and Michael S. Saei Snap Foundation Joanne Ten Brink Sue Tsao Alyce de Roulet Williamson Ellen and Arnold Zetcher

Greater Los Angeles Education Foundation David Greenbaum Faye Greenberg and David Lawrence Yvonne Hessler Mr. Philip Hettema Barbara and Amos Hostetter Frank Hu and Vikki Sung Monique and Jonathan Kagan Linda and Donald Kaplan W.M. Keck Foundation

Darioush and Shahpar Khaledi Dr. Ralph A. Korpman Mr. and Mrs. Keith Landenberger The Laufey Foundation The Norman and Sadie Lee Foundation Roger Lustberg and Cheryl Petersen Linda May and Jack Suzar Barbara and Buzz McCoy Mr. and Mrs. David Meline

Mr. Ralph Page and Patty Lesh Ms. Linda L. Pierce Bill and Amy Roth Richard and Diane Schirtzer Stacey Schuman John Sinnema and Laura Sinnema Smidt Family Foundation Trust Sony Pictures Entertainment, Inc. Marilyn and Eugene Stein Ronald and Valerie Sugar

Cecilia Terasaki Megan Watanabe and Hideya Terashima David William Upham Foundation Bob and Michelle Valentine Ellen GoldsmithVein and Jon Vein Mr. Alex Weingarten John and Marilyn Wells Family Foundation Margo and Irwin Winkler Debra Wong Yang and John W. Spiegel Ms. Marilyn Ziering

$200,000 TO $499,999 Anonymous (3) Mr. Gregory A. Adams R. Martin Chavez The Eisner Foundation Jane B. and Michael D. Eisner

Lisa Field Robyn Field and Anthony O’Carroll Gordon P. Getty Lenore S. and Bernard A. Greenberg Fund

$100,000 TO $199,999 Anonymous (3) Nancy and Leslie Abell The Blue Ribbon Bobby Campbell and J. Robert Garcia Canon Insurance Service Michael J. Connell Foundation Nancy and Donald de Brier

De Marchena-Huyke Foundation Louise and Brad Edgerton/Edgerton Foundation The Field Family Foundation Mary D. Fisher and David Kessler Alexandra S. Glickman and Gayle Whittemore Lori Greene Gordon

$50,000 TO $99,999 Anonymous (5) Amazon Studios Ms. Kate Angelo and Mr. Francois Mobasser Linda and Phil Becker Jr. The Eli and Edythe Broad Foundation Kawanna and Jay Brown California Community Foundation Esther S.M. Chui Chao & Andrea Chao-Kharma

Mr. Richard W. Colburn Becca and Jonathan Congdon The Rafael & Luisa de MarchenaHuyke Foundation The Walt Disney Company Joseph Drown Foundation Kathleen and Jerry L. Eberhardt Mr. James Gleason Goldman Sachs Co. LLC

CONTINUED ON PAGE 84

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ANNUAL DONORS

$25,000 TO $49,999 Anonymous (8) Mr. Robert J. Abernethy The Herb Alpert Foundation Patricia Artigas Dr. William Benbassat Samuel and Erin Biggs Mr. and Mrs. Norris J. Bishton, Jr. Jill Black Zalben Tracey BoldemannTatkin and Stan Tatkin The Otis Booth Foundation Dorothy and Leo Braudy Brooks-Garnett Family Philippe Browning Michele Brustin Gail Buchalter and Warren Breslow Thy Bui Steven and Lori Bush Business and Professional Committee Ying Cai & Wann S. Lee Foundation Andrea Chao-Kharma and Kenneth Kharma Chevron Products Company Chivaroli and Associates, Tiffany and Christian Chivaroli Mr. and Mrs. Robert Cook Katherine d’Arbeloff Lynette and Michael C. Davis

Mr. Lawrence Doyle and Dr. LuAnn Wilkerson James and Andrea Drollinger Van and Francine Durrer Dr. and Mrs. William M. Duxler East West Bank Michael Edelstein Edison International Dr. Paul and Patti Eisenberg Emil Ellis Farrar and Bill Ramackers Geoff Emery Marianna J. Fisher and David Fisher Austin and Lauren Fite Foundation Alfred Fraijo Jr. and Arturo Becerra Debra Frank Julio Frenk and Felicia Knaul Drs. Jessie and Steven Galson Mr. and Mrs. Ronald Gertz The Rosalinde and Arthur Gilbert Foundation Stephen & Renee Gingold & Susan Rogers Robert and Lori Goodman Peter & Elizabeth Goulds, L.A. Louver Gallery The Green Foundation

