Performances Magazine | Hollywood Bowl, July 2026

Along the edge of the Pacific, Terranea offers space to unwind, reconnect, and experience the coast at its most effortless. Days unfold between oceanfront dining, spa rituals, coastal adventures, and quiet moments by the water—giving you more time to linger. All shaped by a setting that feels open, unhurried, and distinctly Southern California.

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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.

Warmly,

Kim Noltemy

President & CEO

David C. Bohnett Presidential Chair Los Angeles Philharmonic Association

BOARD OF DIRECTORS

CHAIR

Jason Subotky*

PRESIDENT & CEO

David C. Bohnett Presidential Chair

Kim Noltemy

VICE CHAIRS

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

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

Dotty Ewing

Lisa Field

David A. Ford

Alfred Fraijo Jr.

Hilary Garland

Jennifer Miller Goff*

Tamara Golihew

Lori Greene Gordon

David Greenbaum

Carol Colburn Grigor

Marian L. Hall

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

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

LIF E 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†

† In Memoriam

* Executive Committee Member as of September 26, 2025

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

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LOS ANGELES PHILHARMONIC PUBLICATIONS 2026

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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 fi nds 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 fi rst 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 fi nd 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.

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 fi lling 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 fi lled 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 affi rmed, and where the collective spirit of Los Angeles County is reflected, renewed, and celebrated.

Todos están bienvenidos. Everyone is welcome. ¡Gracias Dudamel!

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 offi cial opening in 1922. This bowl-shaped location in Bolton Canyon, known as Daisy Dell at the time, was identifi ed 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 fi nest 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.

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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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, 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.

As a conductor, Dudamel is one of the few classical musicians to become a bona fide pop-culture phenomenon and has worked tirelessly to ensure that music reaches an ever-greater audience. He was the first classical artist to participate in the Super Bowl halftime show and the youngest conductor ever to lead the Vienna Philharmonic’s New Year’s Concert. He has performed at global mainstream events from the Academy Awards to Coachella, and has worked with musical icons like Billie Eilish, Christina Aguilera, LL Cool J, Ca7riel & Paco Amoroso, Laufey, Coldplay, and Nas. 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

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 reflective 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

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).

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 fi rst 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 signifi cant 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.

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 nonprofi t 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.

KEEP ON BELIEVING IT’S POSSIBLE

Breakthroughs happen when we dare to believe. It’s when the unimaginable becomes the attainable. Treatments are discovered, and lives are transformed, like developing the first gene therapy cure for “bubble baby” disease, giving young Seersha a life-changing victory. As we rise, so do the possibilities for everyone who needs a win.

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,

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 film music, pop music to jazz, and classical music to world premieres by living composers. In essence, the Hollywood Bowl Orchestra does it all.

By Tim Greiving

Picture this. You’re a conductor standing in front of an audience, with an entire orchestra glued to your baton, and you’re leading it through the operatic climax of E.T. the ExtraTerrestrial. Steven Spielberg’s 1982 fantasia crescendoes as the title character boards his spaceship and his human friends bid him a tearful goodbye. John Williams’ Oscar-winning score swells with bittersweet grandeur, italicizing many of the minute gestures onscreen with corresponding gestures in the music. This meticulous level of synchronization often relies on a “click track,” a kind of guided metronome in the conductor’s and musicians’ headphones. Then, all of a sudden...the click track cuts out.

“I kind of had a freak-out moment,” says Norman Huynh, who had this very experience while conducting E.T. live to picture in Oregon several years ago (and who conducts Amadeus live to picture with the Los Angeles Philharmonic at the Hollywood Bowl this September). But then, he says, “it felt so free after that, because I had the punches and streamers there in front of me—the tempo, essentially—and I felt like I could actually make adjustments and kind of broaden things when needed, and then sync the moments that needed to be

there. I haven’t gone back to click since.”

These are just some of the onstage considerations in the prolific phenomenon of concerts in which films are presented with a symphony orchestra playing the score, live. For audiences, live-to-picture concerts are a fun way to reexperience a familiar movie in a communal way—perhaps to introduce a film to their kids or friends—and often outdoors. For conductors and musicians, they are a tightrope walk of exact timing, dependent on technology that didn’t exist until very recently.

David Newman, who will conduct How to Train Your Dragon at the Bowl this summer (as well as the clipsheavy Maestro of the Movies: A Tribute to John Williams), has been conducting fi lm scores live to picture since the 1980s, when he was music director of the Sundance Institute. In 1989 he conducted an original score—his own composition—to the 1927 silent classic Sunrise Back then, it was projected on fi lm, “so it was infi nitely more diffi cult to synchronize the conductor video with the presentation video,” Newman says. And rehearsing was a nightmare, because “you really couldn’t stop and go back and go forward. You just had to sort of run the fi lm. If they stopped

the fi lm, they had to hand-crank it back.”

The ver y first “live to picture” concert performed by the Los Angeles Philharmonic was Sergei Eisenstein and Dmitri Vasilev’s Alexander Nevsky (1938), with a score by Sergei Prokofiev conducted by André Previn in 1987. For the next two decades, it was almost always silent films, or isolated scenes or sequences, that were attempted in concert; anything else would have been logistically impossible. (Pioneers like producer John Goberman and John Mauceri, former Principal Conductor of the Hollywood Bowl Orchestra, helped develop the systems that made these types of concerts possible.) But around 15 years ago, advances in digital technology allowed for a breakthrough. Not only could films be run off f hard drives, and thus paused and navigated breezily, and not only could those digital “punches” and “streamers”—lines that indicate when to start a musical cue and other helpful directions—be added to the screen on the conductor’s music stand, but in the case of older films, the original score recording could be siphoned out from a mono track that also contained vocals, dialogue, and sound effects.

In 2011, Newman conducted the world-premiere live presentation

of West Side Story at the Bowl. What was previously unthinkable became gloriously possible— the LA Phil could perform the sumptuous strains of Leonard Bernstein’s “Maria” and “America” in perfect harmony with 50-yearold recordings of Jimmy Bryant and Rita Moreno (who sang on the beloved 1961 film). “It was like a bomb went off,” says Newman, who brought the same presentation to the New York Philharmonic later that year, “in the sense that obviously the audience wanted it. So when they presented it, people showed up.

There was a lot of energy at the concerts. And so I think all the orchestras eventually took notice of it. It was easy to sell tickets.”

Since then, the LA Phil regularly presents complete films in concert—from 1958’s Vertigo, screened at Walt Disney Concert Hall with the Los Angeles Philharmonic in March, to 2022’s Top Gun: Maverick with the Hollywood Bowl Orchestra at the Bowl this August. “In the beginning, I thought, ‘Wow, this is going to be extra exciting,’”

says Joanne Pearce Martin, keyboardist for the Los Angeles Philharmonic since 2001. “Because there’s no going back. I mean, there isn’t in a live concert either, but you’ve got these very important moments where synchronization is so important.

“In regular concert playing,” Martin says, “you always have to have this mutual trust. But I think there’s a whole new level of trust necessary in the liveto-picture situation between conductor and musicians. So it’s great when we have somebody up there that we are absolutely comfortable with.” Martin praises Sarah Hicks, who has conducted multiple Harry Potter fi lms and most recently Vertigo with the LA Phil—and also Newman. “David is unbelievable up there,” she says. “He is always so impressive with how much he does off click. He just has such assurance and such familiarity with these scores, and with us, that he feels that he can pull us along exactly to where we need to be. And we always get there with him.”

Among the other unique challenges, the orchestra often gets only one or two rehearsals before the show. Conductors like Newman and Huynh study the scores and the films religiously ahead of time, so they can quickly guide the orchestra into not only the notes but also the dramatic intention of the score. Musicians need to stay exactly in time with the movie but also be prepared to hear rollicking laughter or applause at iconic lines like “You’re gonna need a bigger boat” in Jaws. That’s not exactly something they’re used to in a Mahler symphony.

“There’s nothing to prepare you for the energy that comes off a giant Bowl audience after that,” says Martin, laughing. “And quite often you’ll have a line like that that’s immediately followed by music. So it’s almost like you can’t even hear what you’re supposed to hear. And this is where the trust thing comes in—you are nailed to that podium, and whoever’s up there, they’re going to be going, ‘Ready, go!’...no matter what you hear or can’t hear.”

Tim Greiving is an arts journalist and historian in Los Angeles who specializes in film music. He regularly writes for the Los Angeles Times and has contributed to NPR, The Washington Post , and The New York Times, among other outlets. His book, John Williams: A Composer’s Life, was published in 2025 by Oxford University Press.

MOVIE MAGIC AT THE BOWL

Special celebrations, films with orchestra, and a sing-along—this summer’s Bowl season has plenty of opportunities to relish your favorite film music.

Music From the Films of Wes Anderson

FRI–SUN JULY 10–12

Special guests—including Beck, Jackson Browne, Mark Mothersbaugh, and Jenny Lewis—backed by an all-star house band and the Los Angeles Philharmonic* join this celebration of music from across Wes Anderson’s 30 years of fi lmmaking. Overseen by the director himself and his longtime music supervisor and music producer Randall Poster, the evening showcases selections from 1996’s Bottle Rocket to Anderson’s most recent release, 2025’s The Phoenician Scheme

Joe Hisaishi Film Music Concert

Featuring Studio Ghibli & More

TUE–THU JULY 21–23

The music of Joe Hisaishi has touched millions through his iconic scores to classic Studio Ghibli fi lms such as Princess Mononoke My Neighbor Totoro, and Ponyo, as well as awardwinning works by leading director Takeshi Kitano. As the Bowl’s 2026 Composer in Focus, Hisaishi conducts the Los Angeles Philharmonic in an evening of his timeless compositions, accompanied by some of his favorite fi lm clips.

How to Train Your Dragon in Concert

SUN AUG 9

When a young Viking defi es tradition and befriends a ferocious dragon, together they mus t fi ght against all odds to save both of their worlds. David Newman conducts the Hollywood Bowl Orchestra in this thrilling musical score performed live to picture.**

Top Gun: Maverick in Concert

SAT AUG 15

After more than 30 years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is still pushing the envelope as a courageous test pilot. Lorne Balfe, who produced the 2022 movie’s score, leads the Hollywood

Bowl Orchestra in the original music by Harold Faltermeyer, Lady Gaga, and Hans Zimmer while the six-time Oscar-nominated fi lm (which won for Best Sound) plays on the Bowl’s huge screen.***

Amadeus in Concert

THU SEPT 3

Miloš Forman’s multi-Academy Award-winning phenomenon from 1984 is “a lavish movie about Mozart that dares to be anarchic and saucy, and yet still earns the importance of tragedy” (Roger Ebert). Norman Huynh leads the Los Angeles Philharmonic in a score of celebrated Mozart works.

Maestro of the Movies: A Tribute to John Williams

FRI–SUN SEPT 4–6

The ultimate concert celebration of John Williams, the man who has composed the soundtrack to our lives. With selections from his iconic scores—Star Wars, Indiana Jones, Harry Potter, Jaws, Jurassic Park, and more—the program, performed by the Los Angeles Philharmonic led by David Newman, also features over 50 minutes of specially edited scenes and clips from Williams’ best-loved fi lms.

Rodgers & Hammerstein’s The Sound of Music

Sing-A-Long

SAT SEPT 26

Here are a few of our favorite things: the Bowl on a summer night, singing songs with friends old and new, and the Hollywood Hills coming alive with the sound of music. The von Trapps and music fans join for this Bowl tradition, featuring a pre-show costume contest with hilarious host Melissa Peterman at our special screening of the Oscar-winning 1965 film, shown with the original soundtrack.

*The Los Angeles Philharmonic will not perform on Sunday, July 12.

**How To Train Your Dragon © 2010 DreamWorks Animation LLC. All Rights Reserved.

***A Royal Albert Hall production. With thanks to esk fi lm.

For more than a century, the Hollywood Bowl has been one of Los Angeles’ great gathering places: a public stage under the stars, a civic landmark, and a living archive of music, community, and reinvention. This summer, the Edmund D. Edelman Hollywood Bowl Museum enters a new chapter following a renovation to its ground-floor gallery, including a permanent exhibition that brings the Bowl’s extraordinary history into fresh focus.

The revitalized Hollywood Bowl Museum invites visitors to see the Bowl not only as a beloved summer destination, but also as a living civic institution: layered, surprising, and full of stories waiting to be discovered. Situated along Peppertree Lane near the main entrance to the Bowl, the museum offers audiences a chance to step inside the history of one of Los Angeles’ most

By Derek Traub

enduring cultural landmarks before the music even begins.

For Ljiljana Grubisic, Archives and Museum Director for the Hollywood Bowl, the project is both a milestone and a culmination. Since joining the LA Phil in 2015, Grubisic has helped reshape the way the organization preserves, interprets, and shares its history. “Whatever we collect and care for in the Archives is fueling the stories in the Hollywood Bowl Museum,” she says. “We have made so many wonderful discoveries in the last decade, and I’m thrilled to have the opportunity to share them with the public.”

The museum first opened in 1984 in the Bowl’s former Tea Room, then expanded into its current two-story building in 1996. Thirty years later, the new exhibit brings the space into what Grubisic calls “a modern era,”

with a more contemporary gallery feel, refreshed storytelling, and new ways for visitors to explore the Bowl’s past.

At the heart of the project is a major digital leap forward: For the first time, the public will have access to a searchable database of the Bowl’s performance history, spanning more than 6,000 concerts and events. Visitors will be able to search by artist, conductor, date, decade, genre, and more—opening up a vast record of performances that has long lived behind the scenes in archival documents and research files.

“We get tons of requests from patrons,” Grubisic says. “‘My mom attended this concert—it was a special occasion, and we want to know what was on the program.’

Now people will be able to search, to discover, to ask: What was played on that day?”

A kiosk in the galleries will allow visitors to flip through digitized Hollywood Bowl program books, one of the foundational collections of the Archives. For Grubisic, that access represents years of unseen labor fi nally becoming public.

“This is a dream come true,” she says. “It is a monumental step for the museum to provide this educational service.”

The digitization project is just one part of the new installation. Grubisic was equally intent on bringing physical artifacts into the space—objects that carry the texture of the Bowl’s history. Visitors will encounter

the original fi replace from the 1939 Tea Room, long hidden behind exhibit panels; a carillon bell console once used to call audiences back to their seats; archival audio; piano rolls; historic program materials; and stories of the volunteers, patrons, architects, technicians, and civic leaders who shaped the Bowl over generations.

New-media elements will also bring visitors closer to the Bowl’s architecture and backstage life, including a video with architects Craig Hodgetts and Ming Fung, whose 2004 shell preserved the Bowl’s iconic silhouette

while expanding the stage and integrating modern technological infrastructure. Another section will explore the sound of the Bowl, from Frank Gehry’s experimental “sonotubes” and “champagne bubbles” to today’s acoustic canopy, or “halo.”

For Grubisic, the larger story is not simply about concerts or objects. It is about continuity.

“The Bowl was never just a venue,” she says. “It was a vehicle for democracy in music.”

