Los Angeles Philharmonic Mehta Leads Bruckner’s Eighth
NOV 11
GREEN UMBRELLA
Recovecos: Angélica Negrón & Lido Pimienta
NOV 13–14 & 16
Los Angeles Philharmonic Mozart, Ravel & Pintscher
BOOK II • NOVEMBER 15–23
NOV 15
Patti Smith and her band On the 50th Anniversary perform Horses
NOV 18
CHAMBER MUSIC Brahms Strings
NOV 21–23
Los Angeles Philharmonic Elgar’s Enigma
ROBERTO GONZÁLEZ-MONJAS
A culinary
for your theatre outing encore
A PERFECT DINING EXPERIENCE TO PAIR WITH YOUR PERFORMANCE
Indulge in a seasonal three-course prix fixe menu at Noé Restaurant & Bar, just a short walk from the theatre. Enjoy a stress-free meal with valet parking for $25 and receive 15% off your bill at Noé when you present your theatre program. Scan the QR code & reserve your table now for an unforgettable evening.
I’m delighted you’re joining us at Walt Disney Concert Hall this fall. With November in full swing, all of us at the LA Phil want to express our gratitude for our dear audience and supporters, our amazing artists who inspire us, and the opportunity to share meaningful experiences through the magic of live performance.
This month, we’re especially thankful for the start of our Symphonies for Youth concerts, which introduce children ages 5 to 11 to the joy of orchestral music, building the next generation of music lovers. We kick off our vital Green Umbrella new music series with a program showcasing powerful works by living composers from the Caribbean and Latin America. We’re also thrilled to host a wonderful array of guest artists, from singer-songwriters Faye Webster and Patti Smith to cellist Sheku Kanneh-Mason and conductor Roberto González-Monjas, two rising stars who embody the bright future of classical music.
Continuing the theme of giving thanks, I invite you to participate in our Gracias Gustavo campaign, celebrating the 17-year tenure of LA Phil Music & Artistic Director Gustavo Dudamel. Please help us commemorate this remarkable partnership, sharing a favorite memory or personal reflection by emailing us at graciasgustavo@laphil.org or by posting your story on social media with the hashtag #graciasgustavo. We’d love to hear from you.
Warmly,
Kim Noltemy President & Chief Executive Officer
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
David Greenbaum
Lori Greene Gordon
Carol Colburn Grigor
Marian L. Hall
Antonia Hernández*
Jonathan Kagan*
In Memoriam
Darioush Khaledi
Winnie Kho
Joey Lee
Daniel R. Lewis
Francois Mobasser
Margaret Morgan
Leith O’Leary
Andy S. Park
Sandy Pressman
Geoff Rich*
Laura Rosenwald
Michael Saei
Richard Schirtzer
John Sinnema
G. Gabrielle Starr
Jay Stein*
Christian Stracke*
Ronald D. Sugar*
Vikki Sung
Jack Suzar
Sue Tsao
Megan Watanabe
Regina Weingarten
Jenny Williams
Alyce de Roulet
Williamson
Irwin Winkler
Debra Wong Yang
HONORARY LIFE DIRECTORS
David C. Bohnett
Frank Gehry
Lenore S. Greenberg
Bowen H. “Buzz” McCoy
PAST CHAIRS**
Thomas L. Beckmen
Jay Rasulo
Diane B. Paul
David C. Bohnett
Jerrold L. Eberhardt
John F. Hotchkis†
Executive Committee Member as of September 26, 2025
From the opening of Walt Disney Concert Hall on October 24, 2003, to present
usbank.com/privatewealth
GUSTAVO DUDAMEL
Music & Artistic Director, Walt and Lilly Disney Chair
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 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 will celebrate 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 winter 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 finest 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, film, 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 Revolución diamantina received three Grammys in 2025.
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), O tto 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).
LOS ANGELES PHILHARMONIC
Gustavo
Herbie
[Position
Bing
[Position
Justin
* Judith and Thomas L. Beckmen
L A Phil Resident Fellow
+ On sabbatical
CELLOS
Chair
Zachary Mowitz
Serge Oskotsky Brent Samuel Keeon Guzman*
BASSES
Christopher Hanulik
Disney Miller and Ron Miller Chair Kaelan Decman
M. Meza
Botsford
Rofé
Matthew Peralta*
FLUTES
Denis Bouriakov
and Henry Mancini Chair
Catherine Ransom
Associate Principal
and Mrs. H. Russell Smith Chair
Sarah Jackson OBOES
Ryan Roberts
Carol Colburn Grigor Chair
Marion Arthur Kuszyk
Associate Principal
Anne Marie Gabriele English Horn
vacant]
CLARINETS
Boris Allakhverdyan
and Dudley Rauch Chair
[Position vacant] Associate Principal
Lowy
Eiffert
HORNS
Andrew Bain
David Cooper
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
TRUMPETS Thomas Hooten
Christopher Still
Jeffrey Strong
BASSOONS
TROMBONES
David Rejano Cantero
Koni and Geoff Rich Chair
James Miller Associate Principal
and Thomas L. Beckmen Chair
Paul Radke Bass Trombone
Dalzell Chair for Artistic Service to the Community
and Goff Family Chair TUBA Mason Soria
Lofton
David Riccobono
PERCUSSION
Matthew Howard
Sumpter
James Babor David Riccobono
KEYBOARDS
Joanne Pearce
HARP
Emmanuel Ceysson
LIBRARIANS
Stephen Biagini Benjamin Picard
Somero
CONDUCTING FELLOWS
Kinga Głowacka
Miguel Sepúlveda
The Los Angeles Philharmonic string section utilizes revolving seating on a systematic basis. Players listed alphabetically change seats periodically. The musicians of the Los Angeles Philharmonic are represented by Professional Musicians Local 47, AFM.
By Michael Cirigliano II
BEYOND THE SPOKEN WORD
Returning to the LA Phil this month, composer-conductor Matthias Pintscher explores the depths of human emotion through Ravel, Mozart, and his new work neharot.
The music of Maurice Ravel spans two distinct worlds. Works like Mother Goose Suite and his opera L’enfant et les sortilèges (The Child and the Spells) transport us to fantastical realms of childhood innocence and harmony, while others, from La valse to the Piano Concerto for the Left Hand and his immortal Boléro, present moments of blistering brutality, their dissonance mirroring the political and cultural upheaval that dominated the early 20th century.