Renée and Paul Haas Laurie and Chris Harbert and Family Harman Family Foundation Sam Harris Lynette Maria Carlucci Hayde Madeleine Heil and Sean Petersen Donna and Walter Helm Marion and Tod Hindin Mr. Tyler Holcomb David Z. & Young O. Hong Family Foundation Thomas Dubois Hormel Foundation David and Michelle Horowitz Mr. and Mrs. Daniel Paul Horwitz Jim and Joanne Hunter Rif & Bridget Hutton Meredith Jackson and Jan Voboril Robin and Gary Jacobs Stephen E. Jones Julia Kalmus and Abe Lillard Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Terri and Michael Kaplan Tobe and Greg Karns Paul Kester

Shekhar and Rajani Khare Vicki King Margaret Klinkow Hartmann and Thomas Hartmann Elizabeth Kolawa Delores M. Komar and Susan M. Wolford Mr. and Mrs. Howard A. Krom Mrs. Grace E. Latt Leaves of Grass Fund David Lee Mahnaz and David Lee Ms. Agnes Lew Simon and June Li Karen and Clark Linstone Live Nation-Hewitt Silva Concerts, LLC Ms. Judith W. Locke City of Los Angeles, Department of Cultural Affairs Bethany Lukitsch and Bart Nelson Renee and Meyer Luskin The Seth MacFarlane Foundation The Mailman Foundation Mrs. Beverly C. Marksbury Matt Construction Corporation Ms. Kim McCarthy and Mr. Ben Cheng Heidi and Steve McLean Mrs. Judith S. Mishkin

Mr. Brian R. Morrow Ms. Christine Muller and Mr. John Swanson Molly Munger and Stephen English Deena and Edward Nahmias Jose and Kathleen Nazar Anthony and Olivia Neece Mr. and Mrs. Randy Newman Estate of Robert W. Olsen Tye Ouzounian Andy S. Park Bruce and Aulana Peters Gregory Pickert and Beth Price Dennis Poulsen Sandy and Barry D. Pressman Madeline and Bruce Ramer Cathleen and Scott Richland Mr. Bennett Rosenthal Ross Endowment Fund Mimi Rotter Linda and Tony Rubin The Ruby Family Ann M. Ryder Mr. Lee C. Samson San Marino-Pasadena Philharmonic Committee Ellen and Richard Sandler Mr. Steven Shapiro

Howard and Stephanie Sherwood Ms. Pilar Simmons Melanie and Harold Snedcof Randy and Susan Snyder Terry and Karey Spidell Stein Family Fund Judie Stein Dr. James Thompson and Dr. Diane Birnbaumer Michael Frazier Thompson Warren B. and Nancy L. Tucker Michael Tyler Charles Edward Uhlmann Tom and Janet Unterman Carol and Andrew Valdivia Vhernier USA LLC Jennifer and Dr. Ken Waltzer Walter and Shirley Wang Debra and John Warfel Mindy and David Weiner Shannon and Kirk Wickstrom & Erin Hearst Mr. William Wilbur Libby Wilson, M.D. Alana L. Wray Lynn and Roger Zino Zolla Family Foundation

Cary Davidson and Andrew Ogilvie Victoria Seaver Dean, Patrick Seaver, Carlton Seaver Dody Dorn and Kevin Hughes Malsi and Johnny Doyle Bonnie and Ronald Fein Evelyn and Norman Feintech Family Foundation E. Mark Fishman and Carrie N. Feldman Ella Fitzgerald Charitable Foundation Foothill Philharmonic Committee

Tony and Elisabeth Freinberg Joan Friedman, Ph.D., and Robert N. Braun, M.D. Mr. and Mrs. Josh Friedman Gary and Cindy Frischling Dr. and Mrs. David Fung Lisa Fung Beth Gertmenian Leslie and Cliff Gilbert-Lurie Carrie and Rob Glicksteen Kate Good Goodman Family Foundation