That founding spirit—music for everyone, shared in public, under the open sky—still animates the museum today.

The Hollywood Bowl Museum is open Tuesday through Friday from 10am to showtime and Saturday through Monday four hours before showtime. Free admission.

KEEPING IT GREEN AT THE BOWL

TRACING 15 YEARS OF FLORA AND FAUNA

By Piper Starnes

Illustrations by Radha Vishnubhotla

Year after year, decade after decade, the Hollywood Bowl is championed as one of the world’s great outdoor amphitheaters.

Shoehorned in a canyon within Los Angeles’ eclectic urban landscape, the Bowl is both a premier destination for live music and a well-nurtured Los Angeles County park.

Hundreds of plant and animal species reside in the Hollywood Hills and Gri˜ th Park areas. With support from the Los Angeles County Department of Parks and Recreation and researchers from the Resource Conservation District of the Santa Monica Mountains (RCDSMM), the LA Phil has spent nearly two decades documenting the flora and fauna that call the Bowl’s 88-acre park home.

This season marks the 16th year of the partnership between the Bowl and RCDSMM to conduct a series of biotic surveys, taking inventory of all the living things on these grounds. The first of the surveys was commissioned in 2010 by Mark Ladd—Director of Operations at the Bowl and its county-appointed Superintendent—and over time, they have created a long-term ecological record of how species come and go.

Leading the fieldwork are Principal Conservation Biologist Dan Cooper and Conservation Biologist Technician Isaac Yelchin. Every month, they roam the property in hiking boots, sunglasses, and baseball caps with binoculars, notepads, and phone cameras to record their findings. On any given day, they might come across leaping Western fence lizards, grazing mule deer, zipping hummingbirds, and a multitude of thriving native plants. By placing hidden, motion-activated cameras in the more remote areas of the park, Cooper and Yelchin can also monitor animal activity away from human disturbance. A bobcat taking a nighttime prowl, California thrashers flitting through the branches, and even a coyote curling up for a morning nap

in the shade—it’s all caught on camera. (To watch a selection of videos, visit hollywoodbowl.com/wildlifeoncamera.)

“We have this cool video of a bobcat that seems to be listening to the music, and you can hear it on the camera…. I’m not sure if they’re enjoying it, but it doesn’t seem to bother them too much,” Yelchin says.

Most of the species living around the Bowl are adapted to noise, whether it be music, maintenance equipment and generators, or loud city sounds.

“But once you get away from the stage and bleachers, it gets very quiet,” Cooper says. “And so that’s where we’re finding a lot of the interesting things.”

The 2010 biotic survey primarily documented organisms found in the park’s three main habitat types—coastal sage scrub, mixed chaparral, and sumac scrub.

water is still readily available here in the form of sprinklers and spigots.”

Urban wildlife populations naturally fluctuate. Weather conditions, human interference, invasive plants, and other factors can all a° ect what researchers observe. As stewards of the Bowl, we take seriously the responsibility for caring for the people, plants, and animals who inhabit or visit this land.

As a result of sustainability initiatives such as landscaping with drought-tolerant native plants and reducing pollution and waste at the Bowl, populations are thriving and previously undocumented species are being discovered— including the Bernardino Blue butterfly, gray fox, and fuchsia-flowered gooseberry.

Most notably, the quail, once thought to be gone for good, have reappeared. To date, Cooper and Yelchin have tallied 70 native plant and 76 bird species, among other animals.

“The ecosystem here in the last 15 years is really heartening. It’s a testament to how connected this open space is,” Cooper says. Despite being surrounded by a neighborhood, the 101 freeway, and LA’s second-busiest street (Highland Avenue), the Bowl thrives because of the level of care and e° ort put in—by audience members, too.

“Based on historical photos from the area, the natural landscape is somewhat more lush than it was 100 years ago, when much of the area was grazed with cattle and sheep,” Cooper reported. Thanks to careful maintenance and stewardship of the land, species with especially ancient roots have remained remarkably consistent. “One can assume that many of the same plants and animals living on the upper slopes of the Hollywood Bowl property are the same ones that have been there for millennia,” Cooper wrote.

Among the oldest on-site organisms are the goldback, polypody, and co° ee ferns—all of which have been around since the age of the dinosaurs. Coast live oak, toyon, and black walnut trees are also some of the venue’s veteran native plants that we continue to plant each tree life cycle, or every 40 to 100 years.

By comparing the 2010 biotic survey with those from 2015 and 2025, our researchers uncovered a special “lost-and-found” case. Sixteen years ago, Cooper spotted a family of quail with at least eight chicks. But when he returned in 2015, there was no trace of our feathered friends.

Cooper wrote then: “Whether this is a temporary situation, perhaps due to drought, or that quail have permanently been lost as a resident species from the property, is not known. However, it is troubling since there has been little impact to their habitat on the site (which still supports dense native scrub) and

“Just coming and supporting the Bowl goes a long way to preserving this large ecosystem site here,” Yelchin says. “It’s a pretty unique situation where it’s a really untouched, healthy, beautiful ecosystem, and it’s awesome to go explore it.”

For Dr. Paul and Patti Eisenberg, music has always been a way of finding community.

Before moving to Los Angeles, the Eisenbergs had been active supporters of the St. Louis Symphony, where they experienced firsthand the connection that can form between an orchestra, its musicians, and its audience. Later, in Indianapolis, they continued supporting the arts and seeking ways to engage meaningfully with the cultural life of their city. When they arrived in Los Angeles, the LA Phil felt like a natural next step.

“We wanted to plug in,” Patti says. “We wanted to connect.”

Music had shaped each of their lives in different ways. Paul, born in Rome and raised in New York, grew up surrounded by opera, symphonic music, jazz, rock, and performances at Carnegie Hall and by the New York Philharmonic and New York City Ballet. Patti’s early life was different. Raised on a farm in Kentucky, she remembers music coming through the radio, piano lessons, and her family’s stereo. Classical music entered her life gradually, then powerfully.

One of her most vivid early memories came from a neighbor who was a renowned organist. Patti’s father built the neighbor a special trailer so she could transport her organ to performances across

the region. Hearing that instrument made a lasting impression. “I thought I’d died and gone to heaven,” Patti says. “I fell in love.”

Together, Paul and Patti built a life filled with music. “We bought our first house based on where the speakers would go,” Paul jokes. Their tastes are broad and joyful, spanning opera, symphonic music, jazz, rock, and music from around the world—a spirit of openness they also found at the LA Phil.

Walt Disney Concert Hall made an immediate impression, but it was Gustavo Dudamel’s artistic energy and commitment to young people that drew them closer. Patti admired his ability to welcome audiences into unfamiliar music with warmth, curiosity, and a sense of discovery.

“I love watching him at the podium,” she says. “He makes it fun.”

The Eisenbergs were especially moved by YOLA (Youth Orchestra Los Angeles). At Hollywood Bowl Opening Night celebrations, they saw large groups of YOLA students performing with focus, excitement, and unmistakable pride.

“You could see what this meant to these kids,” Patti says. “They were having the best time. You could see how it was touching them.”

That experience stayed with the Eisenbergs. Over time, they deepened their support, especially around YOLA and the LA Phil’s work with young people. For Patti, the program reflects the values that guide much of their philanthropy: education, scholarships, children, and support for young people who may not otherwise have access to opportunity.

“The young people are where it’s at,” she says. “Doors have got to be opened!”

For the Eisenbergs, supporting the LA Phil is ultimately about helping create those moments of discovery: the first encounter with a great concert hall, the first time holding an instrument, the first glimpse of a larger world.

Through their generosity, they are helping ensure that more young people can experience the joy, discipline, confidence, and possibility that music provides.

To join the Eisenbergs in supporting YOLA or the LA Phil, please contact patrons@laphil.org

age 57

Strategic Joy Executive

The connection to the Michele of many, many years ago is still very important. The innocence, the joy, the freedom, the laughter, all of those things still resonate with me as an adult. I came here with some stuff, and I left without the baggage. I find myself at peace, centered in my life, and ready to take on the world.”

See Michele’s story and others at

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.

Again and again, music shows us what’s possible when passion meets purpose, when individuals come together to create something greater than themselves.

At Front Porch, we believe in that same idea.

That life is meant to be shared. That connection deepens over time. And that the most meaningful moments are still ahead.

Villa Gardens

842 E Villa St Pasadena, CA 91101

Four Communities. One Philosophy.

Claremont Manor

650 Harrison Ave Claremont, CA 91711

Walnut Village

891 S Walnut St Anaheim, CA 92802

Across Southern California, Front Porch communities offer distinct places to live and thrive, shaped by connection, purpose and the people who call them home.

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. Hollywood Bowl

WILKINS CONDUCTS BERNSTEIN & ELLINGTON

WEDNESDAY JULY 8, 2026 8PM

Los Angeles Philharmonic

Thomas Wilkins, conductor

Gracie Lawrence, vocalist

Alex Newell, vocalist

Ali Stroker, vocalist

Valerie COLEMAN

STILL

Shaina TAUB

Fa nfare for Uncommon Times (c. 6 minutes)

Mother and Child (c. 8 minutes)

Suffs Song Cycle (c. 15 minutes) (world premiere, LA Phil commission)

Orchestrated by Finish the Fight

Michael STAROBIN, Show Them Who You Are “Keep Marching” arranged by Insane Allen René LOUIS

Keep Marching

Gracie Lawrence

Al ex Newell

Ali Stroker

INTERMISSION

BERNSTEIN

ELLINGTON

Orchestrated by Luther HENDERSON, Maurice PERESS

Th ree Dance Episodes from On the Town (c. 11 minutes) The Great Lover Displays Himself Lonely Town: Pas de deux Times Square: 1944

Harl em (c. 14 minutes)

Programs and artists subject to change.

FANFARE FOR UNCOMMON TIMES

Valerie Coleman (b. 1970)

The fanfare has a political background: to allow the orchestra to connect with the community and be a voice of the time. Usually, fanfares announce royalty or heads of states or that kind of people. But the event everyone is going through right now, the pandemic, is uncommon. We are going through some strange times; it almost seems sarcastic to write a fanfare for the times we are currently living in. I wanted to create a piece that brings people together, a piece that touches that within us, that thing that wants to survive, that gives us that regenerative, renewable hope. I want to bring the Black experience in, the turmoil, the upheaval, the complexity of race conversation.

There are some special features, like the use of keyboard percussion, to create the feeling of sparks of sounds, sparks of life. It is a virtuosic work.

I could not help but channel Copland’s Fanfare for the Common Man. It is such a part of our history in America. Through its simplicity, it [is] extremely elegant and memorable. Copland channeled the very foundation of what the very American spirit is.

You are going to hear dissonances; you are going to hear this machine-gun repetitive sound. But then you are going to hear something that is more [attuned] to the Caribbean nature. All these elements, as like in a melting pot in this country has to be put in there. —Valerie Coleman, 2021

MOTHER AND CHILD

William Grant Still (1895–1978)

Mother and Child is one of William Grant Still’s most wellknown works. Originally written as part of a three-movement programmatic suite for violin and piano, the composition reflects the interconnectedness that existed between the different artistic circles that the composer engaged with during the height of the Negro Renaissance movement in Harlem. Each movement was inspired by a specifi c work created by a Black Renaissance-era artist. The fi rst movement, African Dancer was based on a sculpture by Richmond Barthé. Mother and Child, the second movement, was inspired by a lithograph of the same name by Sargent Johnson. A bust of a young boy by Augusta Savage underscored the energy represented in the third movement, Gamin Still completed the work in 1943, dedicating it to violinist Louis Kaufman. The violinist, accompanied by pianist Vladimir Padwa, premiered the work in 1944, first in Boston’s Jordan Hall and later in New York’s Town Hall. Following these performances, Still revised the work for violin and orchestra. Kaufman and the WOR Symphony Orchestra, conducted by Emerson Buckley, premiered this version in 1946.

It is not hard to imagine that Still’s close relationship with his mother inspired the composition of Mother and Child. It is a lullaby that moves the listener through the emotional arc of nurturance,

discipline, and abiding love that underscores the relationship between mother and child. The fi rst section of the work centers on the introduction of a song-like melody played by the fi rst violins, which is anchored by musical responses in the lower strings. The musical colors created by this dialogue were hallmarks of Still’s style during the 1930s and 1940s. They reflect the nurturing love a mother conveys to a child through cradling. After some variation on this primary motive, the work modulates to E minor, signifying a shift in mood. The counterpoint between the violins and lower strings intensifi es, building both emotional and musical tension that is fi nally resolved through a short cadenza played by a solo violin. This is followed by a short interlude that sets up the modulation back to the original key of E major and the return of the primary melody. It is a reminder of the abiding and nurturing love that exists between mother and child. —Tammy Kernodle

SUFFS SONG CYCLE

Shaina Taub (b. 1988) Orchestrated by Mich ael Starobin (b. 1956), “Keep Marching” arranged by Allen René Louis (b. 1992)

Shaina Taub began working on what would become the Tony Award-winning musical Suffs in 2014 shortly after receiving a copy of Doris Stevens’ 1920 memoir Jailed for Freedom. The book tells of the fi gures at the heart of the women’s su ffrage

movement—many of whom were largely forgotten—and their unwavering efforts to ratify the 19th Amendment giving women the vote. “It’s an untold, crucial chapter of our history; it was so dramatic and dynamic. These protests the su ffragists pioneered were really the fi rst examples in American social movements of this massive, visual rhetoric, of literal choreography and music and pageantry and color and formation and parades, picket lines. Just the staging of the protests alone was so inherently theatrical to me,” Taub told Elle

The musical is centered on Alice Paul, founder of the National Woman’s Party and an organizer of the “Silent Sentinels,” who picketed the White House from 1917 to 1919. When it opens, the firebrand Paul is criticizing the less “aggressive” tactics of the National American Woman Suffrage Association. Over the course of the musical, Paul gathers a team of passionate “suff,” stages marches and protests, meets unsuccessfully with President Woodrow Wilson, organizes a picket line outside the White House, is sent to prison (where she calls for a hunger strike), has her sanity questioned, and helps pass the 19th Amendment, all before devoting herself toward the passage of a future equal rights amendment.

Initially scheduled for a 2020 premiere at New York’s Public Theater, the show opened in 2022 and transferred to Broadway in 2024, earning Taub Tony Awards for Best Book of a Musical and Best Original Score. Beyond the theater, the

music and story of Suffs have resonated powerfully, providing a touchstone for current social movements. “That’s what theater can do,” says Taub. “We get to literally conjure our ancestors and imagine what they might say. In these last few years since we opened on Broadway, it’s just taken on a life of its own. People perform it at their synagogue, at their church, at their school recital, at a protest, at a rally.”