That duality of fantasy and reality is woven throughout the program Matthias Pintscher leads at Walt Disney Concert Hall on November 13, 14, and 16. Not only in the Ravel works that bookend the evening, but also in the music of Mozart and Pintscher himself—four
compositions in which the German composer-conductor hears “all kinds of human emotions resonate.”
Few composers have been better equipped to translate the mythical world of the fairy tale to music than Ravel, whom a close friend described as possessing “the soul of a child who has never left the kingdom of Fairyland, who makes no distinction between nature and artifice.” Anecdotes abound of Ravel disappearing from formal dinner parties to regale the host’s children with stories of heroes, villains, and fantastical creatures. Such is the world he created in Mother Goose, a suite of five miniatures shimmering with radiant orchestral colors.
“Ravel’s one of the most nostalgic composers we have in music history,” Pintscher shared with me during a recent video call. “And in Mother Goose we experience Ravel the storyteller, someone absolutely adored by kids for his fascinating ability to tell entertaining stories.” Although inspired by children’s tales, the suite leaves adults mesmerized by its tender beauty, one that often inspires tears by the end of the performance.
“There’s so much noble emotion in it, and it’s very hard to talk about it, why you feel so much,” Pintscher said. “But that’s why we love music, because it goes beyond the spoken word.”
Of course, fairy tales offer more than imaginative flights of fancy. These stories of love and fear, life and death give us the tools to overcome the adversity we face throughout our lives. And just as he expertly conjures Belle’s distress in encountering the terrifying Beast, or the perpetual slumber with which an evil queen curses Sleeping Beauty, so too can Ravel evoke the turmoil of the real world, as evidenced in La valse, his choreographic poem composed in the aftermath of World War I.
Although Ravel remained cagey about the inspiration behind La valse, one can’t help but hear the death knell of the Austro-Hungarian empire as a vigorous waltz gradually collapses under the weight of its own fevered intensity. To Pintscher, La valse’s cataclysmic ending represents a seismic turning point in music. “He’s actively destroying the Viennese tradition. He
PINTSCHER CONDUCTS THE LA PHIL WITH SOLOIST RAY CHEN, 2023.
squeezes all the sophistication so tightly that it erupts and falls apart. It’s like he needed to destroy it to force himself, as an author, to move on.”
Mozart also stood on the fault line of a major shift in musical style—between the refined Classical style of the 18th century and the bold emotionality of 19thcentury Romanticism. And in the composer’s Piano Concerto No. 25, we hear Mozart exploring uncharted territories in his work.
Although he had been composing piano concertos since his days as a child prodigy, Mozart’s final concertos dig beneath the surface to unearth greater depths of emotion while still maintaining the elegance and lust for life he suffused in every score. Pintscher sees parallels between the composer’s search for new modes of expression and the benchmarks artists establish as their careers progress.
“I’ve always loved Mozart,” he says, “but now I realize it’s music you not only live with, but grow with as a human, as an artist. It’s like he puts a mirror in front of you to ask: Where are you in your life? Where are you with your insight? Where are you with your shortcomings, your weaknesses? All that is reflected in Mozart’s music.”
Such moments of selfreflection are typical for every musician, but for Pintscher, the
turbulence experienced during the early days of the Covid pandemic brought artistic paths to light that he hadn’t previously considered. While composing neharot—which he describes as “a tombeau, a requiem, a kaddish for all the people lost” during the pandemic—“I felt less like I was the author. It just took me to a different place with who I am as a composer and forced me to walk inside unknown, unsafe territory. All artists long to extend the realm of our perspectives, and that happened for me with neharot.”
For a conductor used to racking up frequent-flier miles leading orchestras across the globe, spending months at home gave Pintscher a new relationship to his work and also reminded him of music’s role as an act of service. In fact, the trumpet solo that appears like a beacon of hope amid
neharot ’s profound darkness was inspired by Pintscher’s partner, Ethan Bensdorf, a trumpet player with the New York Philharmonic, who for 47 straight nights serenaded neighbors from the roof of the couple’s Manhattan home during lockdown.
“Hundreds of people came out on their balconies, opened their windows after banging on pots and pans to celebrate our health-care workers. Ethan’s trumpet call was a gesture of reaching out to people, even if we couldn’t see each other physically.”
That longing for connection and understanding not only lies at the heart of neharot, but it also speaks to Pintscher’s goals as a conductor. When asked what he hopes audience members take away from this concert, Pintscher isn’t prescriptive. He wants the audience to discover their own meaning in the music—and realize the important role they play in the concert experience.
“I want them to find out something about themselves. All the great works are somewhat incomplete, because they need the human listener to receive the sensations we forward to them from the stage. I hope they are so drawn into this music, intrigued and shocked by what they hear, that they return—not only as supporters, but because they like what they felt, they like what they learned about themselves.”
Michael Cirigliano II is a freelance writer who has worked with The Cleveland Orchestra, the LA Phil, the Britt Music & Arts Festival, the National Arts Centre Orchestra, the Oregon Symphony, and the Metropolitan Museum of Art.
GET TO KNOW THE NEW
2025/26 RESIDENT FELLOWS
Hailing from California, Alaska, Florida, and New York, four promising musicians— percussionist Jeremy Davis, cellist Keeon Guzman, violinist Gabriel Esperon, and bassist Matthew Peralta—have joined the Los Angeles Philharmonic as Judith and Thomas L. Beckmen LA Phil Resident Fellows. Since 2019, this program has prepared early-career symphonic musicians representing or serving historically underrepresented populations to compete for, and win, positions in major professional orchestras.
JEREMY DAVIS
Born: San Dimas, California
Raised: Diamond Bar, CA
Instrument: Percussion
Jeremy Davis began his percussion studies at age 11. He has performed around the world, including at Carnegie Hall, the Royal Albert Hall, and The Concertgebouw.
In 2019, Davis received his Bachelor of Music degree in percussion from the USC Thornton School of Music, where he studied with James Babor and Joseph Pereira, both members of the Los Angeles Philharmonic. Davis received his Master of Music degree in percussion performance from Rice University, where he studied with Matthew Strauss, Associate Principal Timpanist/ Percussionist in the Houston Symphony.
When was the moment you knew you wanted to become a professional musician?
My first time performing at Carnegie Hall, when I was in the eighth grade.
If you could play a different instrument, what would you pick and why?
It’s a tie between trumpet and cello. Trumpet due to its ability to cut through the orchestra and command attention. Cello because it’s an instrument that can produce such beautiful melodies, and it’s in the middle range of the string family, giving it the ability to play in the very high and low registers.