The Gorfaine/ Schwartz Agency Marnie and Dan Gruen Mr. and Mrs. Paul Guerin Vicken and Susan J. Haleblian The Harding-Huth Family Drs. Susan Hammar and Rick Harrison Paul Hastings LLP Erin W. Hearst Diane Henderson, M.D. Jackson N. Henry Stephen D. Henry and Rudy M. Oclaray The Ernest G. Herman Foundation Antonia Hernandez and Michael L. Stern

Ms. Julia Huang Deedie and Tom Hudnut Mr. Gregory Jackson and Mrs. Lenora Jackson Meg and Bahram Jalali Robin and Craig Justice Hollee and Rizwan Kassim Sandi and Kevin Kayse Mr. and Mrs. Elmar and Katrina Klotz Larry and Lisa Kohorn Naomi and Fred Kurata Joey Lee Shireen Lee Allyn and Jeffrey L. Levine

$15,000 TO $24,999 Anonymous (6) Drew and Susan Adams Honorable and Mrs. Richard Adler Tichina Arnold Ms. Michelle Ashford and Mr. Greg Walker Ms. Elizabeth Barbatelli Karen Barragan Stephanie Barron Susan Baumgarten Camilo Esteban Becdach Joni and Miles Benickes Suzette and Monroe Berkman Josh and Jeanie Bertman Robert and Joan Blackman Family Foundation

Mr. Ronald H. Bloom David Bohnett Foundation Lynn A. Booth Mr. and Mrs. Wade Bourne Ms. Janet Braun Jennifer Broder and Soham Patel Campagna Family Trust Michelle Carpenter and Matthew Macdonald Larison Clark Mr. and Mrs. V. Shannon Clyne Mr. Garrett Collins and Mr. Matthew McIntyre Faith and Jonathan Cookler The Dabney Family

CONTINUED ON PAGE 86

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TheW

2026/27 SEASON FEATURING

LAS MIGAS LOS ANGELES CHAMBER ORCHESTRA with Richard Goode

SANDRA BERNHARD ISAAC MIZRAHI NAGHASH ENSEMBLE SASHA VELOUR THE STRING QUEENS DAYMÉ AROCENA JOSHUA REDMAN QUARTET LAURA BENANTI AND MORE Isaac Mizrahi

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7/8/26 1:02 PM

ANNUAL DONORS

Saul Levine Dr. Stuart Levine and Dr. Donna Richey Mr. Steven Llanusa and Dr. Glenn Miya Anita Lorber Mr. and Mrs. John V. Mallory Raulee Marcus Andrew W. Marlowe and Terri Edda Miller Leslie and Ray Mathiasen Dwayne and Eileen McKenzie Cathy McMullen David and Margaret Mgrublian Marcy Miller Mr. Weston F. Milliken

Mr. John Monahan The Morad Family Lauren and Eric Muhlheim John Nagler Ms. Kari Nakama Mr. and Mrs. Dan Napier NBCUniversal Dick and Chris Newman / C & R Newman Family Foundation Christine Ofiesh Laura Owens Loren Pannier Mr. and Mrs. Arnold Porath Mark Proksch and Amelie Gillette

Eduardo Repetto and Carla Figueroa John Peter Robinson and Denise Hudson Robert Robinson Murphy and Ed Romano and Family Richard Ross and Kristina Lerman Ron and Melissa Sanders Alexander and Mariette Sawchuk Dena and Irv Schechter/ The Hyman Levine Family Foundation: L’DOR V’DOR Evy and Fred Scholder Family

Samantha and Marc Sedaka Murat Sehidoglu In Memory of Joan and Arnold Seidel Neil Selman and Cynthia Chapman Marc Seltzer and Christina Snyder Mr. James J. Sepe Ava Shamban Julie and Bradley Shames Nina Shaw and Wallace Little Jill and Neil Sheffield Lauren Shuler Donner Mr. and Mrs. Richard Sondheimer

Zenia Stept and Lee Hutcherson Eva and Marc Stern James C. Stewart Charitable Foundation Tom Strickler Priscilla and Curtis S. Tamkin Elinor and Rubin Turner Mr. and Mrs. Leonard Unger Charles Urban Arnold Urquidez and Martha Shen-Urquidez Jack VanAken and Kathy Marsailes