Tonight’s song cycle was created with an eye toward carrying the larger message of social progress. It opens with Paul’s soaring idealistic credo “Finish the Fight,” when she promises to take the su ffragist cause on her back. From those early moments of resolve we head into the darker-tinged self-doubt of “Insane,” as the imprisoned Paul is subjected to a sanity test. In a clever twist, Paul concludes that the truly maddening ending will be “If our fi ghting and hoping and dying has all been in vain / Then I’ll go insane.” A duet between Paul and the lawyer Inez Milholland, “Show Them Who You Are,” shows the plucky stick-to-itiveness of these two trailblazers in spite of adversity. The cycle closes with the same song as the Broadway musical: “Keep Marching,” Taub’s surmise of what the suffs ould advise today’s advocates. The gospel arrangement heard here is by Allen René Louis, who created this special version for Broadway Votes’ campaign ahead of the 2024 election, reminding us that while progress is possible, it’s not guaranteed without persistence. —Amanda Angel

THREE DANCE EPISODES FROM ON THE TOWN

Leonard Bernstein (1918–90)

The fi rst batch of lyrics for the musical On the Town, for all their effervescent glamorizing of New York City life, were surprisingly penned from a hospital room shared by Leonard Bernstein and lyricist Adolph Green. The two were both due for minor surgery in June 1944, and, eager to start work on the new show, they decided to go in at the same time and collaborate on the musical while recovering. Very little of the show was created during that stay, but work on the musical progressed rapidly. By December 1944, Bernstein, Green, and lyricist Betty Comden had fi nished writing and were planning a premiere later that month. It was the second appearance that year of a Bernstein stage production— the fi rst was his ballet Fancy Free, a collaboration with Jerome Robbins—and both shows followed the exploits of sailors on Navy shore leave in New York City. Yet Bernstein insisted that “there was not a note of Fancy Free music in On the Town” and that the similarities were merely variations on a theme that resounded particularly well with audiences immersed in the end of World War II. Still, the resemblance runs deep. Both shows follow the adventures of three sailors spending their leave scouring the city for available women. And although On the Town is not formally a ballet, the action is heavily dependent

upon dance (Bernstein said that the move was intentional, since the show’s genesis “arose from the success of the ballet”).

More noticeably, both productions profess a boisterous love for New York in the ’40s. The city (depicted in the original production in sets by Oliver Smith) breathes in On the Town, and the story is not so much a picture of Chip, Gabey, and Ozzie chasing after girls as it is a tale of the three chasing after the town itself. When condensed into the Three Dance Episodes, the story loses its lyrics but keeps its characteristic spunk.

The fi rst sketch, “The Great Lover Displays Himself,” is an ecstatic dream scene: Gabey, who has fallen in love with subway poster girl “Miss Turnstiles,” falls asleep on the train while searching the city for the object of his affections. In his dream, shy Gabey wins over his girl with pure romantic fury (and Bernstein responds with strutting, jazz-inflenced woodwinds and witty dance flavor).

“Lonely Town: Pas de deux,” the second episode, fi nds Gabey in Central Park watching another sailor who flirts with a young woman and then abandons her for her naivete. The score is lush and sensual, a prime example of Bernstein’s characteristic string writing, and tinged throughout

with a bittersweet melancholy. Bernstein saves what is probably the best-known theme of the show, “New York, New York” for the fi nal sketch, “Times Square: 1944.” Rough, rugged, and harmonically dense, the music shapes the famous theme in canon, interrupted repetitions, and an assortment of voicings. The result is a cityscape that conveys the sailors’ (and Bernstein’s) youthful enthusiasm and affection for the New York of yesteryear. —Jessica Schilling

HARLEM

Duke Ellington (1899–1974) Orchestrated by Lu ther Henderson (1919–2003), Maurice Peress (1930–2017)

Easily the most signifi cant composer to come out of bigband jazz—he now commands an eminent position in mainstream textbooks on 20th-century music—Duke Ellington was an American original. He was a master of instrumental color and texture and special timbral effects, and he experimented with harmony and form.

“Tone parallel” was Ellington’s version of the descriptive symphonic tone poem, and he wrote Harlem in 1950 while on a ship returning from a European

tour. It was originally intended as a sort of concerto for jazz band and symphony orchestra for a performance with Arturo Toscanini and the NBC Symphony. This plan fell through, however, and Ellington’s fi rst performances were with his band alone, recorded on the 1953 release Ellington Uptown. (Several other Ellington versions exist on record now, and the work appears in multiple arrangements.) In his autobiography, Ellington offered this guide to his “tone parallel”: “We would like now to take you on a tour of this place called Harlem. It has always had more churches than cabarets. It is Sunday morning. We are strolling from 110th Street up Seventh Avenue, heading north through the Spanish and West Indian neighborhood toward the 125th Street business area. Everybody is nicely dressed, and on their way to or from church. Everybody is in a friendly mood. Greetings are polite and pleasant, and on the opposite side of the street, standing under a street lamp, is a real hip chick. She, too, is in a friendly mood. You may hear a parade go by, or a funeral, or you may recognize the passage of those who are making Civil Rights demands. (Hereabouts, in our performance, Cootie Williams pronounces the word on his trumpet—Harlem!)” —John Henken

THOMAS WILKINS

To read about conductor Thomas Wilkins, please turn to page 16

GRACIE LAWRENCE

Gracie Lawrence is an accomplished actress and musician who co-fronts the soul-pop band Lawrence alongside her brother Clyde. Lawrence is an eight-piece band composed of musician friends from childhood and college. The band has gained a devoted following for its high-energy, keyboard-driven sound, which features tight, energetic horns and explosive lead vocals. Lawrence’s dynamic blend of classic inflences with contemporary energy also earned the band a 2026 Grammy nomination.

In 2024, Gracie appeared as a series regular in the third season of Mindy Kaling and Justin Noble’s The Sex Lives of College Girls on Max, playing the character Kacey. In 2025 she returned to Broadway starring with Tony winner Jonathan Groff n Alex Timbers’ Just In Time, a new musical that tells the story of legendary singer Bobby Darin. Gracie played Connie Francis, and her performance, hailed by the New York Theatre Guide as “blazing, must-see,” earned her a Tony nomination for Best Performance by an Actress in a Featured Role in a Musical.

Most recently, the band completed a 12-week run performing on Broadway as part of All Out, written by Simon Rich and directed by Timbers, which featured original music by Lawrence. Gracie was featured for her powerhouse vocals and acted in several scenes—marking her third time on a Broadway stage.

ALEX NEWELL

Alex Newell recently made history with their Tony Award win for the hit musical Shucked They are a Drama Desk Award winner and a recipient of the Outer Critics Circle Award for Outstanding Featured Performer in a Broadway Musical. Newell starred as the god Asaka in the 2018 Broadway revival of Once on This Island. This show earned Newell a Grammy nomination for Best Musical Theater Album, and the show won the Tony Award for Best Revival of a Musical.

ALI STROKER

Ali Stroker is a Tony Award winner for her role as Ado Annie in Rodgers and Hammerstein’s Oklahoma! She made history as the first actor in a wheelchair to appear on Broadway in Deaf West’s acclaimed revival of Spring Awakening and the first actor in a wheelchair to win a Tony. She was a regular on the Netflix series Echoes and starred in the Lifetime holiday film Christmas Ever After. Ali recurred in the final season of Netflix’s Ozark and in Hulu’s Only Murders in the Building. She cowrote the novel The Chance to Fly and its sequel Cut Loose!, and she wrote the children’s book Ali and the Sea Stars. She was recently seen opposite Matthew Broderick in Babbitt at Shakespeare Theatre Company in Washington, DC, and played Lady Anne in the Shakespeare in the Park production of Richard III. She’s performed her one-woman show all over the country. Her mission to improve the lives of others through the arts is captured in her motto: “Turning Your Limitations Into Your Opportunities.”

THE CLASSICAL WORLD CUP

THURSDAY JULY 9, 2026

8PM

Los Angeles Philharmonic

Tito Muñoz, conductor

Randall Goosby, violin

Josh Kahn, film director

GINASTERA

BARBER

Josh KAHN/

Adam SCHOENBERG

REVUELTAS

COPLAND

Fo ur Dances from Estancia (c. 12 minutes)

Los trabajadores agrícolas (The Land Workers)

Danza del trigo (Wheat Dance)

Los peones de hacienda (The Cattlemen)

Danza fi nal (Malambo—Final Dance)

Co ncerto for Violin and Orchestra, Op. 14 (c. 25 minutes)

Allegro

Andante

Presto in moto perpetuo

Ra ndall Goosby

INTERMISSION

The Art of the Goal (c. 8 minutes) (world premiere, LA Phil commission)

Sensemayá (c. 6 minutes)

Bi lly the Kid Suite (c. 22 minutes)

Introduction: The Open Prairie

Street in a Frontier Town

Mexican Dance and Finale

Prairie Night (Card Game at Night)

Gun Battle

Celebration (After Billy’s Capture)

Billy’s Death

The Open Prairie Again

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

FOUR DANCES FROM ESTANCIA

Alberto Ginastera (1916–83)

Among the leading lights of 20thcentury concert music in South America, Argentina’s Alberto Ginastera is acknowledged for his successful blending of Indigenous music with the more rigorous elements of European art music. Over a career extending for more than half a century, Ginastera would eventually leave behind the folk idiom and write in more contemporary styles, even adopting the 12-tone system in his later scores. His most frequently played works, not surprisingly, are from the earlier period of his career, and they are reminiscent of the “folkloric” music of other composers who mined the riches of Latin American source material.

Ginastera’s Estancia, written in 1941 on a commission from Lincoln Kirstein’s American Ballet Caravan, was intended as a “ballet in one act and five scenes based on Argentine country life,” originally including spoken and sung elements. Because of problems on the part of the ballet company, the work itself went unperformed until 1952, but a suite of four dances from the score was introduced at the venerable Teatro Colón in Buenos Aires in 1943.

The first of the dances, titled “Los trabajadores agrícolas” (The Land Workers), offers an exceptionally energetic cast of field hands; clearly some dramatic license is being taken with the verisimilitude of the depiction. Eventually, the relentless rhythm subsides, and a tune begins to emerge. The second item in the suite, the “Danza del trigo” (Wheat Dance), provides a lyrical interlude, which is followed by an energetic and rhythmically sophisticated dance for “Los peones de hacienda”

(The Cattlemen). The furious final Malambo takes its title from a swift dance in 6/8 rhythm that has long figured in a competition among gauchos (Argentinian cowboys). —Dennis Bade

CONCERTO FOR VIOLIN AND ORCHESTRA, OP. 14

Samuel Barber (1910–81)

Samuel Barber’s death in 1981 at the age of 70 deprived America of one of its most distinguished and successful composers of serious music. In contrast to many of his colleagues who had to “moonlight” in various other musical capacities, he was able to support himself through composing almost from the auspicious start of his career. In the 1930s, with atonality and the 12-tone technique pressing for consideration, Barber’s traditionalism was welcomed with enthusiasm. In his works were all the comforting qualities valued by the large public, for Barber was in possession of a craftsmanship that extended to all the elements of music: His melodies are natural and expansive; the rhythms varied and vital; the harmonies just pungent enough; and his orchestration, like that of Brahms (the composer in whose steps Barber seems to have followed), does not call attention to itself but is nonetheless distinctive for being perfectly suited to the musical thought at hand. In short, skill, taste, and seriousness inform Barber’s music at every turn.

The last element—seriousness— figures as one of the composer’s most unvarying characteristics. Some people are born middleaged—that could be said of Barber, as viewed through his music. When he wrote his first piece at

age 7 and titled it Sadness, the die was cast. If not sadness, then an elegiac lyricism pervades much of his music. The first two movements of the Violin Concerto are typical of this emotional climate; they revolve in an orbit of pensive, plangent songfulness. Even when this mold is broken for a fast and virtuosic final movement, the music is hardly frivolous; it is still notably serious.

The Violin Concerto was composed in 1939 on a commission from the wealthy businessman Samuel Fels for a talented graduate of the Curtis Institute of Music, Iso Briselli. When Briselli asked for revisions (which Barber refused), the public premiere went to Albert Spalding with Eugene Ormandy and The Philadelphia Orchestra in 1941.

The first movement is nearly singular in its lyrical approach. The expansive main theme, presented immediately by the violin—an extended melody containing several distinctive rhythmic figures—dominates the movement. In contrast to this long-breathed lyricism, a secondary theme of a simple, folk-like character tries for perkiness and nearly achieves it. The alternation of these two themes, at times in varied tempos and orchestration (in which the piano adds a distinctive color) but with only a minimum of dramatic conflict, fleshes out a movement that emits an aura of Brahmsian reflection and Straussian poignance.

The second movement is even more inward than the first, beginning with the moody first theme in oboe. However, there are some marked tensions along the way and what the composer called a “rhapsodic theme” that bears surprising echoes of Rachmaninoff

The last movement presents Russianisms of another persuasion—namely, the grotesquerie of Shostakovich and Prokofiev. Syncopations and counter rhythms enhance the diabolical atmosphere of the perpetual-motion whirlwinds in which the violin virtuosically participates throughout. In the concluding measures, the violin’s rhythm becomes ever more precipitous (triplet eighths change to sixteenths), and the movement ends in a burst of brilliance. —Orrin Howard

THE ART OF THE GOAL

Josh Kahn, director (b. 1987)

Adam Schoenberg, composer (b. 1980)

Early in my career, I sat at the top of the United Center in Chicago as the Creative Producer for the Chicago Bulls and dreamed of new ways to fuse sport, music, and art. The court was more than a surface for the game; to me, it was a stage.

Years later, after traveling across the country, moving to Los Angeles, and having the privilege of directing some of the world’s greatest athletes, I found myself sitting in the last row of the Hollywood Bowl, looking out over the Los Angeles Philharmonic, the magic of Los Angeles, and one of the most iconic venues in the world. At that moment, my worlds collided. I began imagining what it would mean to pair the power and emotional depth of classical music with a sport globally renowned for its beauty yet rarely presented in this way.

Soccer players are among the world’s most elite athletes, but the sport itself is not purely one of force or speed. It is part science, part religion, part

resolve. It is tension and release. It is the pursuit of the impossible: breaking a stalemate, winning the ball, finding space, breaking through, and ultimately scoring a goal. Through this fusion of cinema, sport, and orchestral music, we hoped to contextualize soccer in a new way, not simply as competition, but as an art form rooted in striving, emotion, precision, and transcendence.

As I reflect on the journey from the last row of this legendary venue to bringing this film to the stage tonight, my hope is that audiences feel the magic of this space, the brilliance of the orchestra, the spirit of Los Angeles Football Club, and above all, the essence of the game itself fully on display.

I am profoundly grateful to the incredible composer Adam Schoenberg for his incomparable talent and collaborative spirit; to the LA Phil and the entire organization for their trust and partnership; to LAFC for their creative collaboration; to my producing and editorial teams, led by Charlie Fritschner and Angelo Valencia; and to my family for their unwavering love and support.