KEEON GUZMAN
Born and raised: Anchorage, AK
Instrument: Cello
Before joining the LA Phil, Keeon Guzman was a member of the inaugural class of Diversity Fellows with the Dallas Symphony Orchestra from 2023 to 2025.
He completed his Master’s studies with the highest distinction at the Mozarteum University Salzburg, where he studied with Enrico Bronzi. He earned a Bachelor’s degree and a Performance Diploma from the Indiana University Jacobs School of Music, studying under Eric Kim and Brandon Vamos.
He’s performed at the Pacific Music Festival, Music Masters Course Japan in Yokohama, and Domaine Forget Music Festival, and with the National Repertory Orchestra.
When was the moment you knew you wanted to become a professional musician?
It’s hard to pinpoint an exact moment, but the summer I spent at Interlochen Arts Camp was pivotal. Being surrounded by such dedicated musicians and mentors gave me a real glimpse into what a life in music could look like.
If you could play a different instrument, what would you pick and why?
If I didn’t have to make reeds I’d say oboe. I’ve always loved its very individual and expressive timbre.
GABRIEL ESPERON
Born and raised: Miami, FL Instrument: Violin
Gabriel Esperon completed his Master’s degree in violin performance at UCLA, studying under LA Phil violinist Varty Manouelian and Movses Pogossian. In 2022 and 2024, Esperon attended the Aspen Music Festival and School, where he received a fellowship and served as a principal player in the Aspen Contemporary Ensemble and Aspen Chamber Symphony and performed with conductors including Robert Spano, Cristian Măcelaru, and Nicholas McGegan. He won the UCLA Philharmonia All-Star competition in fall 2024 and was a finalist in the Vanderbilt University Concerto Competition in Nashville in 2023.
Do you have a favorite piece to perform?
My two favorite pieces are tied deeply to my childhood. When it comes to the orchestra, it would have to be the second symphonic poem, “Vltava,” (The Moldau) of Smetana’s Má vlast (My Fatherland). It was the first piece I ever performed as part of a full orchestra, and I vividly remember sitting in awe of the imagery Smetana was able to capture with his musical phrases. The movement captures the flow of the famous river, which runs through the Czech Republic.
Among the major solo violin works, I loved listening to the Tchaikovsky Violin Concerto when I was a kid and finally learned it a few years ago. Every time I pick it back up it feels just as fresh in my ears.
What are you most looking forward to during the 2025/26 season?
To be a part of the deep relationship between the orchestra and Gustavo Dudamel is a great honor. This season is especially full of large-scale symphonic works that span several historic eras in classical music, and the prospect of studying and performing them in this setting is what excites me most.
MATTHEW PERALTA
Raised: Queens, NY Instrument: Bass
Matthew Peralta was a part-time fellow with the Los Angeles Chamber Orchestra, where he received mentorship from principal bassist David Grossman and performed under Music Director Jaime Martín.
Peralta’s artistry flourished during his time as a New World Symphony Fellow in Miami, where he collaborated with coaches and conductors from renowned orchestras. He also joined the celebrated Nu Deco Ensemble, further expanding his musical horizons.
His musical journey began in the New York Youth Symphony. After completing his studies at Purchase College, Peralta earned his Master’s degree at the Yale School of Music, studying under Donald Palma.
When was the moment you knew you wanted to become a professional musician? When I was a kid, my mother would rent the original Star Wars trilogy from Blockbuster every other week, and I became absolutely infatuated with the score. Those movies inspired me to want to make incredible sounds like that on an instrument of my own!
What are you most looking forward to during the 2025/26 season?
I am definitely most looking forward to performing Mahler’s Fourth Symphony in late January with Elim Chan conducting and Masabane Cecilia Rangwanasha as the soprano soloist.
The Judith and Thomas L. Beckmen LA Phil Resident Fellows program is supported by Judith and Thomas L. Beckmen, Nancy and Leslie Abell, Alicia Miñana and Rob Lovelace, the Eugene and Marilyn Stein Family Foundation, and Pasadena Showcase House for the Arts.
ESA-PEKKA SALONEN APPOINTED LA PHIL CREATIVE DIRECTOR
In early September, the LA Phil announced the expansion of its artistic leadership team with the appointment of Conductor Laureate Esa-Pekka Salonen to the newly established position of Judith and Thomas L. Beckmen Creative Director. Beginning in the 2026/27 season, Salonen—who served as LA Phil Music Director from 1992 to 2009—will conduct and curate approximately six weeks of programming with the LA Phil, focusing on multidisciplinary
projects, festivals, and the innovative offerings for which the orchestra is renowned.
The LA Phil has also formed an artistic partnership with Salonen and the Philharmonie de Paris performing arts center, which simultaneously appointed Salonen as Creativity and Innovation Chair as well as Principal Conductor of the Orchestre de Paris. Drawing on the exceptional artistry and creativity of Paris and Los Angeles, the partnership will include collaborative initiatives between the organizations, among them a new Salonen International Conducting Fellowship; a series of ballet
commissions pairing some of the world’s most compelling choreographers and composers, beginning with Benjamin Millepied and Gabriella Smith; joint festivals; and a project featuring immersive experiences that combine music, media and technology.
CATE BLANCHETT TO JOIN GUSTAVO DUDAMEL IN BEETHOVEN’S EGMONT
Academy Award–winning actress Cate Blanchett will appear as narrator in four performances of Beethoven’s Egmont in February 2026 conducted by LA Phil Music & Artistic Director Gustavo Dudamel. In a bold reimagining of the work, Blanchett will join a new adaptation of the Goethe play, created in collaboration with acclaimed playwright Jeremy O. Harris (Slave Play) and featuring soprano Elena Villalón. This multidimensional program begins with the world premiere of Ricardo Lorenz’s Humboldt’s Nature, inspired by the South American expeditions of Alexander von Humboldt, the visionary philosopher and naturalist who was a contemporary of Beethoven. At the center of the evening, pianist Yunchan Lim—winner of the 2022 Van Cliburn International Piano Competition and a rising global sensation—performs Robert Schumann’s masterful Piano Concerto.