Noralisa Villarreal and John Matthew Trott Frank Wagner and Lynn O’Hearn Wagner Warner Bros. Discovery Stasia and Michael Washington Ian Wayne & The Wayne Family Foundation Steven and Angela White Willkie Farr & Gallagher LLP Mahvash and Farrok Yazdi Mr. and Mrs. Howard Zelikow Kevork and Elizabeth Zoryan

Mr. Gregg Goldman and Mr. Anthony DeFrancesco Mr. and Mrs. Louis L. Gonda Manuela Cerri Goren Edith Gould Mr. and Mrs. Ken Gouw Diane and Peter H. Gray Tricia and Richard Grey Cindi Griffith Mr. Bill Grubman Ms. Marian L. Hall Beth Fishbein Hansen Mr. and Mrs. John R. Harbison Tamara L. Harris Foundation, Inc. Teri Hatcher Mr. and Mrs. Irwin Helford and Family Betsydiane and Larry Hendrickson Mr. and Mrs. Enrique Hernandez, Jr. Jessica and Elliot Hirsch Elizabeth HofertDailey Trust Mr. Raymond W. Holdsworth Joyce and Fredric Horowitz Terry Huang Mr. Frank J. Intiso Audrey & Sydney Irmas Charitable Foundation Harry and Judy Isaacs Kristi Jackson and William Newby Doug and Minda Johnstone

Sharon and Alan Jones Dr. William B. Jones Marilee and Fred Karlsen Estate of Yates Keir Mr. and Mrs. Stephen Keller Leigha Kemmett and Jacob Goldstein Sharon Kerson Daisietta Kim Jay T. Kinn and Jules B. Vogel Mr. and Mrs. Kenneth N. Klee Phyllis H. Klein, M.D. Alan S. Koenigsberg and John A. Dotto Hon. Ruth A. Kwan Craig Kwiatkowski and Oren Rosenthal Dr. Kihong and Mrs. Wonmi Kwon Lena and Mark Labowe Ellie and Mark Lainer Mr. and Mrs. Jack D. Lantz Joan and Chris Larkin Mr. Benjamin Lench Mr. and Mrs. Norman A. Levin Arthur E. Levine and Lauren B. Leichtman Maria and Matthew Lichtenberg Loeb and Wilson Family Los Angeles County Department of Arts and Culture

Mann Charities Milli Martinez and Donald Wilson Vilma S. Martinez, Esq. Forrest McCartney Janis B. McEldowney Lisa and Willem Mesdag Ms. Marlane Meyer Cynthia Miscikowski Marc and Jessica Mitchell Wendy Stark Morrissey Craig and Lisa Murray Gregory Niles Renae and Greg Niles Kenneth T. & Eileen L. Norris Foundation Irene and Edward Ojdana Steve and Gail Orens Cynthia Patton Ms. Debra Pelton and Mr. Jon Johannessen Nancy and Glenn Pittson Debbie and Rick Powell Matthew and Laura Raymond Ernesto Rocco Mr. Steven F. Roth Ms. Rita Rothman Mr. David Rudy Jesse Russo and Alicia Hirsch The SahanDaywi Foundation Valerie Salkin

John and Claudia Schauerman Dr Heinrich and Barbara Schelbert Jane Semel Larry Shafritz Ruth and Mitchell Shapiro The Sikand Foundation Angelina and Mark Speare William Spiller Joseph and Suzanne Sposato Mr. and Mrs. Mark Stern Mark G. and Kathryn Sullivan Marcie Polier Swartz and David Swartz Christine Upton Nancy Valentine Kathy Valentino Van Cleef & Arpels Kathleen and Louis Victorino The Walske Foundation Darryl Wash and Heidi Durrow Sheila and Wally Weisman Abby and Ray Weiss Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom Estate of Ronald Wilkniss Jenny Williams Karen and Rick Wolfen Emiko Wong Ruth Harvey Zommick David Zuckerman and Ellie Kanner