Thank you for being here to witness what I believe is truly an artistic convergence: a unique fusion of art, sport, and music beneath the stars and lights of the iconic Hollywood Bowl. —Josh Kahn

FILM CREDITS

A Myles Production

Directed by Josh Kahn

Produced by Charlie Fritschner

Music Composed by Adam Schoenberg

Cinematography by Ulises Roman, Mark Hill, Joe Madden, Marco Saldana, Massimo Legittimo Drone Photography by Flyby Imagery

Edited by Angelo Valencia

Assistant Editor Chris Shepard

Color grading by Paul Galadi

Post Producer Tracy Spera

Key Art by Robbie Reynolds

SPECIAL THANKS TO:

Los Angeles Football Club

Major League Soccer

Vanessa Montes, LAFC CMO

Sara Takata, LAFC Executive Producer, Broadcast and Production Services

Pat Aviles, LAFC, VP, Brand

Danny Sanchez, LAFC, VP, Communications

Ricky Berrin Optimus

© 2026 Josh Kahn/Myles

All rights reserved

SENSEMAYÁ

Silvestre Revueltas (1899–1940)

Sensemayá was the work that brought Silvestre Revueltas to international attention. Through a recording of the work made by Leopold Stokowski in New York in December 1947, widespread audiences began to get an idea of Revueltas’ music.

Revueltas died in 1940 from complications of chronic alcoholism. At the time, his music was virtually unknown outside of Mexico, some performances during a 1937 trip to Spain notwithstanding. The last decade of his life was devoted to music, with Revueltas active as a composer, teacher, and conductor in Mexico City. Between 1928 and his death, Revueltas composed roughly 60 works, including orchestral, chamber, vocal, and theater pieces, as well as a handful of film scores, such as Redes (The Wave, 1936) and La noche de los mayas (The Night of the Mayans, 1939).

Revueltas had a varied and useful musical education, with a fair amount of practical experience. After three years in Mexico City (1913–16), Revueltas traveled to the United States, where he studied violin and composition in Austin and Chicago. In the late 1920s, he played violin in a theater orchestra in San Antonio and conducted an orchestra in Mobile, AL. He returned to Mexico in 1929, when Carlos Chávez, one of the country’s foremost composers and musicians, invited him to become assistant conductor of the Orquesta Sinfónica de México, a post he held until 1935. These experiences combined to make Revueltas a sensitive and insightful writer for orchestra and a composer with an intrinsic ability to express Latin American culture musically. Sensemayá fi rst materialized in a (still unpublished) version for chamber ensemble in 1937. Revueltas based the work on a poem that describes the ritual killing of a snake in Cuban writer Nicolás Guillén’s collection West Indies Ltd., published in 1934. The atmosphere of the poem, which pits life against death, the snake against its ritual executioners, is captured by Revueltas in his brief, vibrant musical work, but emerges even more viscerally in the version for full orchestra premiered by the composer with a pickup orchestra at the Palacio de Bellas Artes in Mexico City on December 15, 1938. The obsessive rhythms (the work is in 7/8 and 7/16 time), the slithering, pictorial wind writing, and the threatening brass all combine to create a raw evocation of the ceremony, comparable to what Stravinsky did for pagan Russia in The Rite of Spring —John Mangum

BILLY THE KID SUITE

Aaron Copland (1900–90)

The symbolism of Aaron Copland’s birth in the fi rst year of the 20th century in Brooklyn is perfectly clear in light of the composer’s long love affair with the American public: A new era of pride in artists of the United States seemed to have been born along with the new century. However, America’s acceptance of Copland was not inevitable. Following his training in Paris with the famous composermaker Nadia Boulanger, he would probably be regarded still as just another one of those fellows who wrote diffi cult music had he not developed his distinctive “American” sound. Copland’s “Americanization” came about with his determination to communicate to a large general audience. He wanted to see if “I couldn’t say what I had to say in the simplest possible terms.” The results of his effort were nothing short of amazing, and in almost no time at all Copland had developed a style that was as American as the plains and prairies, cowboys and Appalachia. Yet, in its informed skill, Copland’s music was compositionally sophisticated and artistically tasteful.

Many of Copland’s early successes came on the ballet stage, beginning with Billy the Kid in 1938 and continuing with Rodeo in 1942 and Appalachian Spring in 1943. This was in keeping with the 20th century’s dance music preoccupation, largely owing to the inflence of the Ballets Russes, which commissioned Stravinsky’s triumvirate of balletic masterpieces, The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913).

Copland wrote Billy the Kid for the American Ballet Caravan on a commission by its director, Lincoln Kirstein, who wrote the libretto. The ballet, with choreography by Eugene Loring, was first performed in Chicago in October 1938. The score is prefaced by the following remarks: “The action begins and closes on the open prairie. Billy is seen for the first time as a boy of twelve with his mother. A brawl turns ugly, guns are drawn, and in some unaccountable way Billy’s mother is killed. Without an instant’s hesitation, in cold fury, Billy draws a knife from a cowhand’s sheath and stabs his mother’s slayers. His short but famous career has begun. In swift succession we see episodes in Billy’s later life. At night, under the stars, in a quiet card game with his outlaw friends. Hunted by a posse led by his former friend Pat Garrett, Billy is pursued. A running battle ensues. Billy is captured. A drunken celebration takes place. Billy in prison is, of course, followed by one of Billy’s legendary escapes. Tired and worn in the desert, Billy rests with his girl. Starting from a deep sleep, he senses movement in the shadows. The posse has finally caught up with him.”

In his score for Billy, Copland conjures an old-American musical consciousness in which he quotes such authentic cowboy songs as “The Dying Cowboy,” “Git Along, Little Dogies,” “The Old Chisholm Trail,” and “Goodbye Old Paint.” These tunes, as well as the purely original music, come out of Copland’s Americana blender thoroughly mixed with jaunty, irregular rhythms; spicy dissonances; simple, triadic harmonies; intimate and/or grand orchestral textures; and tons of spirit. A heady mix indeed. —O.H.

TITO MUÑOZ

Praised for his versatility, technical clarity, and keen musical insight, Tito Muñoz is internationally recognized as one of the most gifted conductors of his generation. Following his 10-year tenure as the Virginia G. Piper Music Director of The Phoenix Symphony, which concluded in the 2023/24 season, he continues his association with the orchestra as Artistic Partner. In the 2025/26 season, he also took up the role of Interim Principal Conductor at the Cleveland Institute of Music, becoming a guest member of its Orchestral Studies faculty. He has appeared with many of North America’s leading orchestras, including those of Atlanta, Baltimore, Cincinnati, Cleveland, Dallas, Detroit, Houston, Indianapolis, Milwaukee, Minnesota, New York, and Utah, as well as the Saint Paul Chamber Orchestra, the National Symphony Orchestra, and the Orchestra of St. Luke’s—making his Carnegie Hall debut with the latter in a sold-out performance of Or ff ’s Carmina Burana in February 2024. Maintaining a strong international conducting presence, Tito has also worked with the

Frankfurt Radio Symphony, SWR Symphonieorchester, Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, Mahler Chamber Orchestra, Orchestre national d’Île-de-France, Lucerne Festival Contemporary Orchestra, Lausanne Chamber Orchestra, Orchestre Philharmonique de Strasbourg, BBC Symphony Orchestra, BBC Scottish Symphony, and Royal Philharmonic (London).

The 2025/26 season included debuts with the New Jersey Symphony, Nashville Symphony, Antwerp Symphony, Jenaer Philharmonie, Nürnberger Symphoniker, and Komische Oper Berlin, alongside return appearances with SWR Symphonieorchester and the New York Philharmonic.

RANDALL GOOSBY

“For me, personally, music has been a way to inspire others”— American violinist Randall Goosby’s own words sum up perfectly his commitment to being an artist who makes a difference. Signed exclusively to Decca Classics in 2020 at the age of 24, Goosby is acclaimed for the sensitivity and intensity

of his musicianship alongside his determination to make music more inclusive and accessible, as well as for bringing the music of underrepresented composers to light. Goosby was recently appointed to The Juilliard School’s Preparatory Division and joined the Pre-College violin faculty in fall 2025.

Highlights of Randall Goosby’s 2025/26 season included debut performances with the Atlanta Symphony with Leonard Slatkin, Orchestre National de France with Cristian Măcelaru, KBS Symphony with Peter Oundjian, and San Diego Symphony with Kahchun Wong. Goosby returned to the San Francisco Symphony, Pittsburgh Symphony, and New Jersey Symphony. He appeared in recital across North America and Europe with pianist Zhu Wang as well as with the Renaissance Quartet and joined clarinetist Anthony McGill and pianist Joshua Mhoon in a program presented by the Philadelphia Chamber Music Society.

As of 2024/25, Goosby is a member of Konzerthaus Dortmund’s series “Junge Wilde.” He was the inaugural recipient of the 2024 Harmony for Change Award presented by Midori & Friends and also named the Cincinnati Symphony’s 2025 MAC Music Innovator.

A former student of Itzhak Perlman and Catherine Cho, Randall Goosby received his Bachelor’s, Master’s, and Artist Diploma degrees from The Juilliard School. He is an alumnus of the Perlman Music Program and previously studied with Philippe Quint. He plays the Antonio Stradivarius, Cremona, “ex-Strauss,” 1708 on generous loan from the Samsung Foundation of Culture.

JOSH KAHN

Josh Kahn is an award-winning director, producer, and creative marketing specialist working at the intersection of entertainment and professional sports. He is the founder of MYLES, a story incubation lab and production company based in Los Angeles. Josh has directed and produced feature documentaries and docuseries for major streaming platforms, including Netflix, Prime Video, Fox Sports, Tubi, and DAZN. Previously, Josh served as the inaugural in-house Senior Producer/ Director at UNINTERRUPTED and The SpringHill Company, founded by LeBron James and Maverick Carter. Before that, he was the Senior Creative Producer for the Chicago Bulls, launching BullsTV, the organization’s mixed-media production arm. Beyond his film work, Josh has collaborated with major brands including Nike, Walmart, Airbnb, New Balance, Workday, and Audi.

Josh was named to Forbes’ “30 Under 30” sports list. He earned his BFA from NYU Tisch School of the Arts in 2009 and has been a guest speaker at leading universities, including NYU Tisch, Syracuse University’s Newhouse School, Northwestern University’s Medill School of Journalism, USC Iovine and Young Academy, and Duke University.

In addition to his work in film and sports, Josh is a mixed-media abstract painter whose work has been exhibited across the country.

Emmy Award-winning and Grammy-nominated composer Adam Schoenberg has twice been named among the top 10 most-performed living composers by orchestras in the United States. With more than 300 orchestral performances worldwide, his works have received performances and premieres at The Kennedy Center, Library of Congress, New York Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra, National Symphony Orchestra, The Cleveland Orchestra, and four times with the Los Angeles Philharmonic at the Hollywood Bowl. His debut orchestral album with the Kansas City Symphony was nominated for two Grammys, including Best Contemporary Classical

Composition for his orchestral suite Picture Studies For fi lm and TV, Schoenberg has scored several projects including Graceland, which premiered at the Tribeca Film Festival; his Emmy Awardwinning score to the Artbound (PBS/KCET) documentary “That Far Corner: Frank Lloyd Wright in Los Angeles;” and theme packages for ABC’s Nightline and The CW’s Crime Nation Schoenberg received his Doctor of Musical Arts from The Juilliard School. He is currently an associate professor and Chair of the Music Department at Occidental College, where he runs the composition and fi lm scoring programs. He lives in Los Angeles with his wife, playwright and TV writer Janine Salinas Schoenberg; their two sons Luca and Leo; and their goldendoodle Copland.

TCHAIKOVSKY & BEETHOVEN

TUESDAY JULY 14, 2026 8PM

Los Angeles Philharmonic

Cristian Măcelaru, conductor

Leonidas Kavakos, violin

TCHAIKOVSKY Violin Concerto in D major, Op. 35 (c. 33 minutes)

Allegro moderato—Moderato assai

Canzonetta: Andante

Finale: Allegro vivacissimo

Le onidas Kavakos

INTERMISSION

BEETHOVEN

Sy mphony No. 7 in A major, Op. 92 (c. 36 minutes)

Poco sostenuto—Vivace

Allegretto

Presto

Allegro con brio

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

VIOLIN CONCERTO IN D M AJOR, OP. 35

Pyotr Ilyich Tchaikovsky (1840–93)

Tchaikovsky composed his Violin Concerto during a stay in Switzerland in 1878. Inspired by the presence of the young violinist Josef Kotek in his circle there, the composer completed the entire concerto in less than a month. During the work’s composition, Kotek and Tchaikovsky collaborated closely, but almost as soon as the ink on the manuscript had dried, Kotek began to cool toward the work. This meant that the dedication was offered to the Hungarian violinist Leopold Auer. Auer declined it, declaring the work too long and the solo part unplayable, something Tchaikovsky had heard before and a reminder that the composer’s music wasn’t always considered comfortable for listeners and performers.

Russian-born violinist Adolf Brodsky eventually mastered the concerto’s technical challenges well enough to premiere it in Vienna, where it was not well received. The critic Eduard Hanslick heaped abuse on Tchaikovsky’s innovative layout and composition of the solo part in his review of the first performance.

“For a while, it moves along well enough, musical and not lacking in spirit, but soon the roughness gets the upper hand and remains in charge until the end of the first movement. It is no longer a question of whether the violin is being played, but of being yanked about and torn to tatters. Whether it is at all possible to extract a pure sound out of these hair-raising acrobatics I do not know, but I do know that in making the attempt Mr. Brodsky tortured his audience no less than he did himself.” Hanslick would further elaborate, claiming the concerto “stank to the ear.”

Tchaikovsky’s concerto appears unconventional when placed alongside stalwarts of the genre by other composers. The first movement combines lyricism with nobility, as

the violin spins out the movement’s two themes over an ever-shifting accompaniment. The slow movement, which Tchaikovsky labeled “Canzonetta” (Little Song), opens with a delicate woodwind introduction, before the violin’s melancholy entry. The movement leads without pause to the rondo-finale, a movement with rhythmic abandon and a folk-like flvor. The rondo, which alternates a main theme with contrasting episodes, gives the violinist a chance for reckless bravura display. In a sense, Tchaikovsky’s concerto is guilty of some of the charges made by Hanslick, but what good concerto doesn’t benefit from some “hairraising acrobatics”? —John Mangum

SYMPHONY NO. 7 IN A MAJOR, OP. 92

Ludwig van Beethoven (1770–1827)

Beethoven’s Seventh and Eighth Symphonies are a set of “untwins,” contrasting works created basically side by side in 1811 and 1812. They also share a connection with Johann Nepomuk Maelzel (1772–1838), who was part musician and part engineer, but mostly an entrepreneurial salesman. Maelzel was named Vienna’s imperial court mechanician in 1808, and one of his principal product lines was ear trumpets, which Beethoven eagerly—desperately—tried. Maelzel also created the panharmonicon, a mechanical chamber orchestra. The inventor persuaded the composer, with a much-needed loan, to write a piece for the panharmonicon celebrating Wellington’s victory in the Battle of Vitoria. Maelzel planned to tour the work to London, where Wellington was a national hero. To raise money, they gave concerts in Vienna featuring Beethoven’s new piece performed by live orchestra. These concerts were quite successful, but Beethoven and Maelzel fell out over ownership of the music, and Beethoven filed—

and eventually dropped—a lawsuit against Maelzel. This rift did not stop Beethoven from becoming one of the early adopters of another of Maelzel’s inventions: a mechanical timekeeper he branded the metronome.