LA PHIL RECORDING RECEIVES TWO LATIN GRAMMY NOMINATIONS
The LA Phil’s album Revolución diamantina was nominated for a pair of Latin Grammy Awards: Best Classical Album and Best Classical Contemporary Composition. This year, the Latin Grammy Awards ceremony takes place November 13 in Las Vegas. Revolución diamantina is the first full album of orchestral works by Mexican composer Gabriela Ortiz. Recorded live at Walt Disney Concert Hall in October 2022 and November 2023 during performances by the Los Angeles Philharmonic conducted by Gustavo Dudamel, the album consists of three works: Altar de cuerda, Ortiz’s violin concerto performed by María Dueñas; the striking Kauyumari; and the epic Revolución diamantina featuring the Los Angeles Master Chorale. The album received three 2025 Grammy Awards: Best Orchestral Performance, Best Classical Compendium, and Best Contemporary Classical Composition.
A COMMUNITY OF MUSIC
Leigha Kemmett Finds Connection at the LA Phil
For Leigha Kemmett, the Los Angeles Philharmonic is one of the city’s greatest treasures. From the “acoustically perfect” Walt Disney Concert Hall to summer evenings at the Hollywood Bowl, she finds joy in the music and the sense of connection it inspires.
“There’s nothing like the Bowl—the sun setting behind the hills, the music starting, the feeling of being part of something bigger than yourself,” Kemmett says.
That passion for music has been with her since her childhood in Boston. The young Leigha’s grandparents made sure she experienced everything the city had to offer, from the Boston Pops to the symphony to the ballet. Later, living in New York, Kemmett and her husband, Jacob Goldstein, became active with the New York Philharmonic. By the time they moved west, their lives were already deeply intertwined with the arts.
Settling in Los Angeles, the couple at first lived farther from Hollywood, which made regular attendance a challenge. But once they moved closer, everything changed. “We’re Bowl people,” Kemmett says, laughing. Since the Bowl reopened after the pandemic, she and Goldstein have made
a tradition of attending nearly every Thursday concert in the summer. Dance programs have become favorites—folklórico one year, ballet the next.
This past summer, Kemmett hosted a picnic for 20 friends before a Thursday orchestral concert and then took them to a member after-party. “Some of them had just moved to LA; others had been here for years,” she recalls. “Seeing the experience through their eyes was really special.”
That sense of community is what keeps her so connected to the LA Phil. “In Los Angeles, we spend so much time in our cars, in our own routines. Arts and culture create these natural opportunities to connect—with your city and with each other. [Becoming a member] has been such a wonderful way to find people who love the LA Phil and share that joy.”
Kemmett’s commitment extends beyond attending concerts—her support helps sustain the LA Phil. Though
she still travels frequently for work and spends time in New York, she says that nothing compares to concerts here in LA. “At the LA Phil and the Bowl, you get all the best things about live music with none of the pretense. It’s welcoming, it’s special, and it always reminds me why I love this community.”
LEIGHA KEMMETT AND HER HUSBAND, JACOB GOLDSTEIN
JOIN LEIGHA KEMMETT ON GIVINGTUESDAY
On Tuesday, December 2, please join champions like Leigha Kemmett in supporting the LA Phil on GivingTuesday. This global movement raises awareness for meaningful causes and organizations around the world. Scan for more information.
County of Los Angeles
BOARD OF SUPERVISORS
Hilda L. Solis
Holly J. Mitchell
Lindsey P. Horvath
Janice Hahn
Kathryn Barger Chair
DEPARTMENT OF ARTS AND CULTURE
Kristin Sakoda Director
COUNTY ARTS COMMISSION
Randi Tahara
President
Rogerio V. Carvalheiro Vice President
Sandra P. Hahn
Secretary
Jennifer Price-Letscher Executive Committee
Member
Leticia Buckley Immediate Past President
Pamela Bright-Moon
Diana Diaz
Eric R. Eisenberg
Brad Gluckstein
Helen Hernandez
Constance Jolcuvar
Alis Clausen Odenthal
Anita Ortiz
Tara L. Taylor
Liane Weintraub
KEEP ON BEING THE INSPIRATION
Our history is rich with firsts. Like being the first to identify the AIDS virus and performing the world’s first human bladder transplant. Every step forward is more than a milestone. It’s proof that when we rise, we lift others too.
97%
6.2 million readers annually. 65% support advertisers who support
Faye Webster with Orchestra
Faye Webster
Hollywood Bowl Orchestra
Thomas Wilkins, conductor
Programs and artists subject to change.
SATURDAY
NOVEMBER 1, 2025 8PM
SUNDAY
NOVEMBER 2 7:30PM
FAYE WEBSTER
Faye Webster loves the feeling of a first take: writing a song, then heading to the studio with her band to track it live the very next day. When you listen to the Atlanta songwriter’s poised and plainspoken albums, you can hear why: She channels emotions that
are so aching, they seem to be coming into existence at that very moment.
“One of my favorite things about songwriting is taking thoughts that people don’t really think are worthy, or might overlook, and highlighting them,” Webster says. “I like saying things that everybody thinks but nobody’s saying.”
At any given moment, Webster might be making country-tinged indie rock flecked simultaneously by pedal steel guitar and modern R&B production and songwriting techniques—a bespoke sound that has won her ardent fans and turned her into something of a stealth superstar beloved by everyone from Southern hip-hop heads to alt-rock tastemakers.
The title of Faye Webster’s latest album, Underdressed at the Symphony, is inspired by her occasional compulsion to lose herself among Atlanta Symphony Orchestra concertgoers. Craving company and distraction but also leaning into the anonymity of a bustling crowd, Webster often bought a ticket to a performance at the last possible second. “Going to the symphony was almost like therapy for me,” she says. “I was quite literally underdressed at the symphony because I would just decide at the last moment that that’s what I wanted to do. I got to leave what I felt like was kind of a shitty time in my life and be in this different world for a minute.”
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. Other past positions include resident conductor of the Detroit Symphony and The Florida Orchestra (Tampa Bay) and associate conductor of the Richmond (VA) Symphony. He also has served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond.
Devoted to promoting a lifelong enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, The Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious Outstanding Artist award at the Nebraska Governor’s Arts Awards for his significant contribution to music in the state, and in March 2018, the Longy School of Music at
Bard College honored him with the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society. 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 Doctor of Arts degree, and he was the recipient of the League of American Orchestras’ Gold Baton Award.
During his conducting career, Wilkins has led orchestras throughout the United States, including the New York and Los Angeles philharmonic orchestras; the Philadelphia and Cleveland orchestras; the symphony orchestras of Chicago, Boston, Cincinnati, and Detroit; and the National Symphony.
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.
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
Jim Self 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.