$10,000 TO $14,999 Anonymous (7) Ms. Lisette Arsuaga and Mr. Gilbert Davila Aversa Foundation Pamela and Jeffrey Balton Clare Baren and David Dwiggins Mr. Joseph A. Bartush Sondra Behrens Phyllis and Sandy Beim Logan Beitler Mr. and Mrs. Bill Benenson Mark and Pat Benjamin Susan and Adam Berger Ms. Gail K. Bernstein Kenneth Blakeley and Quentin O’Brien Mitchell Bloom Mr. and Mrs. Hal Borthwick The Hon. Bob Bowers and Mrs. Reveta Bowers Anita Brenner and Len Torres Mr. and Mrs. Steven Bristing Drs. Maryam and Iman Brivanlou Oleg and Tatiana Butenko Garrett Camp The Capital Group Companies Charitable Foundation Mara and Joseph Carieri Ms. Nancy Carson and Mr. Chris Tobin

Marlene Schall Chavez, Ph.D. Ms. Jessica Chen Sarah and Roger Chrisman Dr. Lawrence J. Cohen and Mrs. Jane Z. Cohen Jay and Nadege Conger Hillary and Weston Cookler Dr. and Mrs. Nazareth E. Darakjian Nancy and Patrick Dennis Sean Dugan and Joe Custer Victoria Dummer and Brion Allen Anna Sanders Eigler Fidelity Investments® Mr. Tommy Finkelstein and Mr. Dan Chang Daniel and Maryann Fong Mr. Michael Fox Mr. and Mrs. Don E. Franzen Tatiana Freitas Friars Charitable Foundation Roberta and Conrad Furlong Dr. and Mrs. Bruce Gainsley Kiki Ramos Gindler and David Gindler Sharon and Herb z"l Glaser Greg and Etty Goetzman Harriett and Richard E. Gold Dr. and Mrs. Steven Goldberg

CONTINUED ON PAGE 88

8 6 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

26060

Explore the full 2026-27 Season

LA Phil

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6/8/26 1:47 PM

ANNUAL DONORS

$5,500 TO $9,999 Anonymous (10) Lena and David Adishian Mr. Robert A. Ahdoot Lynne Alschuler Amazon Bobken and Hasmik Amirian Debra and Benjamin Ansell Art and Pat Antin Tato Arad Dr. Mehrdad Ariani Sandra Aronberg, M.D. Halina Avery Mr. Mustapha Baha Terence Balagia Dr. Richard Bardowell, M.D. Mrs. Linda E. Barnes Reed Baumgarten Maria and Bill Bell Mr. and Mrs. Philip Bellomy Dr. and Mrs. Gerald Berke Richard Birnholz Mr. and Mrs. Geoff C. Bland Marjorie Blatt The Blau LaBranBoyd Family Thomas J. Blumenthal Joan N. Borinstein Greg Borrud Mr. Matthew C. Bousquette and Mr. John Jacobs Dr. and Mrs. Hans Bozler Ms. Marie Brazil Mayer Brenner Lynne Brickner and Gerald Gallard Mr. Donald M. Briggs and Mrs. Deborah J. Briggs Ryan and Michelle Brown Brian J Burka and Jerry W Hussong CBS Entertainment Mr. Jon C. Chambers Dr. Kirk Y. Chang

Eugene and Kathryn Cheng Arthur and Katheryn Chinski Dr. Stephanie Cho and Jacob Green Leonard Chung Mr. and Mrs. Ronald Clements Dan Clivner Committee of Professional Women Ms. Bronni Stein Connolly Mr. and Mrs. Richard W. Cook Kevin and Katie Cordano Mr. and Mrs. Bruce Corwin Lloyd Eric Cotsen Suzanne DeJong Orna and David Delrahim Ms. Mary Denove Elizabeth and Kenneth M. Doran Julie and Stan Dorobek Bob Ducsay and Marina Pires de Souza Steven Duffy Ms. Robin Eisenman and Mr. Maurice LaMarche John B. Emerson and Kimberly Marteau Emerson Janice Feldman, JANUS et cie The Franke Family Trust Lynn Franklin Linda and James Freund Ms. Kimberly Friedman Mrs. Diane Futterman Ruchika Garga Mr. and Mrs. Alan M. Gasmer Susan and Jaime Gesundheit Mr. and Mrs. Harlan Gibbs

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CONTINUED ON PAGE 90

8 8 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

AT THE BOWL LAB Artistic Director Melissa Barak premieres an exciting new work set to Grammy-winning composer Gabriela Ortiz’s celebratory Kauyumari, alongside George Balanchine’s jazz-infused Who Cares? Plus, music inspired by the American West and Mexico’s landscapes.