Those two fundraising concerts in December 1813 and one Beethoven produced for himself in January 1814 (after the break with Maelzel) included the fist performances of the Seventh Symphony, which he had completed over a year earlier. The first of these concerts was also a charity benefit for soldiers wounded at the recent Battle of Hanau; a worthy patriotic cause, but also clever cross-promotion. Beethoven conducted an all-star band, and the music was much admired, though to the composer’s irritation the Seventh Symphony was referred to as a “companion piece” to Wellington’s Victory.

The symphony begins with a long and profound introduction before kicking into kinetically energized music, which characterizes the entire work. The introduction predicts the harmonic journeys coming in the rest of the symphony just as the main body of the movement foretells its rhythmic obsessions, and the startling coda walks the wild side.

The following Allegretto—the work doesn’t have a conventional slow movement—has a solemnly welling beauty intensified by counterpoint. It was so popular that audiences demanded an encore at the premiere, and during the 19th century it often was substituted into other Beethoven symphonies.

The scherzo is a blazingly fast one, with a much slower trio section. Beethoven reverses some of the dynamic surprises for the repeated sections and plays additional jokes with the scoring. Also fast paced, the finale picks up the wildness initiated in the first movement and spins it into a breathless but utterly joyful mania, ending with a coda that mirrors the aggressive beast that closes the first movement. —John Henken

CRISTIAN MĂCELARU

Grammy Award–winning conductor Cristian Măcelaru is Music Director of the Cincinnati Symphony Orchestra, Music Director of the Orchestre National de France, Artistic Director of the George Enescu International Festival and Competition, Artistic Director and Principal Conductor of the Interlochen Center for the Arts’ World Youth Symphony Orchestra, Music Director and Conductor of the Cabrillo Festival of Contemporary Music, and Distinguished Visiting Artist at the Shepherd School of Music at Rice University. He also serves as Artistic Partner of

the WDR Sinfonieorchester in Cologne, where he was Chief Conductor from the 2019/20 through 2024/25 seasons.

The 2025/26 season marked Măcelaru’s inaugural season as Music Director of the Cincinnati Symphony Orchestra, where his programming reflects his expansive artistic vision and dedication to both tradition and innovation. Măcelaru launched the season with a blended program of classical masterworks and contemporary pieces. In March, Măcelaru and the Interlochen Center for the Arts embarked on a tour celebrating the upcoming centennial of Interlochen and the 250th anniversary of American independence, with concerts beginning at the center’s home in Interlochen, MI, and continuing through Detroit, Philadelphia, and Boston.

With the George Enescu International Festival, Măcelaru curated a four-week concert schedule highlighting worldclass orchestras in multiple international premieres and interpretations of classical music’s finest repertoire. Beginning at the festival, Măcelaru conducted the Orchestre National de France on a tour through Romania,

Slovakia, the Czech Republic, and Austria. In November, the Orchestre National de France took on a three-night tour in the United States with pianist Daniil Trifonov, culminating in an appearance at Carnegie Hall. In another Enescu Festival highlight, Măcelaru conducted the WDR Sinfonieorchester in a concert performance of Strauss’ Salome. Later in the season, he conducted the orchestra in three concert programs in Cologne and across western Germany. Măcelaru’s 2025/26 guest engagements included debuts with the Münchner Philharmoniker and Orchestra dell’Accademia Nazionale di Santa Cecilia, as well as returns with the Tonhalle-Orchester Zürich, Czech Philharmonic, Leipzig Gewandhaus Orchestra, Philharmonia Orchestra, and San Francisco Symphony. Măcelaru’s previous seasons include European engagements with the London Philharmonic Orchestra, NDR Elbphilharmonie, Concertgebouworkest, Symphonieorchester des Bayerischen Rundfunks, Budapest Festival Orchestra, and Wiener Symphoniker. In North America, he has led the New York Philharmonic,

Philadelphia Orchestra, Los Angeles Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, and The Cleveland Orchestra. He is equally at home as a conductor of opera, with career highlights including productions of Don Giovanni with the Houston Grand Opera and Madama Butterfly with Opera Națională București.

In 2020, Măcelaru received a Grammy Award for conducting the Decca Classics recording of Wynton Marsalis’ Violin Concerto with Nicola Benedetti and The Philadelphia Orchestra. His highly anticipated recording of George Enescu’s complete symphonic works with the Orchestre National de France was released in April 2024 on Deutsche Grammophon. September 2025 marked the release of Măcelaru’s and the Orchestre National de France’s Ravel Paris 2025 album, featuring the symphonic works of Maurice Ravel in celebration of the 150th anniversary of the composer’s birth, on the naïve label.

More information on Cristian Măcelaru can be found at macelaru.com

Management for Cristian Măcelaru: Primo Artists, New York, NY primoartists.com

LEONIDAS KAVAKOS

Leonidas Kavakos is recognized across the world as a violinist and artist of rare quality. Acclaimed for his captivating artistry, superb musicianship, matchless technique, and for the integrity of his playing, Kavakos performs with the world’s leading orchestras as both soloist and conductor and in recital at the world’s premier venues.

Highlights of Kavakos’ 2025/26 season included performances with the New York Philharmonic, San Francisco Symphony, and Minnesota Orchestra and as Artist-in-Residence at the Dallas Symphony, where he was featured as both a soloist and a conductor. In Europe, he appeared with the Concertgebouw Orchestra, Leipzig Gewandhaus Orchestra, and Frankfurt Radio Symphony and conducted the Czech Philharmonic, Philharmonia, and Barcelona Symphony orchestras.

Kavakos’ award-winning discography includes the Brahms Violin Concerto with the Leipzig Gewandhaus Orchestra and Riccardo Chailly and the Beethoven Violin Concerto, which he conducted with the Symphonieorchester des Bayerischen Rundfunks.

He was named ECHO Klassik Instrumentalist of the Year for his recording of the complete Beethoven violin sonatas with Enrico Pace. With Emanuel Ax and Yo-Yo Ma, Kavakos has released a series of trio recordings to critical acclaim. Kavakos curates an annual violin and chamber music master class in Athens, where he was born and brought up in a musical family. In 2022, he was elected a member of the Academy of Athens as the Chair of Music in the Second Class of Letters and Fine Arts for his services to music. In 2024, he was appointed professor of violin at the Basel Academy of Music. Kavakos plays the “Willemotte” Stradivari violin of 1734.

SALSA SPECTACULAR: NATHY PELUSO & GRUPO NICHE

WEDNESDAY JULY 15, 2026 8PM

Nathy Peluso

Grupo Niche

Al ex Torres, singer

Lu is Araque, singer

Alejandro Iñigo, singer

Fi to Echeverría, singer

Diego Camacho, timbal

Al ex Carvajal, drums

Jua nito Murillo, conga

Fa bio Celorio, bongo

Pau l Gordillo, saxophone

Ye inson Muñoz, trombone

Ed gardo Manuel, trombone

Oswaldo Ospino, trumpet

Víctor González, piano

Luis Sandoval, bass

José Aguirre, Music Director

Ya nila Varela, General Manager

El Marchante

Willy Calderon

Carlos Quintero, host

Programs and artists subject to change.

NATHY PELUSO

Since the release of her debut album, Calambre, in 2020, Nathy Peluso, the Argentinian singer, rapper, and songwriter based in Spain, has shaken up the Latin music scene with her genredefying style and captivating stage presence. By the age of 30, she had won five Latin Grammys, tying with Mercedes Sosa as the most awarded Argentinian artist in the history of these honors. She also made history as the first woman to win the award for Best Rap/Hip Hop Song. Adding to these milestones are two nominations at the 2025 Latin Grammys for her collaborations “De Maravisha” with Tokischa and “Xq Eres Así” with Álvaro Díaz, reaffirming her versatility and sonic expansion within global music. Renowned for her powerful live performances and artistic originality, she has graced the stages of iconic venues and festivals such as Coachella, Movistar Arena in Bogotá, Sónar in Barcelona, and Mad Cool in Madrid. Her collaboration with Bizarrap (BZRP Music Sessions Vol. 36/66) became a viral phenomenon, amassing millions of streams worldwide.

In 2024, she released her second album, GRASA, an intimate yet ambitious work that blends rap, salsa, ballads, and tropical sounds, inspired by Mafia films and 1970s New York salsa. The album features collaborations with artists such as Blood Orange, Duki, C. Tangana, and Ca7riel & Paco Amoroso. GRASA earned three Latin Grammys and received a nomination at the 2025 Grammy Awards for Best Latin Rock or Alternative Album. That same year, she unveiled CLUB GRASA, an EP of electronic reinterpretations of her sonic universe, and made her debut on The Tonight Show Starring Jimmy Fallon with a critically acclaimed performance alongside Blood Orange.

Between 2024 and 2025, Nathy embarked on her first world tour, the GRASA Tour, selling out shows in cities such as New York, Los Angeles, London, and Paris and solidifying her status as one of the most influential voices in contemporary global music.

In October 2025, she released the MALPORTADA EP, a six-track project written in Puerto Rico that delves deeper into her close relationship with salsa, a genre she has explored at different stages of her career. The EP includes “Malportada,” her collaboration

with Rawayana that fuses tropical cadence with sonic rebellion. With raw, vibrant energy, Nathy Peluso reasserts her command of the Caribbean musical language, expanding her universe through provocation and virtuosity.

GRUPO NICHE

Grupo Niche is a Colombian salsa band formed in 1979, recognized by critics and audiences alike as the most successful band in Latin America for the last four decades. It was founded in Bogotá by Jairo Varela Martínez, a native of Chocó. Over time and in seeking inspiration, the band traveled to the city of Buenaventura on Colombia’s Pacific coast, and finally in 1983 it relocated to Cali in the western region of the country, which would become its base of operations.

In 1982, Grupo Niche had its first national hit, “Buenaventura y Caney,” which allowed the band to make its first of many tours in the United States. In 1984 Jairo Varela composed and produced the song “Cali Pachanguero,” which would give national and global prominence to Grupo Niche and was declared the official theme of the Feria de Cali. International tours would increase from that moment on.

In 1987, differences between several musicians in the group and Varela led to a new stage of Grupo Niche in 1988, which resulted in great achievements such as “Nuestro Sueño” and “Cómo Podré Disimular,” with which the band conquered Peru and Venezuela. More than 1 million people gathered at Lima’s Campo de Marte to see the group.

In 1990, Varela produced Cielo de Tambores, the group’s most successful album to date. Songs such as “Una Aventura,” “Busca por Dentro,” “Se Pareció Tanto a Ti,” “Sin Sentimiento,” “Cali Ají,” and “Debiera Olvidarla” crossed borders and were undisputed hits throughout Latin America.

In 2001, Varela made the thoughtful decision to move the headquarters of Grupo Niche to Miami, a more convenient location for launching the numerous international tours that the band took annually.

From 2005 onward, Varela dedicated himself to producing new songs for Grupo Niche, releasing a song every six months. The band continued its international touring, including new territories such as Japan.

In 2007 Varela suffered a heart attack that forced him to give up smoking. New songs like “Un Día Después” and “Robando Sueños” showed a new sound, something more sophisticated and romantic.

From 2010 through the rest of his life, Jairo Varela, in his perfectionism and meticulousness, dedicated more time to the recording studio, trying out different voices with new nuances and styles. The new song “Aprieta” sounded like an epilogue to the famous “Buenaventura y Caney.”

In June 2012 Varela fulfilled one of his most cherished dreams when Grupo Niche was hired

for the fist time in Africa, which he considered a journey to the land of the band’s ancestors.

On August 8, 2012, Jairo Varela suffered another heart attack, which proved fatal. An outpouring of grief arose among the people of Colombia and other nations, with a funeral that lasted four days. Numerous tributes from governments and individuals followed, and Varela became a legend.

The passing of Jairo Varela marked a new era for Grupo Niche. Hundreds of unreleased songs, recorded in demos and written down in notebooks, would begin to be produced in the coming years. Varela’s eldest daughter, Yanila Varela, who was her father’s right hand, succeeded him as general manager.

In 2012, 2014, and 2015 Grupo Niche increased its tours around the world, and the band traveled more frequently in Europe, the US, Canada, Mexico, Ecuador, Peru, and Colombia and conquered new regions such as Australia. At the end of 2014, the group made a historic presentation with El Gran Combo de Puerto Rico at Madison Square Garden.

In 2021 Grupo Niche received Grammy and Latin Grammy awards for the album 40, and in 2023 they won a Latin Grammy for the album Niche Sinfónico, produced by José Aguirre, in whom the Varela family, led by Yanila Varela, gave all its confidene. Niche Sinfónico was also nominated for Best Tropical Latin Album at the 2024 Grammy Awards, and Grupo Niche was nominated in 2025 in the same category for the album Clásicos 1.0.

The history of Grupo Niche continues to be written every day since Jairo Varela left a great musical testament, surely to the delight of millions of admirers.

EL MARCHANTE

Founded by Osmar Romero, El Marchante is a cultural project born in Caracas in 2015 that has evolved into a platform dedicated to researching, curating, and sharing Latin American and Caribbean music. Based between Caracas and Los Angeles, El Marchante explores the intersections of memory, migration, and sound through vinyl, live events, and collaborations that honor regional heritage across borders.

The project has appeared on stages such as the Hollywood Bowl and Grand Performances, touring across the United States and performing alongside artists including LA LOM, Boogaloo Assassins, Adrian Quesada, and Juanes. It has also traveled abroad to Mexico City, Toronto, and Bogotá, cultivating international dialogue through music.

El Marchante has collaborated with institutions such as the LA Phil, University of California, Japanese American Cultural & Community Center, and The Music Center, as well as with record labels including Fania, Ansonia, and Diamond West, reaffirming its commitment to preserving and amplifying the diverse voices and rhythms that shape Latin American identity.

WILLY CALDERON

Born and raised in Los Angeles, Willy Calderon is a percussionist, producer, multi-instrumentalist, and composer who has become one of the most dynamic fi gures in contemporary Latin and fusion music. Raised in a deeply musical family, he began playing drums and percussion at the age of 2 and was shaped early on by mentors such as Alex Acuña, Luisito Quintero, Luis Conte, and his godfather Julio Ernesto Estrada. By the age of 13 he was already performing professionally, beginning a career that would eventually take him across six continents.

Over the last two decades, Calderon has collaborated and performed with artists including Bad Bunny, Lady Gaga, Ricky Martin, Carlos Vives, Bruno Mars, and Drake. In 2026 he appeared at the Super Bowl LX halftime show alongside Bad Bunny in what became one of the most discussed and politically charged

performances in the event’s history, while also marking the first time a Latin male artist headlined the Super Bowl. That same year he launched his Signature Fiesta Timbales with Gon Bops, becoming the youngest signature artist on the US West Coast and introducing the first mass-produced steel timbales with dual neon finishes. Beyond performance, Calderon has become an important cultural ambassador for Latin music, leading workshops, residencies, and master classes throughout Asia. He is also recognized for pioneering “City Pop Salsa,” a hybrid sound blending Latin rhythms with Japanese City Pop, introduced through his album Project Neon: The Birth of City Pop Salsa. A member of both the Recording Academy and the Latin Recording Academy, Calderon continues to push Latin music into new territories while remaining deeply rooted in rhythm, collaboration, and cultural exchange.