Mehta Leads Bruckner’s Eighth
Los Angeles Philharmonic Zubin Mehta, conductor
BRUCKNER
Symphony No. 8 in C minor (c. 70 minutes)
Allegro moderato
Scherzo: Allegro moderato
Adagio: Feierlich langsam, doch nicht schleppend
Finale: Feierlich, nicht schnell
Programs and artists subject to change.
FRIDAY
NOVEMBER 7, 2025 8PM
SATURDAY
NOVEMBER 8 2PM
SUNDAY
NOVEMBER 9 2PM
AT A GLANCE
“When Bruckner was composing the Adagio of the Seventh Symphony, he heard the news of the death of Wagner, and this incredible explosion of love that comes through in that Adagio. At the end of the movement, he literally is crying over Wagner’s grave. This transcends into the Eighth Symphony also. It’s on the whole very positive, but you feel in the Adagio one of the greatest romantic high points, and afterwards, this incredible conversation between the violins and the horns. This is almost Bruckner talking to his master again....
“The first two movements are almost like two preludes to the main Adagio and
First LA Phil performance: March 23, 1961, William Steinberg conducting
Critical and popular approval arrived for Anton Bruckner in 1884 with the enthusiastic reception accorded his Seventh Symphony.
Conductor Arthur Nikisch led
then this incredible cantata last movement. The first movement has quite a normal sonata [form]. The second movement is like a Bruckner scherzo; but the trio of the Scherzo is something very loving. The sound changes completely—it’s like a piece of Schubert.... A song that doesn’t end from beginning to the last note. The trio is a little jewel in this symphony. The Adagio is sprawling. The theme comes twice in the beginning.... And then of course the second subject with the celli and viola is just singing out; it just breaks your heart.”
—Zubin Mehta, excerpted from a March 2012 Digital Concert Hall interview
the Gewandhaus Orchestra in its debut at Leipzig’s Neues Theater. After years of opposition from the musical establishment— particularly from the champions of Brahms in their battles with the adherents of Wagner—the composer was ready to be regarded as his own man rather than an antiBrahmsian or a Wagnerian.
The success of the Seventh, with its heightened emphasis on the dark, rich sonorities of low brass, did wonders for Bruckner’s fragile self-esteem, so much so that he embarked with unprecedented determination on what would be his largest
symphonic creation, the Eighth Symphony.
The Eighth occupied Bruckner for three years, whereupon he sent the score to the conductor Hermann Levi. Levi had been entrusted by Wagner with the Bayreuth Parsifal premiere in 1882 at which, incidentally, Bruckner was in the audience. Bruckner found in Levi what he thought would be his ultimate champion; the conductor had led his Te Deum in Munich and helped raise funds for the publication of the Fourth and Seventh Symphonies. Levi was, however, completely bewildered by the Eighth Symphony and rejected it.
It was the great tragedy of Bruckner’s life that he valued others’ opinions too highly and would act on them to his own detriment. Levi’s rejection plunged the composer into a profound depression. The final consequence, however, was not artistic paralysis but a manic need to rewrite not only the Eighth but his first five numbered symphonies, which were substantially revised between 1887 and 1891.
Whether the changes in the Eighth reflect Levi’s views—it seems that he did not so much suggest revising the symphony as scrapping it—we don’t know. Bruckner did away with the first movement’s loud coda in favor of the present soft one, ending the movement as it had begun, in mystery, and he wrote an entirely new trio for the Scherzo. At the behest of the conductor Franz Schalk, the composer overhauled both the slow movement and the Finale. All of this resulted in three different versions of the symphony, bringing us to the thorny subject of Bruckner “editions.”
To touch on the matter as lightly as possible, the scholarly edition conducted by Zubin Mehta is by Leopold Nowak, published in 1955 and based on Bruckner’s 1890 version. Vienna, where Bruckner had lived, embattled, often
scorned, was the scene of the Eighth Symphony’s premiere the week before Christmas, 1892. The conductor was yet another eminent Wagnerian, Hans Richter; the orchestra was the Vienna Philharmonic, playing in the Musikverein, its home to this day. The Eighth, like its predecessor, was a success. Portions of the music even won a kind of grudging approval from the waspish critic Eduard Hanslick. “A stormy ovation,” Hanslick wrote, “waving of handkerchiefs from the standees, innumerable recalls, laurel wreaths.
For Bruckner, the concert was certainly a triumph. Whether Richter performed a similar favor for his audience is doubtful. The program seems to have been presented only for the sake of a noisy minority.”
The composer Hugo Wolf, on the other hand, wearing his critic’s hat and writing in the fashionable Wiener Salonblatt, called it “the creation of a giant, surpassing in spiritual dimension and magnitude all the other symphonies of the master.”
If the Eighth is Wagnerian in its sonority, its architecture is derived from Beethoven—most notably his Ninth Symphony. Bruckner’s symphony, like Beethoven’s, begins with a murmurous, misty “background,” out of which
emerges a vast construct, with three major thematic subjects. The principal theme is based on two rhythmic motifs, the first dotted (a sort of motto, heard throughout the symphony), the second among the composer’s most frequently employed figures, two quarter notes followed by a triplet. There’s a gorgeously arching second theme, in G, then a third, in E-flat minor, whose billowing crescendos take the exposition to its climax. The development is remarkably compact.
Wolf regarded this opening movement as “simply shattering, destroying every attempt at criticism.” One should nonetheless point out, among many memorable moments, the grand climax of the recapitulation, with trumpets and horns thundering out the dotted rhythm of the main theme 10 times, an episode Bruckner referred to as “the announcement of death,” followed by a tense silence and three pianissimo timpani rolls.
The Scherzo, a ferocious, menacing dance, is placed second, a practice initiated by Beethoven in his Ninth Symphony. It is predicated on a repeated five-note figure (C, E-flat, F, G, G) that pounds itself into the brain, as Bruckner scholar Robert Simpson
noted in his The Essence of Bruckner, like “the constant thud of a colossal celestial engine beyond even Milton’s imagining.”
The vast Adagio is Bruckner’s crowning achievement (he thought so himself)—whose design, rather than its harmonies or thematic content, resembles the third movement in Beethoven’s Ninth. The opening material, which
couldn’t have been written without the precedent of the “Liebesnacht” from Wagner’s Tristan und Isolde, is contrasted by a heart-rending theme announced by the cellos.