Conducted by Carlos Miguel Prieto

SEPT 8, 2026 Scan to sign Season up for 2025/2026 season updates

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10 0 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

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Ms. Lorri L. Jean and Ms. Gina M. Calvelli Mrs. Michelle Joanou Jones Day Jones Marketing Services Gary Kading Monique and Jonathan Kagan Jo Ann and Charles Kaplan Mr. and Mrs. Joshua R. Kaplan Linda and Donald Kaplan Dr. and Mrs. Robert M. Karns Tobe and Greg Karns Barbara Karrol Hollee and Rizwan Kassim Jerry Katell Richard Kendall and Lisa See Darioush and Shahpar Khaledi Vicki King Mr. Gary Kirkpatrick and Mrs. Rebeccah Bush Kirkpatrick Ms. Madeleine A. Kleiner Michael and Patricia Klowden Dr. and Mrs. Robert Koblin Carla and Archy Kotoyantz Joan Velazquez and Joel Kozberg KPMG LLP Mr. and Mrs. Stanley Kramer Eric Kunze Tom Lallas and Sandy Milo Mr. and Mrs. Russ Lesser Steve and Cynthia Levine Allison and Thomas S. Levyn Ms. Agnes Lew Marie and Edward Lewis Mr. Stuart Liner Mr. and Mrs. Steve Loeb Mr. and Mrs. Robert Lopata Shelly and Dennis Lowe Ms. Marion Lowry Dr. and Mrs. Franklin W. Lusby Theresa Macellaro / The Macellaro Law Firm Barbara Marshall Mr. Gary J. Matus Mr. and Mrs. Brad McCroskey Dwayne and Eileen McKenzie Carlos Melich Sharyl and Rafael Mendez, M.D. Mr. and Mrs. Bruce A. Meyer Ms. Marlane Meyer Ms. Julie Milligan Ms. Cynthia Mitchell Montessori School Mr. David S. Moromisato Michael J. Morris & Julie A. Dopheide Susan Morse Christy Mozilo Larsen Lauren & Eric Muhlheim Ms. Christine Muller and Mr. John Swanson Jose and Kathleen Nazar Mumsey and Allan Nemiroff Mr. Jerold B. Neuman Dr. and Mrs. Jay Orringer M. David and Diane Paul Mr. and Mrs. Joseph P. Perna Mr. Mark E. Pollack Lyle and Lisi Poncher Mr. Michael Poole

POOL CIRCLE

Resource Direct Robert Gore Rifkind Foundation Betsey and Neil Roberts Ms. Iva C. Roberts Maria Rodriguez and Victoria Bullock Ari Rosenblatt, D.D.S. James and Laura Rosenwald/ Orinoco Foundation Joyce and Deane Ross Robyn and Steven Ross Linda and Tony Rubin Mr. Larry Ruderman Katy and Michael S. Saei The Saitman Family Mr. Lee C. Samson Anna Sanders Eigler Ellen and Richard Sandler David N. Sayah, M.D. Mr. and Mrs. Alfred G. Scheid Kurt Schulzman and Richard Neri Mr. and Mrs. Gerry Schwartz Maria Seferian Dr. Donald Seligman and Dr. Jon Zimmermann Neil Selman and Cynthia Chapman Dr. and Mrs. Hrayr K. Shahinian Mr. David Suruki and Mr. Bob Shahnazarian Dr. Hanna Shammas Mrs. S. Shinbane Dr. and Mrs. Lee B. Silver June Simmons Grady and Shelley Smith Debra Wong Yang and John W. Spiegel Marilyn and Eugene Stein Hilde Stephens-Levonian Ed and Peggy Summers Mr. Stephen A. Talesnick Mr. and Mrs. Randall Tamura Mr. Andrew Tennenbaum and Dr. Ali Strocker Ms. Jennifer Cannon Terry Suzanne Thomas Thomson Technicolor Jeremy Thurswell Judith and Dr. John Uphold Ellen Goldsmith-Vein and Jon Vein Noralisa Villarreal and John Matthew Trott Christopher V. Walker Robert and Nancy Wallan Lisa & Tim Wallender Walter and Shirley Wang Fredda and Bruce Wasserman Mr. and Mrs. Bradley Wayne Mr. and Mrs. Stephen Weber Mr. Beryl Weiner Mindy and David Weiner Mr. Joel Weiner Mr. Alex Weingarten Gelena and Seth Weissman Western Health Insurance Services, Inc. Alyce de Roulet Williamson Mr. Peter Christian and Mr. Robert Wyka Mrs. Lillian Zacky Ms. Seeta Zieger

N O T A L L L I S T E N I N G R O OMS

SERVE DINNER

VERSE LA blends live music, exceptional hospitality, and studio-quality acoustics into an intimate supper club experience from the family behind Larrabee Studios.