CARLOS QUINTERO

Carlos Quintero is a Colombianborn storyteller and media professional whose work lives at the intersection of music, culture, and community. Based in the United States for over 15 years, he brings more than two decades of experience shaping narratives within the music and entertainment industry.

With a foundation in journalism and a voice cultivated on the airwaves of Los Angeles, Quintero has connected audiences to the evolving soundscape of Latin music and beyond. His work spans radio, digital platforms, and original content creation, including collaborations with Entravision Communications and Univision Radio.

As the creator of the podcast La Charla, Quintero continues to amplify authentic voices and conversations, offering a space where artists, stories, and cultural identity converge.

MOZART & BRAHMS

THURSDAY JULY 16, 2026

Los Angeles Philharmonic

Roberto González-Monjas, conductor

Mao Fujita, piano

KORNGOLD

MOZART

BRAHMS

8PM

Straussiana (c. 6 minutes)

Pi ano Concerto No. 19 in F major, K. 459 (c. 28 minutes)

Allegro

Allegretto

Allegro assai

Mao Fujita

INTERMISSION

Sy mphony No. 4 in E minor, Op. 98 (c. 40 minutes)

Allegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passionato

Moritaka Kina is chief piano technician for the Los Angeles Philharmonic.

Programs and artists subject to change.

STRAUSSIANA

Erich Wolfgang Korngold (1897–1957)

Long before Erich Wolfgang Korngold’s orchestral film cores defined he sound of Hollywood’s Golden Age, the Austrian composer was the celebrated wunderkind of Vienna at the start of the 20th century. A prodigy of Mozartean proportions, he premiered his fist major work at the age of 13, performed for the emperor at 14, and by his 24th birthday enjoyed successful runs of three operas.

But in 1938, at the height of his career, Korngold’s life, and the lives of all Austrian Jews, came under threat as the Third Reich began expanding its fascist empire. With demand for his work already established in Hollywood, Korngold fled Viena and secured refuge for his family in Los Angeles’ Toluca Lake neighborhood, where he continued producing award-winning film cores for Warner Bros. Pictures in nearby Burbank. Korngold’s increasingly poor health—as well as seismic changes in the tastes of Viennese audiences, who now belittled his rapturously romantic music—prevented the composer from permanently returning to Austria. But in his fial composition, Straussiana, Korngold resurrects youthful memories of his homeland by paying tribute to one of his musical heroes: Johann Strauss II, the “Waltz King” of 19th-century Vienna. Commissioned by the American School Orchestras Association in 1953, Straussiana was intended for performance by student musicians, yet any orchestra would relish navigating this playful, shimmering score. (In fact, its premiere was performed by a semi-pro orchestra in Inglewood, CA, now home to the LA Phil’s Beckmen YOLA Center.)

In just seven minutes, Korngold weaves together three little-known

Strauss dances: a charming polka, a mazurka tinged with melancholy, and an electrifying waltz. But Straussiana is more than a simple rearrangement of these works—rather, Korngold adorns the original dances with the cinematic sweep and kaleidoscopic orchestrations he honed at Warner Bros. From the twinkling bells that ripple through the polka like the bubbles of Austrian sparkling wine to the mazurka’s wistful strings and a waltz that races to its dizzying conclusion, Straussiana evokes the sounds of Korngold’s childhood, the music of Vienna that forever echoed in his mind. —Michael Cirigliano II

PIANO CONCERTO NO. 19 IN F M AJOR, K. 459

Wolfgang Amadeus Mozart (1756–91)

Writing to his father from Vienna in December 1782, Mozart lamented the state of the piano concerto. “In order to garner applause with this happy medium—for true perfection in all things is no longer known or prized—you must write music that is either so simple a coachman could sing it, or so unintelligible that audiences like it simply because no sane person could understand it.” Mozart had arrived in Vienna in March 1781 and initially found great success there. He soon discovered that the city’s audiences were capricious and fickle and no on composer could keep their ears for long. Mozart relied heavily on public appearances for income, so he devoted a considerable part of his energy to organizing musical “academies.” These concerts, with their potluck programs combining symphonies, concertos, chamber music, and vocal music, were meant to promote his talents as a composer and performer. The Piano Concerto No. 19 probably premiered at one such concert in

1784. The work was one of six in the genre that Mozart composed that year, a testament to the Herculean efforts he undertook to remain in the public consciousness.

The concerto lies somewhere between the simple and the unintelligible, which may be among the explanations why he encountered increasing difficulty in Vienna beginning in the mid-1780s. The greater richness of the orchestral parts, the orchestra’s independence from the soloist, and the chamberlike qualities of the score—all of these mark the F-major Concerto (and the fie other 1784 piano concertos) as a signifiant moment in Mozart’s output.

The fist movement, with its simple opening theme and moments of contrapuntal dialogue among the instruments of the orchestra as well as between orchestra and soloist, immediately establishes the innovative nature of the F-major Concerto. The fresh, reposeful Allegretto features the soloist in dialogue with the winds, the sort of elegant back-andforth that characterizes many of the slow movements in Mozart’s concertos from 1784 on.

Mozart really throws down the gauntlet with the fiale. The fist two movements may not have gotten the coachmen whistling or confused the Viennese enough to garner much applause, but the fiale certainly could do both in spades. The opening theme—introduced by the piano and the winds—is a toe-tapper if ever there was one, and the subsequent snippet of fugue, noble and Baroque, bridges Bach and the Rococo. Mozart spent his Sunday afternoons at the Viennese home of Baron van Swieten playing through scores by Bach and his contemporaries with fellow composers and musicians. He moves seamlessly between the two styles in what is perhaps the most complex concerto fiale he ever composed. —John Mangum CONTINUED

SYMPHONY NO. 4 IN E MINOR, OP. 98

Johannes Brahms (1833–97)

Although his catalog lists just four symphonies, Brahms wrote several other works that come close to that genre: His First Piano Concerto was planned as a symphony, and the Second (which is in four movements) has been called a symphony with piano obbligato. Although the Second and Third symphonies were introduced in Vienna, Brahms decided to give his Fourth Symphony an out-of-town tryout. He himself conducted the premiere (in October 1885) with the Meiningen Court Orchestra in central Germany, where the audience was enthusiastic. Vienna was not so receptive when the work was introduced there a few months later. As it turned out, a mere 10 years after his First Symphony was given its premiere, Brahms had written his last symphony. Two years later came the Double Concerto, whose solo parts (violin and cello) remind us of the old sinfonia concertante form, but he was to write no more symphonies. For his fial essay in symphonic form, Brahms produced a monumental work whose fist movement grows from the simplest of materials, a rising and falling interval, out of which he develops long lines of powerfully emotional yet unsentimental grandeur. The relentless organic development, which begins even as themes are being stated, leads to a complex interaction of motives and melodic fragments. The composer’s friend Elisabeth von Herzogenberg wrote to him of her fears that he was dwelling too much on creating intricate thematic connections that would obscure his musical communication for the untrained listener: “…one rejoices with all the excitement of an explorer or scientist

on discovering the secrets of your creation! But there comes a point where a certain doubt creeps in… that its beauties are not accessible to every normal music lover.”

What makes the music so compelling, though, may be the way the longer lines ebb and flw with great urgency and lyrical beauty while at the same time the contrapuntal complexities lend substance and richness to the texture. As an example of how the opposing camps of Wagnerites and Brahmsians always seemed to have something nasty to say about each other, note the comment of composer Hugo Wolf—one of the symphony’s critics—that Brahms was “composing without ideas.” None other than the avant-garde composer Arnold Schoenberg, who furthered Wagner’s progressive chromatic proclivities, proved a strong supporter of what he described as Brahms’ technique of “developing variation.” Certainly Brahms’ idol Beethoven had proved that minimal materials could bring forth substantial music.

After the powerful conclusion of the fist movement, Brahms introduces the second movement with a forceful statement by two horns, followed by a ravishing passage in which all of the strings play delicate pizzicato chords supporting a sustained melody in the winds. As in the famous fiale (in which Brahms looks to earlier musical models for his structure), there is an archaic quality to this music, the result, in part, of the composer’s use of the medieval Phrygian mode. This rather mournful meditation is interrupted by more animated passages, but there is an overriding tone of what musicologist Karl Geiringer called “the shadow of an inevitable fate.”

In Brahms’ other symphonies, there is no movement that fulfils the role of the scherzo in the Beethoven mold; that is not true

in the Fourth Symphony. Here the third movement overflws with high spirits and raw energy, with the piccolo and triangle added to the performing forces for extra sizzle. The structure, though, is not a traditional scherzo with a contrasting middle section; this movement is in sonata form, and it includes material that prompted the respected writer Hermann Kretzschmar in 1887 to note of “its hastening, restless rhythms…its suddenly pulsing energy, and…the predominant harshness of its character.”

Brahms, a diligent student of musical history, was always ready to draw on the styles and forms of earlier ages. The fial movement of the Fourth Symphony is the bestknown instance, and it is usually characterized as a passacaglia, in reference to Bach. Although the theme that recurs throughout is drawn from Bach’s Cantata No. 150, conductor and Baroque specialist Nikolaus Harnoncourt has said that the form itself is more typical of the concluding movements in French operas from the Baroque era (especially Rameau). What is undeniable is the sense of cumulative power Brahms creates with his “old-fashioned” methods. The theme is repeated some 30 times, but the musical material is organized (texturally, dynamically, and above all emotionally) into a sonatalike structure: The extended opening section is followed by more relaxed (but still troubled) passages of a lyrical, yearning character (in which a solo flue is prominently featured). A renewed energy marks the beginning of a kind of development, culminating in three variations that recall the opening ones. The concluding pages of the symphony are relentlessly charged with defiance and bristling with slashing intensity. For once, there is no coda. No triumph, no joy, no radiant string chords. The rest…is silence. —Dennis Bade

ROBERTO GONZÁLEZ-MONJAS

Highly sought-after as a conductor and violinist, Roberto GonzálezMonjas is rapidly making his mark on the international scene. He has built a reputation as a natural music leader, distinguished by his compelling artistic vision, remarkable charisma, boundless energy and enthusiasm, and sharp musical intellect. He is Chief Conductor of the Orchester Musikkollegium Winterthur in Switzerland (since August 2021), Music Director of the Orquesta Sinfónica de Galicia in Spain (since August 2023), Chief Conductor of the Mozarteumorchester Salzburg (since September 2024), and Artistic Director of Iberacademy in Colombia. González-Monjas was Principal Guest Conductor of the Belgian National Orchestra from the 2022/23 season to 2024/25, and the Dalasinfoniettan in Sweden named him Honorary Conductor following a four-year tenure as its Chief Conductor and Artistic Director from 2019 to 2023.

Highlights of the 2025/26 season included a production of Mozart’s The Magic Flute at the Mozartwoche in Salzburg and Così fan tutte at the Zurich Opera House. The season also featured an extensive UK tour with the Orquesta Sinfónica de Galicia and an Asia tour with the Mozarteumorchester, as well as debuts with the Spanish National Symphony Orchestra and the Bamberg Symphony. Following recent successful guest conducting debuts, GonzálezMonjas returned in the 2025/26 season to collaborate with the Oslo Philharmonic, Hong Kong Philharmonic, Orchestre national du Capitole de Toulouse, and the Netherlands Chamber Orchestra. González-Monjas regularly collaborates with a distinguished roster of musicians, including Joyce DiDonato, Rolando Villazón, Ian Bostridge, Andrè Schuen, Hilary Hahn, Lisa Batiashvili, Juan Diego Flórez, Clara-Jumi Kang, Andreas Ottensamer, Fazıl Say, Reinhard Goebel, Mao Fujita, András Schiff, Jan Lisiecki, Kirill Gerstein, Yeol

Eum Son, Alexandre Kantorow, Paul Lewis, Kit Armstrong, and Steven Isserlis. He is also deeply engaged with music by living composers, having premiered works by and collaborating closely with Richard Dubugnon, Andrea Tarrodi, Anders Hillborg, Diana Syrse, Thierry Escaich, and Hannah Kendall, among others.

Driven by a deep commitment to education and the development of young talent, González-Monjas cofounded Iberacademy (Ibero-American Orchestral Academy) alongside conductor Alejandro Posada. The institution is dedicated to building an effi cient and sustainable model of music education in Latin America with a particular focus on reaching vulnerable segments of the population and supporting exceptionally gifted young musicians. In addition to his work in Latin America, GonzálezMonjas is a violin professor at the Guildhall School of Music & Drama in London.

Following the international success of Mozart Serenades his acclaimed debut recording with the Mozarteumorchester for Berlin Classics—GonzálezMonjas’ latest album, featuring Mozart’s complete violin concertos, was released by Berlin Classics in January.

González-Monjas began his career as a solo violinist, chamber musician, and orchestral leader. He served as Concertmaster of the Orchestra dell’Accademia Nazionale di Santa Cecilia for six years and as the leader of the Musikkollegium Winterthur until summer 2021. He plays a 1710 Giuseppe Guarneri “fi lius Andreae” violin kindly loaned to him by fi ve Winterthur families and the Rychenberg Stiftung. CONTINUED

MAO FUJITA

With an innate musical sensitivity and naturalness to his artistry, pianist Mao Fujita has already impressed many leading musicians as one of those special talents that come along only rarely, equally at home in Mozart as in the major romantic repertoire, with The New York Times writing, “As soon as his figers touched the keys, waves of airy filiree, beautifully shaped and accomplished, emerged in almost continuous streams,” on the occasion of his US debut at Carnegie Hall in January 2023.