The fourth movement is music of intense cumulative energy that, to quote Simpson again, “is the greatest specimen of Bruckner’s new kind of finale.… The best way to appreciate its grandeur…
is to imagine some great architect wandering in and about his own cathedral, sometimes stirred and exhilarated, sometimes stock-still in rapt thought.” The coda, in blazing C major, reviews the opening themes of all four movements, while summoning up visions of Wagner’s finale of Das Rheingold: the gods crossing a rainbow bridge to Valhalla. —Herbert Glass
ZUBIN MEHTA
Zubin Mehta was born in 1936 in Bombay and received his earliest musical education under the guidance of his father, Mehli Mehta, who was a noted concert violinist and the founder of the Bombay Symphony Orchestra. After a short period of premedical studies in Bombay, in 1954 Mehta left for Vienna, where he eventually entered the conducting program under Hans Swarowsky at the Akademie für Musik. He won the Liverpool International Conducting Competition in 1958 and was also a prize winner at the summer academy at Tanglewood. By 1961, he had already conducted the Vienna, Berlin, and Israel philharmonic orchestras, and he continues more than 60 years of musical collaboration with all three ensembles.
Mehta was Music Director of the Montreal Symphony Orchestra from 1961 to 1967 and also assumed the music directorship of the Los Angeles Philharmonic
in 1962, a post he retained until 1978. In October 2019, he celebrated his farewell with the Israel Philharmonic Orchestra, which he had served for 50 years. On that occasion, he was named Music Director Emeritus of the IPO. In 1978, he took over the post of Music Director of the New York Philharmonic, beginning a tenure that would last 13 years, the longest in the orchestra’s history. From 1985 to 2017, he was chief conductor of the Orchestra del Maggio Musicale Fiorentino in Florence.
Mehta’s list of awards and honors is extensive and includes the “Nikisch-Ring” bequeathed to him by Karl Böhm. He is an honorary citizen of both Florence and Tel Aviv and was made an honorary member of the Vienna State Opera in 1997, of the Bavarian State Opera in 2006, and of the Gesellschaft der Musikfreunde Wien in 2007. The title of Honorary Conductor was bestowed on him by the Vienna Philharmonic Orchestra (2001), Munich Philharmonic Orchestra (2004), Los Angeles Philharmonic (2006), Teatro del Maggio Musicale Fiorentino (2006), Staatskapelle Berlin (2014), and Bavarian State Orchestra (2006), with which Mehta performed in Srinagar, Kashmir, in September 2013. In 2016, the Teatro di San Carlo in Naples appointed him Honorary Music Director, and in 2019 the Israel Philharmonic and the Los Angeles Philharmonic
named him Conductor Emeritus. In February 2019, the Berlin Philharmonic named him its Honorary Conductor. A particular honor was bestowed on him in 2022, when the new concert hall of the Teatro del Maggio Musicale in Florence was named after him.
In 2008, Mehta was honored by the Japanese imperial family with the Praemium Imperiale. In 2011, Mehta received a star on the Hollywood Walk of Fame. The Commander’s Cross of the Order of Merit of the Federal Republic of Germany was bestowed on him in 2012. The Indian government honored him in 2013 with the Tagore Award for Cultural Harmony. The Australian government named him Honorary Companion of the Order of Australia in 2022.
Zubin Mehta continues to support the discovery and furtherance of musical talents all over the world. Together with his brother Zarin, he is co-chairman of the Mehli Mehta Music Foundation in Bombay, where more than 200 children are educated in Western classical music. The Buchmann-Mehta School of Music in Tel Aviv develops young talent in Israel and is closely related to the Israel Philharmonic Orchestra, as is a new project of teaching young Arab Israelis in the cities of Shfaram and Nazareth with local teachers and members of the Israel Philharmonic Orchestra.
Christian QUIÑONES Pasemisí, Pasemisá (c. 9 minutes)
Nathalie JOACHIM I’m Right Here (c. 9 minutes)
Tania LEÓN Toque (c. 8 minutes)
Angélica NEGRÓN Arquitecta (c. 10 minutes)
Text by Amanda Lido Pimienta
HERNÁNDEZ
INTERMISSION
Amanda Recovecos (c. 3 minutes) (world premiere)
HERNÁNDEZ Amanda Hernández
Angélica Negrón
Juan Andrés Fragmentos (c. 6 minutes)
VERGARA
Darian Donovan Volver, Volver (c. 8 minutes)
THOMAS (world premiere arrangement)
Darian Donovan Thomas
Lido PIMIENTA Corazón (c. 10 minutes) (world premiere, Arranged by LA Phil commission)
Owen PALLETT Lido Pimienta
Darian Donovan Thomas
Programs and artists subject to change.
TUESDAY NOVEMBER 11, 2025 8PM
This performance is generously supported in part by the Kohl Virtuoso Violin Fund
SOUNDING THE SPACE OF UN/BELONGING
By Emmanuel Ortega
From the first notes, we are thrust into an oscillating space. Here tensions of belonging transform static notions of being into dynamic sonic waves. It is a volatile yet generative terrain of creativity—difficult to grasp fully at first, but rich with the emotions of an ever-fluctuating existence. The concept of recovecos—nooks or hidden corners—captures this idea: an uninhabitable place, yet a kind of home that resists the borders of the domestic sphere while simultaneously thriving within its comforts. Curated by Puerto Rican composer Angélica Negrón and conducted by Raquel Acevedo Klein, tonight’s program flourishes within this expanded sense of the “domestic.” As scholar Amy Kaplan observes, the domestic “not only links the familial household to the nation but also imagines both in opposition to everything outside the geographic border of the home.” The recovecos presented here are situated within this tension, shaped both by nostalgia and memory for the formative, familial home—where the commands of empire are first learned and absorbed— and by the uncertainty of an unbounded external space, where creativity escapes
such limitations, redefining the meaning of belonging. These diverse voices reflect what I have called Un/Belonging elsewhere: “a positionality for creative conception that challenges and deconstructs conventional notions of belonging within the context of empire and colonization… an unsettling place outside static fantasies of the border.” As such, the music— an ontological impulse to define what it means to exist beyond imposed boundaries—emerges from this recoveco. Whether confronting the borders of the classical music world or the constraints faced by diasporic creative communities, these pieces exemplify ongoing efforts to create outside domestic limitations.
Cuban composer Tania León’s Toque (2006) effortlessly expresses the spirit of this ambiguous yet complex positionality. Toque refers to a gathering centered on music and dance, where the polyrhythmic influences celebrate Afro-Cuban Santería. In its second part, the piece draws from Almendra (Fernando Z. Maldonado, 1938), a seminal danzón—a type of ballroom dance that emerged in 19th-century Cuba by blending European and Afro-Caribbean music. Through León’s syncopation and deconstructed jazz
elements, the work expands on the experimental spirit inherent in the Caribbean innovation of danzónes. The Pulitzer Prize winner’s piece evokes a sense of place whose meaning is found not only in identifying its multivalent sources but also in its evocations—a musical multiplicity that disrupts the static conceptions of place by way of highlighting the intricate processes of Cuban musical history.