W W W . V E R S E . L A 4 2 1 2 l a n k e r s h i m b lv d . toluca lake, ca 91602

“ONE OF L.A.’S

GREATEST SUMMER TRADITIONS” LOS ANGELES TIMES

MISHAPS

MAYHEM MISTAKEN IDENTITY

AUG 5 – SEPT 6 WED–SUN, 7 PM IndieShakes.org @IndieShakes P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26 101

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ABOUT THE ARTISTS

Find It at The Ford

I’M LOOKING FOR AN EVENT WHERE I CAN ENJOY... MUSIC ROOTED IN REGIONAL TRADITIONS HONORING HERITAGE

ENVISIONING THE FUTURE

WITH UNBELIEVABLY GOOD VOCALS

AUG 13 AUG 30

Element Band: Pyur

Helado Tropical

Helado Negro & Reyna Tropical VIA AMBIENCE & RHYTHM AND REIMAGINING SOUNDS OF THE PAST

AUG 21

Tercera Raíz

Produced in partnership with Grandeza Mexicana Folk Ballet Company

Music Dance Theater Comedy Film

AND DYNAMIC FOLK BALLET

SEPT 19

THROUGH DANCE

Pan-American Sounds

AND EXTRAORDINARY FLAMENCO

Lido Pimienta & YEИDRY IN VERSE

SEPT 12

Flamenco! Maria Bermudez’s Convivencias

AUG 29

Flypoet Summer Classic

102 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

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HB26

1:53 AM

ABOUT THE ARTISTS

A CELEBRATION OF WOMEN’S STORIES

LED BY AN ALL-STRING SISTERHOOD

PERFORMED BY SOCIALLY CONSCIOUS SINGER-SONGWRITERS INSPIRING PEOPLE SINCE THE 1990S

LEADING THE NEXT GENERATION

SEPT 5

SEPT 22

AUG 12

Paris Paloma: The Fatal Flaw Tour

Ani DiFranco

with Special Guest Valerie June

¡Viva La Tradición! LA’s Mujeres Divinas with Las Colibrí, Mariachi Las Catrinas & Grupo Bella

with special guests Ballet Folklórico Ollín Produced in partnership with Colibrí Entertainment

FAMILIAR FAVORITES WITH A TWIST

DRESSED UP IN PURPLE

A NIGHT OF SURPRISES

SEPT 6 LA Soundscapes

The Filharmonic: LA Cover to Cover

AMERICANA STYLE

A CAPPELLA FUN FOR EVERYONE MANCHESTER VIA MEXICO SEPT 25

SEPT 4

Brandon Flowers

Nothing Compares 2 Prince: A Celebration of Life & Legacy feat. Bilal & Special Guests with DJ Rashida

Produced in partnership with Fusicology

SEPT 27

Mariachi Meets The Smiths Produced in partnership with Mariachi Tierra Mia

Get Your Tickets Today!

theford.com • English/Español: 323 850 2000 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26 10 3

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H I GH L AN D

KOHL ARTISTS PAVILION

VALET PARKING

FIELD GATE

GENERAL INFORMATION BUZZ MC COY’S MARKETPLACE

JOHN

P EA

AT S

E AT S

S TAG E

C IRC LE

LEG

AMS

POOL

WILLI

GAR DE N B OX S

NADE

X SE

SUPE R S

P RO ME

T E R R AC E B O

MARKETPLACE EAST

ANN’S WINE BAR

M R

MID GATE

STEIN’S BACKYARD RESTAURANT & KITCHEN 22

PLAZA MARKETPLACE & SOUTH LA CAFE

PIZZA SNACK BAR

SMOKING POLICY

By law (LACC 17.04.645), smoking is not permitted on the Hollywood Bowl grounds, except in designated areas. Violators are subject to removal. Smoking in any other areas could lead to arrest and would be considered a misdemeanor.