Born in Tokyo, Fujita was still studying at the Tokyo College of Music in 2017 when he took First Prize at the prestigious Concours International de Piano Clara Haskil in Switzerland, along with the Audience Award, Prix Modern Times, and the Prix Coup de Coeur, which fist brought him to the attention of the international music community. He was also the Silver Medalist at the 2019 Tchaikovsky Competition in Moscow, where his special musical qualities received exceptional attention from a jury of leading musicians. In the 2025/26 season, Fujita continued his run of impressive appearances at major festivals and venues across Europe, America, and Asia. Stops in Europe included the Salzburg Festival, Vienna, Paris, Rome, Luxembourg, Hamburg, Dortmund, Gstaad, Warsaw, Tenerife, Lisbon, Copenhagen, Lyon, and Aix-en-Provence, and a recital tour across North America featured performances in New York, Cleveland, Boston, St. Paul, San Francisco, Vancouver, and San Diego. Season highlights also included tours in Asia and Europe with Filarmonica della Scala (Myung-Whun Chung), Deutsche Kammerphilharmonie Bremen (Paavo Järvi), Orchestre Philharmonique de Radio France (Jaap van Zweden), and Royal Philharmonic Orchestra

(Vasily Petrenko). In addition, he debuted with the Boston Symphony Orchestra, Toronto Symphony Orchestra, KBS Symphony Orchestra, Oslo Philharmonic, Danish National Symphony Orchestra, and Orchestre de Chambre de Lausanne and returned to the Czech Philharmonic, Gewandhausorchester, Wiener Symphoniker, Deutsches SymphonieOrchester Berlin, Orchestre national du Capitole de Toulouse, and Orchestra Sinfonica Nazionale della RAI. Fujita has worked with many of the leading conductors of our time, including Semyon Bychkov, Riccardo Chailly, Elim Chan, Myung-Whun Chung, Christoph Eschenbach, Daniele Gatti, Manfred Honeck, Jakub Hrůša, Marek Janowski, Andris Nelsons, Petr Popelka, Lahav Shani, and Kazuki Yamada. Previous orchestral debuts include the Royal Concertgebouw Orchestra, Lucerne Festival Orchestra, Symphonieorchester des Bayerischen Rundfunks, Münchner Philharmoniker, hr-Sinfonieorchester, Los Angeles Philharmonic, Cleveland Orchestra, National Symphony Orchestra (Washington, DC), Philharmonia Orchestra, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, and Tokyo Metropolitan Symphony Orchestra. Fujita is also a soughtafter chamber music partner and has worked with Renaud Capuçon,

Leonidas Kavakos, Emanuel Ax, Kirill Gerstein, Antoine Tamestit, Kian Soltani, and the Hagen Quartet, among others. Fujita is an exclusive Sony Classical International artist. In October 2022, his eagerly anticipated debut album on the Sony Classical label, a studio recording of Mozart’s complete piano sonatas, was released to unanimous acclaim for its transparent sound worlds and vividly detailed interpretation. He has performed the full sonata cycle at the Verbier Festival and Wigmore Hall and across Japan’s major concert halls. His second album on the Sony Classical label, a wide-ranging and ambitious set titled 72 Preludes that champions the 24 Preludes of Chopin, Scriabin, and Yashiro, was released in September 2024. Starting piano lessons at the age of 3, Mao Fujita won his fist international prize in 2010 at the World Classic in Taiwan and became a laureate of numerous national and international competitions such as the International Rosario Marciano Piano Competition in Vienna (2013), Zhuhai International Mozart Competition for Young Musicians (2015), and the Gina Bachauer International Young Artists Piano Competition (2016). Fujita is a member of Konzerthaus Dortmund’s series “Junge Wilde” as of the 2024/25 season.

MAO FUJITA

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.

PHOTOGRAPHY BY SUZANNE LANZA

SUPPER IN YOUR SEATS

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.

MARKETPLACES

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.

LUCQUES AT THE CIRCLE

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.

THE BACKYARD

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.

ANN’S WINE BAR by a.o.c.

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.

CATERING AT THE BOWL

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

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

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.

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.

The Music Center Foundation was established in 1973 by Dorothy Bu um 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

LOS ANGELES PHILHARMONIC

Gustavo Dudamel Music & Artistic

Director

Walt and Lilly Disney Chair

Zubin Mehta

Conductor Emeritus

Esa-Pekka Salonen

Conductor Laureate

[Position vacant]

Assistant Conductor Ann Ronus Chair

John Adams

John and Samantha Williams Creative Chair

Herbie Hancock Creative Chair for Jazz

FIRST VIOLINS

[Position vacant]

Concertmaster

Marjorie Connell Wilson Chair

Bing Wang

Acting Concertmaster

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

Bianna Bell

Minyoung Chang

I.H. Albert Sutnick Chair

Tianyun Jia

Jordan Koransky

Ashley Park

Katherine Woo

Weilu Zhang

SECOND VIOLINS

Melody Ye Yuan

Principal

Mark Kashper

Associate Principal

Isabella Brown

Assistant Principal

Kristine Whitson

Johnny Lee

Ingrid Chun

Jin-Shan Dai

Miika Gregg

Chao-Hua Jin

Jung Eun Kang

Vivian Kukiel

Nickolai Kurganov

Varty Manouelian

Emily Shehi

Michelle Tseng

Gabriel Esperon*

VIOLAS

Ben Ullery

Principal

John Connell Chair

Soyoung Cho

Associate Principal

Jenni Seo

Assistant Principal

Dana Lawson

Richard Elegino

Ingrid Hutman

Michael Larco

Hui Liu

Meredith Snow

Leticia Oaks Strong

Minor L. Wetzel

Bradley Parrimore*

Pasadena Showcase House for the Arts

LA Phil Resident Fellow Chair

* Judith and Thomas L. Beckmen

LA Phil Resident Fellow

+ On Sabbatical

On Leave

CELLOS

Robert deMaine

Principal

Bram and Elaine Goldsmith Chair

Ben Hong◊

Associate Principal

Sadie and Norman

Lee Chair

Dahae Kim

Assistant Principal

Jonathan Karoly+

David Garrett

Barry Gold

Jason Lippmann

Gloria Lum

Linda and Maynard

Brittan Chair

Zachary Mowitz

Serge Oskotsky

Brent Samuel

Keeon Guzman*

BASSES

Christopher Hanulik

Principal

Diane Disney Miller and Ron Miller Chair

Kaelan Decman

Associate Principal

Oscar M. Meza

Assistant Principal

David Allen Moore

Ted Botsford

Jory Herman

Brian Johnson

Peter Rofé

Matthew Peralta*

FLUTES

Denis Bouriakov

Principal

Virginia and Henry Mancini Chair

Catherine Ransom

Karoly

Associate Principal

Mr. and Mrs. H.

Russell Smith Chair

Elise Shope Henry

Mari L. Danihel Chair

Sarah Jackson+

Piccolo

Sarah Jackson+

OBOES

Ryan Roberts

Principal

Carol Colburn Grigor Chair

Marion Arthur

Kuszyk

Associate Principal

Anne Marie Gabriele

English Horn [Position vacant]

CLARINETS

Boris Allakhverdyan

Principal

Michele and Dudley Rauch Chair

Andrea Caputo

Associate Principal

Andrew Lowy

Taylor Eiffert

E-Flat Clarinet

Andrew Lowy

Bass Clarinet

Taylor Eiffert

BASSOONS

Whitney Crockett Principal [Position vacant]

Associate Principal Ann Ronus Chair

Evan Kuhlmann

Contrabassoon

Evan Kuhlmann

Mark Houston Dalzell 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.

HORNS

Andrew Bain

Principal

John Cecil Bessell Chair

David Cooper

Associate Principal

Gregory Roosa

Alan Scott Klee Chair

Amy Jo Rhine

Loring Charitable Trust Chair

Elyse Lauzon

Ethan Bearman

Elizabeth Linares Montero*

Nancy and Leslie Abell LA Phil Resident Fellow Chair

TRUMPETS

Thomas Hooten

Principal

M. David and Diane

Paul Chair

James Wilt

Associate Principal

Nancy and Donald de Brier Chair

Christopher Still

Ronald and Valerie Sugar Chair

Jeffrey Strong

TROMBONES

David Rejano Cantero Principal

Koni and Geoff Rich Chair

James Miller

Associate Principal

Judith and Thomas L. Beckmen Chair

Paul Radke

Bass Trombone

John Lofton

Miller and Goff

Family Chair

TUBA

Mason Soria

Principal

TIMPANI

Joseph Pereira

Principal

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

LIBRARIANS

Stephen Biagini

Benjamin Picard

KT Somero

CONDUCTING FELLOWS

Kinga Głowacka

Ana María

Patiño-Osorio

José Salazar

Miguel Sepúlveda

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

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

Erik Rynearson Principal

Jonah Sirota Associate Principal

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

Paul Macres

Barry Newton

FLUTES

Heather Clark Principal

Lawrence Kaplan Piccolo [position vacant]

OBOES

Lelie Resnick Principal

Noah Breneman

English Horn

Catherine Del Russo

CLARINETS

[position vacant] Principal

Bass Clarinet [position vacant]

BASSOONS

Elliott Moreau Principal

Contrabassoon Allen Savedoff

HORNS

Dylan Hart Principal

Allen Fogle Associate Principal

TRUMPETS

Robert Schaer Principal

Robert Frear

TROMBONES

William Booth Principal

Alexander Iles

Bass Trombone

Todd Eames

TUBA

[position vacant] Principal

TIMPANI

Tyler Stell Principal

DRUMS

Brian Miller Principal

PERCUSSION

Wade Culbreath Principal

Gregory Goodall

HARP

Cristina Montes Mateo Principal

KEYBOARDS

Alan Steinberger Principal

SAXOPHONE [position vacant]

ASSOCIATE CONDUCTOR

Scott Dunn

LIBRARIAN

Stephen Biagini

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

JULY

JULY 18

World

JULY

JULY

AUGUST

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

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

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%.

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 benefits, 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.

LOS ANGELES COUNTY

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

COUNTY ARTS COMMISSION

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.

Rogerio 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

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

The Annenberg Foundation

Colburn 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 Affiates

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

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

Linda and Robert Attiyeh

Judith and Thomas Beckmen

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 Jerrold L. Eberhardt

Valerie Franklin

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

$100,000 TO $249,999

Mr. Robert J. Abernethy

William A. Allison

Rachel and Lee Ault

W. Lee Bailey, M.D.

Angela Bardowell

Deborah Borda

The Eli and Edythe Broad Foundation

Jane Carruthers

Pei-yuan Chia and Katherine Shen

James and Paula Coburn Foundation

The Geraldine P. Coombs Trust in memory of Gerie P. Coombs

Mr. and Mrs. Terry Cox

Silvia and Kevin Dretzka

Allan and Diane Eisenman

Christine and Daniel Ewell

Diane Futterman

Arnold Gilberg, M.D., Ph.D.

David and Paige Glickman

Nicholas T. Goldsborough

Gonda Family Foundation

Margaret Grauman

Kathryn Kert Green and Mark Green

Freya and Mark Ivener

Ruth Jacobson

Estate of Mary Calfas Janos

Stephen A. Kanter, M.D.

Jo Ann and Charles Kaplan

Yates Keir

Susanne and Paul Kester

Vicki King

Sylvia Kunin

Ann and Edward Leibon

Ellen and Mark Lipson

Ms. Gloria Lothrop

Vicki and Kerry McCluggage

Heidi and Steve McLean in memory of Katharine Lamb

David and Margaret Mgrublian

Diane and Leon Morton

Mary Pickford Foundation

Sally and Frank Raab

Mr. David Sanders

Malcolm Schneer and Cathy Liu

David and Linda Shaheen Foundation

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

$25,000 TO $99,999

Mr. and Mrs.

Karl J. Abert

Marie Baier Foundation

Dr. Richard Bardowell, M.D.

Jacqueline Briskin

Dona Burrell

Ying Cai & Wann S.

Lee Foundation

Ann and Tony Cannon

Juan Carrillo and Dominique Mielle

Dee and Robert E. Cody

The Colburn Fund

Margaret Sheehy Collins

Mr. Allen Don Cornelsen

Ginny and John Cushman

Marilyn J. Dale

Mrs. Barbara A. Davis

Dr. and Mrs.

Roger DeBard

Jennifer and Royce Diener

Jane B. and Michael D. Eisner

The Englekirk Family

Claudia and Mark Foster

Lillian and Stephen Frank

Margaret E. Gascoigne

Dr. Suzanne Gemmell

Paul and Florence Glaser

Good Works Foundation

Anne Heineman

Ann and Jean Horton

Drs. Judith and Herbert Hyman

Albert E. and Nancy C. Jenkins

Robert Jesberg and Michael J. Carmody

William Johnson and Daniel Meeks

Ms. Ann L. Kligman

Sandra Krause and William Fitzgerald

Michael and Emily Laskin

B. and Lonis Liverman

Sarah and Ira R. Manson

Carole McCormac

Meitus Marital Trust

Sharyl and Rafael Mendez, M.D.

John Millard

Alfred and Arlene Noreen

Occidental Petroleum Corporation

Dr. M. Lee Pearce

Lois Rosen

Anne and James Rothenberg

Donald Tracy Rumford Family Trust

The SahanDaywi Foundation

Mrs. Nancie Schneider

William and Luiginia Sheridan

Virginia Skinner

Living Trust

Nancy and Richard Spelke

Mary H. Statham

Ms. Fran H. Tuchman

Rhio H. Weir

Mrs. Joseph F. Westheimer

Jean Willingham

Winnick Family Foundation

Cheryl and Peter Ziegler

Lynn and Roger Zino

LA PHIL MUSICIANS

Anonymous

Kenneth Bonebrake

Nancy and Martin Chalifour

Brian Drake

Perry Dreiman

Barry Gold

Christopher Hanulik

John Hayhurst

Jory and Selina Herman

Ingrid Hutman

Andrew Lowy

Gloria Lum

Joanne Pearce Martin

Kazue Asawa McGregor

Oscar and Diane Meza

Mitchell Newman

Peter Rofé

Meredith Snow and Mark Zimoski

Barry Socher

Paul Stein

Leticia Oaks Strong

Lyndon and Beth

Johnston Taylor

Dennis Trembly

Allison and Jim Wilt

Suli Xue

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.

Saluting the Music of Stephen Sondheim

WALT DISNEY CONCERT HALL

ONE NIGHT ONLY! FRIDAY, MARCH 19, 2027 AT 8PM

Join the Los Angeles Master Chorale under the artistic direction of Grant Gershon for a dazzling evening celebrating the brilliance of Stephen Sondheim, one of Broadway’s most beloved composers. The evening will feature the incredible talents of almost three dozen singers, spectacular guest artists and instrumental ensemble.

COMPANY

SWEENEY TODD

A LITTLE NIGHT MUSIC SUNDAY IN THE PARK WITH GEORGE INTO THE WOODS FOLLIES

MERRILY WE ROLL ALONG AND MORE!

TICKETS FOR ALL 2026/27 CONCERTS AVAILABLE AT LAMASTERCHORALE.ORG

GRANT GERSHON KIKI & DAVID GINDLER ARTISTIC DIRECTOR

JENNY WONG ASSOCIATE ARTISTIC DIRECTOR

2026/27 SEASON

ORCHESTRA SERIES

MOVEMENT(S)!