Similarly, Darian Donovan Thomas’ reimagining of Volver, Volver (Maldonado, 1972)—an iconic Mexican ranchera that voices the longing of returning to the arms of one’s beloved—takes on new meanings here. Beyond referencing emotional yearning, its subtle yet affecting instrumentation, electronic arrangements, and poignant vocal delivery invite us to imagine a different kind of return, one where the sentimentality of belonging is freed from nationalistic constraints and transformed into an infinite, cosmic, and ongoing exploration of identity.
Pasemisí, Pasemisá (2021), composed by Puerto Rican musician Christian Quiñones, embodies the very strains of Un/ Belonging. The title, drawn from a phrase used in a Puerto Rican children’s game, underscores the piece’s playful yet complex foundation. Much of its
driving rhythm is generated through what Quiñones calls “body percussion.” The strings and corporeal sonic textures blend in an intentional strain that adds nuance to the complicated nature of childhood, a set of adult fantasies imposed on children that can be counterbalanced only by the freedom of play. The evocative sounds of strings amplify the stomping, clapping, and thumping of the bodies onstage. This demanding and seemingly ludic coordination seeks to displace the need to belong into a question of upbringing, both within the freedom of childhood’s innocence and the cultural restraints of place. As expressed by Quiñones, Pasemisí, Pasemisá grooves to create a space by quoting an intricate rhythmic tapestry that breaks the patterns of nostalgia into a sense of sadness; a push and pull between past and present and everything lost in between.
This place of Un/Belonging is not limited to the dichotomy of the domestic. In the works of Nathalie Joachim and Juan Andrés Vergara, it evokes a different kind of battle—one where authenticity wavers between inner struggles and external expectations. Joachim’s I’m Right Here (2023), for example, traces the highs and lows of a carved path toward sincerity. Its gentle
opening returns at the end, but only after carrying the listener through a dynamic ostinato that elevates the force of this inner conflict to unexpected heights. In her words: “Fighting to be seen for who you genuinely are versus who the world imagines you to be can be a painful and unsettling process, particularly when you’ve been culturally conditioned to hide in plain sight.” Her struggle, then, lies not only in societal constraints of belonging but also in an inward reckoning with expectations, triumphs, and desires refracted through the external forces of existence.
In a similar vein, Vergara’s Fragmentos (2014) channels the ongoing internal dialogue of belonging into a joyous string piece that unearths beauty from chaos—a reflection of his life in a Latin American metropolis, Mexico City, where survival often depends on uncovering splendor within daily cacophony. In some ways, the tensions expressed throughout this program find resolution in Vergara’s melodious yet passionately asynchronous orchestration. Colombian musician, composer, and singer Lido Pimienta has long navigated the ambiguous space shaped by expectations of belonging. Her projects continually evolve in search of new recovecos that in many ways culminate in
tonight’s world premiere of Corazón. Throughout her career, Pimienta has asserted a distinct musical positionality, one that increasingly embraces orchestration as a way to frame her central questions. Like all the compositions performed this evening, Pimienta’s music rejects sentimental nationalism and reductive identity politics, instead pursuing an intersectional vision that reverberates through the soft yet determined final notes of Corazón. Always creating from a place of Un/ Belonging, her work strives toward a sense of grounding that resonates in tonight’s piece perhaps more deeply than ever before.
Arquitecta (2023) also evokes a different kind of belonging—one in which the words of Puerto Rican poet Amanda Hernández, the voice of Lido Pimienta, and the music of Angélica Negrón honor the domestic realm. Here, the traditionally female space is reimagined as a carefully constructed site of resistance, where the ordinary becomes both a lesson in endurance and a blueprint for survival beyond the comfort of its walls. This recoveco takes shape through un/ traditional instruments, such as mounted calderos saucepans typically used for everyday cooking.
Echoing Arquitecta ’s spirit of experimentation,
Hernández debuts a poem titled Recovecos that gathers verses she wrote over the past 10 years, reconfiguring memory into episodes of nostalgia to reflect on a life devoted to poetry in Puerto Rico. The fragmentary nature of this poetic exercise will be reconstituted through the organic sounds of tropical fruits, sonically activated by Negrón. Together, they compose a singular form of tropical still life that, rather than simply acknowledging
the inevitable passage of time, draws energy from each word and fruit to remind listeners of the life forces embedded within this tableau vivant
The transformation of utilitarian tools and fruits into sonic instruments becomes a metaphor for Negrón’s work as both composer and curator of this program. She bridges the domestic sounds of her hometown to the sphere of classical music, not to elevate the quotidian into
the artistic, but to affirm that the sounds with which she grew up already hold their own place. They inhabit a recoveco that belongs on this stage while standing apart, reminding us of the possibilities born from connecting such seemingly disparate worlds.
Emmanuel Ortega is the Marilynn Thoma Scholar and Assistant Professor in Art of the Spanish Americas at the University of Illinois at Chicago.
To learn more about the pieces on tonight’s program, please visit:
RAQUEL ACEVEDO KLEIN
The Washington Post describes conductor, vocalist, composer, and instrumentalist Raquel Acevedo Klein as a “force to be reckoned with.” She recently served as Music Director for Justin Peck’s Tony Award–winning Broadway musical Illinoise Klein sings in the Grammy
Award–winning vocal band Roomful of Teeth. Her conducting credits include the New York Philharmonic, New Jersey Symphony, Attacca Quartet, Sō Percussion, and Beth Morrison Projects. She has premiered works by John Adams, Philip Glass, Steve Reich, David Lang, Nico Muhly, Sarah Kirkland Snider, Missy Mazzoli, Bryce Dessner, and Gabriela Ortiz. She has been commissioned by Opera Philadelphia, Little Island, and Caramoor and has premiered her original works at Lincoln Center, WQXR, SXSW, and The Shed. Her frequent collaborators include Caroline Shaw, Angélica Negrón, Claire
Chase, and Arcade Fire’s Richard Reed Parry.
Vocal performance and recording highlights include working with Anthony Roth Costanzo, Alicia Keys, Bon Iver, Sufjan Stevens, John Legend, The Knights, and the Boston Symphony Orchestra.