MAIN GATE

VOLUNTEER COTTAGE (PRIVATE)

1 5 BURRITOS & SUZANNE’S FRIED CHICKEN

LOT B

KAGAN PATIO

→ →

→

A SL

PARK & RIDE PICKUP EN

A TR

PEDESTRIAN TUNNEL

H L AN D

F-

EN TR AN

Accessible Facilities

Entrance Gate 13

Picnic Areas (1-14)

Escalator / 11 Moving12Sidewalk

Picnic Box Pickup

The Bowl Store Box Offi ce, Info & Accessibility Dept Chao’s Popcorn

First Aid Food + Wine Ice Cream

RT H

ATM

Parking

Restrooms Rideshare Water Filling Station

101

OD F

Elevator

Accessible Cart Path

Cushion Rental

Park & Ride / Shuttle

Accessible Seating

Zev Law Mon Norm Poo Marg Terr Jay Rest

LEGEND

Zev Yaroslavsky Main Gate / Lawrence N. Field Gate / Monique & Jonathan Kagan Patio Norman & Sadie Lee Foundation Pool Circle / Margo & Irwin Winkler Promenade / Terri & Jerry Kohl Artists Pavilion

10 4 P E R F O R M A N C E S M A G A Z INE AU G US T 2 0 26

101 N

HIG

O RT

PURPLE

101

101 SO UT H

MR O

→

→→

→

O 1N

SOU

→→ →→

T EN

N RA

→

MARQUEE

101 SOUTH

→→

→

101

→ →

→→

B1 → →

→

WAY

→

PARK & RIDE → → PICKUP → →

→→

PAT M OO RE

T IC S TA U E E Q MAR

For information detailing accessible seating, restrooms, dining, on-site transportation, assistive listening devices, or any further information, visit hollywoodbowl.com/access. For additional information, call Accessibility Services at 323 850 2125.

FO EN

PHOTOGRAPHS

PATRONS WITH DISABILITIES

IN UN

→→ →→

→→

N R IA EST PED UNNEL T

Any lost articles found on concert nights may be claimed at the Operations Office the next morning. Unclaimed articles are kept for 30 days from the date they are found. For information, call 323 850 2060. Your use of a ticket constitutes acknowl edgment of willingness to appear in photographs taken in public areas of the Hollywood Bowl and releases the Los Angeles Philharmonic Association, its lessees, and all others from liability resulting from the use of such photographs.

LOST AND FOUND

MUSEUM

SHUTTLE DROP-OFF & PICKUP

PARK & RIDE DROP-OFF

B LV

ACCESSIBLE PARKING

In case of illness or injury, please see an usher, who will escort you to the First Aid Station.

E ST

FIRST AID

If the behavior of a patron or patrons near you becomes disruptive, the incident should be reported to the nearest usher or security person. To report an incident discreetly during an event, a text can be placed to the Customer Courtesy Line using the keyword BOWL sent to 69050. For the full Code of Conduct, visit hollywoodbowl.com/houserules.

CONCERT CONDUCT

101 NOR

H I GH L AN D

GROUNDS MAP ON

LEGEND

-R

Accessible Seating M

E A ST

B LV D

Accessible Cart Path

AG E B R

ID G E

CAHU

ATM P IL G R IM

ENGA

Accessible Facilities The Bowl Store

Box Office, Info & Accessibility Dept Chao’s Popcorn Cushion Rental Elevator Entrance Gate Escalator / Moving Sidewalk

First Aid Food + Wine Ice Cream

Park & Ride / Shuttle Parking 1

Picnic Areas (1-14) Picnic Box Pick-Up Restrooms Rideshare Water Filling Station

AN D

FRA

Zev Yaroslavsky Main Gate Lawrence N. Field Gate Monique & Jonathan Kagan Patio Norman & Sadie Lee Foundation Pool Circle Margo & Irwin Winkler Promenade Terri and Jerry Kohl Artists Pavilion Jay and Deanie Stein’s Backyard Restaurant

ENG

Hollywood Bowl - Summer 1948 José Iturbi conducting with his sister Amparo at the piano in rehearsal - Rachmaninoff Piano Concerto #2 A B LV D E A ST

More than 75 years ago...