September 26 + 27

Lina González-Granados CONDUCTOR

John Holiday COUNTERTENOR

STRAUSS, RAVEL, BEETHOVEN

October 17 + 18

Jaime Martín MUSIC DIRECTOR

Conrad Tao PIANO

EAST MEETS WEST

November 19 + 22

Ludovic Morlot CONDUCTOR

Wu Man PIPA

Benjamin Smolen FLUTE

CHAMBER SERIES

PULSE & PRECISION

January 9 + 10

Margaret Batjer

BAROQUE SERIES

VIVALDI’S VENICE

December 5 + 6

Francesco Corti LEADER, HARPSICHORD, AND ORGAN

STRAVINSKY, MOZART, GOODE

February 12 + 13

Jaime Martín MUSIC DIRECTOR

Richard Goode PIANO

HAYDN, MOZART, KALHOR

April 23 + 25

Matthias Pintscher CONDUCTOR

Kayhan Kalhor KAMANCHEH

BRAHMS, BEETHOVEN, RAVAEI

May 15

Jaime Martín MUSIC DIRECTOR

James Ehnes VIOLIN

Rachel Barton Pine VIOLA D’AMORE

SHOSTAKOVICH & HAMELIN

March 6 + 7

Marc-André Hamelin PIANO

Yanyan Bao PIANO

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

RECITAL SERIES

ANGELA HEWITT PIANO WITH MARGARET BATJER VIOLIN

October 13

Los Angeles Master Chorale singers

FRANCESCO CORTI HARPSICHORD WITH MISHA VAYMAN VIOLIN

December 3

FAZIL SAY PIANO WITH BENJAMIN SMOLEN FLUTE

May 12

FRANCESCO CORTI

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

$500,000 TO $999,999

Anonymous Ballmer Group

Judith and Thomas L. Beckmen

$200,000 TO $499,999

Anonymous (2)

Mr. Gregory A. Adams

R. Martin Chavez

Colburn Foundation

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 Jerr y L. Eberhardt

Mr. James Gleason

Goldman Sachs Co. LLC

and Jerry M. Kohl

Max H. Gluck Foundation Jennifer Miller Goff

Music Center Foundation

Pasadena Showcase House for the Arts

Maria Seferian

GRoW @ Annenberg

The Hearthland Foundation

The HernandezStark Family

The Hillenburg Family

Tylie Jones

The José Iturbi Foundation

Kaiser Permanente

Winnie Kho and Chris Testa

Philip Lieberman and Lori Miller

Los Angeles

Philharmonic Affiliates

County of Los Angeles

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

Jay and Deanie Stein

Linda and David Shaheen

Christian Stracke

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 Schir tzer

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

$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.

Rober t 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

$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 Ber tman

Robert and Joan Blackman Family 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

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

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

Mr. Jose Luis Nazar

Anthony and Olivia Neece

Mr. and Mrs.

Randy Newman

Estate of Rober t W. Olsen

Tye Ouzounian

Andy S. Park

Bruce and Aulana Peters

Gregory Pickert and

Beth Price

Sandy and Barr y 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 FundJudie 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 War fel

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

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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

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David and Jan Altemus

Ameriprise Financial

Shari Aoki

Barbara Aran

Fay Arfa

Ms. Deborah G. Baine

Mr. Barry Baker

Mr. Michael Barr

Mr. and Mrs.

David J. Barton

Ms. Barbara Beezy

LARRY BLANK RESIDENT POPS CONDUCTOR

NG

Music of Motown DANCI

INTHESTRE

JULY 11, 2026

Terron Brooks, Chester Gregory & Shayna Steele, soloists

Get ready to groove to the Temptations, Supremes and Stevie Wonder for this soulful celebration of Motown hits!

JULY 25, 2026

With

Carmen Bradford, Steve Lippia & Todd Murray, soloists

Timeless hits from Sinatra, Dean Martin and Ella Fitzgerald –Come Fly With Me, My Way, Lady is a Tramp and more.

AUGUST 15, 2026

Craig A. Meyer, soloist

A spectacular theatrical experience capturing the Rocketman’s music, costumes and charisma.Hear Tiny Dancer, Candle in the Wind, Crocodile Rock and more chart-toppers.

GATES OPEN AT 5:30PM FOR PICNIC DINING CONCERTS BEGIN AT 7:30PM

AUGUST 29, 2026

Hugh Panaro, Valerie Perri & Scarlett Strallen, soloists

Show-stopping hits from Phantom, Cats, West Side Story and Evita plus Sondheim, Bernstein and more.

Jonathan and Deborah Berek

Carlo Bernardino

Vince Bertoni and Damon Hein

Ms. Louisa S. Bonnie

Graham and Mar y Bothwell

Dr. and Mrs.

Stuart Boyd

Mr. and Mrs.

Jonathan M. Brandler

Ms. Judith Brill

Kappy Bristol

Dan and Catherine Campbell

Jeffrey Campbell

Dexter Cannon and Lee Hendrix

Judy Carroll

Cynthia Chao

Ms. Ronna Chavin

Sabrina Chen

Steven Chen and En Hsien Liu

Mr. Raymond Y. Chinn

Jill Chozen

Carla Christofferson

Mr. and Mrs.

Michael Colby

Cathy Colloff

Drs. Gaby and Danny Cosgrove

Alison Moore Cotter

Ginny and John Cushman

Antonio and Hanna Damasio

Susan Dashe

Andrew Z. Davis

Anne Marie K.

De La Vega

Yervant Demirjian

Alexis Descre

Mr. and Mrs.

John A. Donaldson

Mr. Andre Dudzak

Mr. Kevin Dunbar

Monique and Larry Earl

Ms. Ruth Eisen

Eric S. Elias

Encore

Michael A. Enomoto

Joyce and

David Evans

Sara and

Richard Evans

Ornella Faccin

Joycelyn Fawaz

Joshua Feffer and Jessica Nadel

Mr. and Mrs.

Donald Feinstein

Neal Fenzi

Ronald Fishbach and Constance Fishbach

Mr. Michael Fishbein

Mr. and Mrs.

Rober t T. Flesh

Maureen Frank

Edward and

Ruth Friedman

Mr. Gerald M.

Friedman

Daniel Giesberg and

Carol Lifland

Suzanne and

Steve Gilison

Mr. Jerome J. Glaser

Rockland Glenn

Mr. Matthew Golombek and Ms. Connie Morgan

Rodrigo and Diana Gonzalez

Anna Graves and Hugh Mac Dhubhain

Mr. Robb Greenspan

The Grosvenor

Family Foundation

Howard Gussman

Chuck and

Monica Gustafson

Dr. and Mrs.

Thomas Hall

Ms. Ophelia Havunjian

Robert and Carol Haymer

Mr. and Mrs.

Rober t Heenan

Ms. Florence Hoffman

Gary Holm and Chris Meyer

Dr. and Mrs.

David A. Horwitz

Helen Hsi

Douglas Hylton

Dr. and Mrs.

Rober t Itami

Mr. and Mrs.

Richard Jacobs

Irwin and Meredith Jacobson

Jerald Johnson and Leana Kleinman

Mr. Sean Johnson

Marcia Jones

Ms. Martha Kadue

Lewis and Sandra Kanengiser

Mr. Stephen Keck

Ms. Karin Kemenes

Lydia Kenewell

Mr. William T. Kennedy

Jason King

Michael and Patricia Klowden

Anni Kluger

Dr. Colin Koransky and Joan Binder

Koransky

KPMG LLP

Mr. and Mrs.

Thomas Kranz

Shawn Kravich

Mark and Anthony Kressel

KTN Enterprises, Inc.

Judy Lam

Charles and

Barbara Lawrence

Robin Le Chanu

Michael Leberman

Argus Lee

Mr. and Mrs.

K. John Lee

Susan Leeds Lieff

Ms. Marie-Laure

Leglise

Mr. and Mrs. Stephen

Andrew Lending

Lennox Foundation

Amanda Liao

Karen Lichtenberg

Mark Lipian

Ethan and Joanne Lipsig

Fong Liu

Julie and Ron Long

Sally and Tim Loose

Cathy and Mark Loucheim

Mr. and Mrs.

Mark Lucas

Gene Lucero and Marcia Williams

Latonya Lundy

Ruth and Roger MacFarlane

Mrs. Masako Maki

David and Cherr y Mana

Mr. Walter N.

Marks, Jr.

Ilene and Howard Marshall

Suzanne Marx

Suma Mathai and Manoj Mathew

Cheryl Maxson

Kathleen McCarthy and Frank Kostlan

Wayne and Gloria McClean

Lois McFarland

David McGowan

Professors Anne and Ronald Mellor

Dr. Reinhard Menzel

Ms. Janet G. Michaels

Robert Mills and

Susan Arcidiacono

Mr. and Mrs.

Mark Mischel

Linda and John Moore

Mark and Linda Moore

Ilyanne Morden

Kichaven

Mr. Douglas Morris

Dr. and Mrs.

Allan Morrison

The Mraz Family

Mr. Paul Mueller

Gretl and Arnold Mulder

Mr. Thomas M. Mundy

Bengt Muthen

Robert Nankin

Y & S Nazarian

Family Foundation

Mr. Carl Neu

Grace Nixon Foundation

Finneas O’Connell

Catherine and Eugene Ohr

Mr. Dale Okuno

Sarah and Steven Olsen

Carol Parry

Bob and Brana

Paster Foundation

Ellen and Gordon Pearlman

Scott and Eloisa Perard

Mr. and Mrs. Leo J. Pircher

Jane Price

Tristan Que

Mr. Chris Reed

Yolanda M. Robinson

James and Marla Ryan

Brian Saenger

Jessica Saintfort

Mrs. Ferrel Salen

Anna Salusky

Mr. Brian Sandquist and Mr.

James R. Kisel

Martha Saucedo

Ms. Linda Savitt

Ms. Maxine Savitz

Linda and Cliff Schaffer

Elliot Harvey Schatmeier

Dr. Marlene M. Schultz and Philip M. Walent

Mr. and Mrs.

Peter Segal

Mr. Majid M. Seyedi-Rezvani

Misara and Shiu Shao

Hon. Anita Rae

Shapiro

Brian Siberell

Marisa Silver and Ken Kwapis

Nancy and Bruce Silverman

Robert and Mar y Anne Sims

Lynn F. Sipe

Barbara Smith

Christopher Smith

Gail and Jeffrey Smith

Ms. Roberta Smith

Mr. and Mrs. Richard Spelke

James and Tammy Spertus

David and Michelle Spiegel

Herbert Stein

Mr. Max Stolz, Jr.

Ms. Randi Tahara

David Jan Takata

Dr. Agne Taraseviciute

Mr. Mark Temple

Sheila Tishler and Paul Ashkenaz

Mr. and Mrs. Robert Tokashiki

Caroline Tsaw

Michael Tseng

Perry Vidalakis

Marilene Wang

Craig R. Webb and Melinda Taylor

Gary Weinhouse and Dr. Alyssa Ziman

Dr. Arthur Weinstein

Brian and Maxine Weinstock

Mr. Kenneth B. Wells

Janice and Mitch Wellsteed

Mr. Karl Wittnebel

Marcia Yaross

Albert and Marilouise Zager

Betza Zlokovic

Mary Zoryan

Claudia Zuercher

Friends of the LA Phil at the $500 level and above are recognized on our website. Please visit laphil.com.

If your name has been misspelled or omitted from the list in error, please contact the Philanthropy Department at contributions@laphil.org. Thank you.

BANC WITH STRENGTH

POOL CIRCLE

2026/27 SEASON

THOSE BETTER ANGELS

The LA Phil is pleased to recognize and thank the following Pool Circle supporters. We are deeply grateful for the generosity received for the 2026 Hollywood Bowl season.

October 4–November 1, 2026 A CHRISTMAS CAROL BY CharlesDickens ADAPTED FOR THE STAGE BY GeoffElliott November 28–December 24, 2026

18, 2027

Anonymous (8)

ABC Entertainment

Mr. Robert J. Abernethy

Mrs. Lisette Ackerberg

Mr. Gregory A. Adams

Ms. Barbara Adams-Mitchell

Arnon and Camille Adar

Dr. and Mrs. Frank Agrama

Nancy Furse Alder

Edgar Aleman

Missy and Dennis Alfieri

Mr. and Mrs. Stephen L. Allen

Mr. Ronald Altoon

Dariush Arfaania

Mr. Elgart Aster and Mr. Paul A. Swerdlove

Bank of America

Dr. Richard Bardowell, M.D.

Gia Battocchio and Carrie Battocchio Menachem

Mr. Robert Bellevue

Dr. William Benbassat

Barbara Bernstein and Stephen R. Bernstein

Mr. and Mrs. Gregg & Dara Bernstein

Kerri Bershon

Beverly Hills Plastic Surgery, Inc.

Samuel and Erin Biggs

Mr. and Mrs. Norris J. Bishton, Jr.

Mr. and Mrs. John Blasius

Mr. Michael Blea

Mr. Jay Borzi

Ms. Bonnie Brae

Joan Friedman, Ph.D., and Robert N. Braun, M.D.

John and Annette Brende

Gabriel and Deborah Brener

Abbott Brown

Mrs. Linda L. Brown

Patricia Bulkeley

Mr. Ronald W. Burkle

James & Debbie Burrows

Canon Insurance Service

Mara and Joseph Carieri

Mr. Ernie Carswell and Mr. Donald Kreindler

Andrea Chao-Kharma and Kenneth Kharma

Chicago Title Company

Helen and Morgan Chu

Bruce and Julia Cohen

Mr. Garrett Collins and Mr. Matthew McIntyre

Arline and Michael Covell

Faye and Bob Davidson

Kelvin and Hana Davis, in honor of Mary Davis

Orna and David Delrahim

Rosette Delug

Mr. John Devoe

Mr. Kevin Dill

Martin and Geraldine Dirks

Malsi and Johnny Doyle

Kathleen and Jerry L. Eberhardt

Dr. David Eisenberg

Geoff Emery

Dr. Annette Ermshar and Dan Monahan

Dr. James Eshom

Marc Ezralow

Mr. Brad Fauvre

Jonathan Feldman

Mr. C. Randolph Fishburn and Mr. Andrew Sands

Pauline and Gordon Freshman

Mr. and Mrs. Josh Friedman

Mrs. Brenda L. Galloway

Rachel Gerstein

The Rosalinde and Arthur Gilbert Foundation

Leslie and Cliff Gilbert-Lurie

Kiki Ramos Gindler and David Gindler

Mr. and Mrs. Gregg J. Gittler

Paige and David Glickman

Greg and Etty Goetzman

Mr. and Mrs. Ronald Goldberg

Dr. and Mrs. Steven Goldberg

Henry J. Gonzalez, M.D.

Daniel Gore

Mr. and Mrs. Ken Gouw

Mr. Jeff Green

Leonard Green & Partners LP

Tricia and Richard Grey

Mr. Alan Grosbard and Ms. Karen Bobo

Renée and Paul Haas

Mr. and Mrs. David Haddad

Ms. Timi Hallem

Fred Hameetman

Hancock Park Associates

Mr. and Mrs. John Hancock

Dwight Hare and Stephanie Bergsma

Mr. Les Harrison

Kaitlin and Jonathan Hawk

Lynette Maria Carlucci Hayde

Mr. and Mrs. Kenneth Hearn

Mr. and Mrs. Irwin Helford and Family

Stephen D. Henry and Rudy M. Oclaray

Mr. and Mrs. Kenneth Hertz

Janice and Laurence Hoffmann

Dr. and Mrs. Warren F. Hoffman

K. Hohman Family

Heather and Chris Holme

Mr. and Mrs. Philip J. Holthouse

Mr. Benjamin Hops

Mr. and Mrs. Daniel Paul Horwitz

Ms. Julia Huang

Mrs. Bonnie Hutchins

Dr. and Mrs. Mark H. Hyman

Jackie and Warren Jackson

Mr. Richard Jacobs

Paul James

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