Klein has performed at Carnegie Hall, Radio City Music Hall, Town Hall, Park Avenue Armory, and The Tonight Show Starring Jimmy Fallon. Her dynamic compositions and electric performances have captured the attention of The New York Times, The New Yorker, and the Los Angeles Times. Klein was born and raised in Brooklyn in a Puerto Rican and Colombian family of visual artists.
ANGÉLICA NEGRÓN
Angélica Negrón is a Puerto Rican–born composer and multi-instrumentalist. She writes music for voices, orchestras, ensembles, and film as well as robots, toys, and plants. Negrón is known for playing with the unexpected intersection of classical and electronic music, unusual instruments, and found sounds.
Premieres during the 2025/26 season include a cello concerto to be performed by Yo-Yo Ma
and the Los Angeles Philharmonic, conducted by Gustavo Dudamel, and a requiem for the Dallas Symphony Orchestra. Recent commissions include works for Opera Philadelphia (a drag opera film in collaboration with Matthew Placek and Sasha Velour), the New York Philharmonic, the Seattle Symphony, the Danish National Symphony Orchestra, the New York Botanical Garden, Kronos Quartet, Roomful of Teeth, and her Carnegie Hall debut, commissioned and performed by Sō Percussion. As a guest curator for the Los Angeles Philharmonic’s Green Umbrella series, under the creative direction of John Adams, Negrón brings together collaborators Lido Pimienta, Darian Donovan Thomas, and Raquel Acevedo Klein, and she continues to
develop a multidisciplinary work as a Lincoln Center Collider Fellow. As the recipient of the 2022 Hermitage Greenfield Prize, Negrón composed a work synchronized to the setting sun for ensembleNewSRQ.
Negrón’s original scores include the HBO docuseries Menudo: Forever Young and the documentary You Were My First Boyfriend by filmmaker Cecilia Aldarondo. Negrón regularly performs solo shows and is a founding member of the tropical electronic band Balún. She has been a teaching artist with the New York Philharmonic’s Very Young Composers program and with Lincoln Center Education.
Negrón lives in Brooklyn, where she’s always looking for ways to incorporate her love of drag, comedy, and the natural world into her work.
LIDO PIMIENTA
Lido Pimienta is a multidisciplinary visual artist, art critic, and curator. She is a composer and musical producer of Afro-Indigenous (Wayuu) ancestry from Colombia. Pimienta lives in Toronto and has been performing live and exhibiting her work worldwide since 2010. She was the first female of color ever to compose an original score for the New York City Ballet Orchestra and is also the first-ever Black and Indigenous woman to have debuted as a TV host, writer, and creator of a network show in Canada, LIDO TV, a variety show that explores themes including feminism, colonialism, and success with a hilarious twist and the help of puppets. Pimienta’s music and visual work navigate politics of gender, race, motherhood, and the construct of the Canadian landscape in the South American diaspora and vernacular.
DARIAN DONOVAN THOMAS
Darian Donovan Thomas is an interdisciplinary artist based in Brooklyn. He tours the world with Arooj Aftab, Balún, Wild Up, and Moses Sumney and as a solo artist. His classical compositions have been premiered by Ensemble Signal, Sō Percussion, Adam Tendler, and many others in countries around the global West. Thomas is also a ferociously gay Blaxican from Texas. Being at the intersection of so many identities means having the opportunity to speak to and create for multiple people at once. His goal is to create spaces where everyone feels heard, acknowledged, and communicated to. To remind people—even if for just a moment—that they’re alive right now and present in this moment.
AMANDA HERNÁNDEZ
Amanda Hernández is a poet, editor, and independent Puerto Rican artist. She studied literature and cultural management and is the codirector of the small-scale risograph printing poetry press La Impresora, founded in 2016 and situated in the west coast town of Isabela, PR. Most of her poetry work has been self-published, including titles such as Entre tanto amarillo (2016), Estrategias atómicas (2018), and La distancia es un lugar (2020). In 2021, she received an inaugural Letras Boricuas Fellowship, awarded by the Mellon Foundation for her work as a Puerto Rican poet. In 2023, her first book was translated into English and published in a bilingual edition titled Yellow Struck (2023, Editorial Pulpo). Her artistic practice is centered on writing, editing, and publishing contemporary poetry, handmade bookbinding techniques, and making editorial accompaniment and publishing opportunities accessible for emergent Puerto Rican writers and artists.
Mozart, Ravel & Pintscher
Los Angeles Philharmonic
Matthias Pintscher, conductor
Emanuel Ax, piano
RAVEL
Mother Goose Suite (c. 16 minutes) Pavane of the Sleeping Beauty Tom Thumb
Laideronnette, Empress of the Pagodas Conversations of Beauty and the Beast
The Fairy Garden
Matthias neharot (c. 21 minutes) (LA Phil commission) PINTSCHER
INTERMISSION
MOZART Piano Concerto No. 25 in C major, K. 503 (c. 30 minutes)
Allegro maestoso Andante Allegretto Emanuel Ax
RAVEL La valse (c. 13 minutes)
Programs and artists subject to change.
THURSDAY
NOVEMBER 13, 2025 8PM
FRIDAY
NOVEMBER 14 11AM
SUNDAY
NOVEMBER 16 2PM
Concerts in the Thursday 2 subscription series are generously supported by The Otis Booth Foundation
AT A GLANCE
This year marks the 150th anniversary of Maurice Ravel’s birth, and two of his masterpieces bookend this concert. Stravinsky once called Ravel “the most perfect of Swiss clockmakers” for the exquisite meticulousness of his scores. But conductorcomposer Matthias Pintscher points to the emotive and nostalgic qualities of his works: the enchanting Mother Goose Suite, which miraculously balances childlike wonder with sophisticated orchestration; and the dizzying La valse, one of the most harrowing and apt
depictions of the end of the imperial age. In between, Pintscher leads the first Los Angeles Philharmonic performances of his neharot, which he describes as “a tombeau, a requiem, a kaddish—for all the people we have lost in this unprecedented time.” Afterward, Emanuel Ax joins the conductor and orchestra for Mozart’s elegantly expressive Piano Concerto No. 25, showing the composer charting a path from the logical Classical age toward impassioned Romanticism. —Amanda Angel
First LA Phil performance: March 6, 1927, Walter Henry Rothwell conducting
Whether to the nevernever lands of the East (Shéhérazade), the cool beauty of Classical Greece ( Daphnis et Chloé), or the innocent world of
childhood as expressed in the works of 17th-century fairy-tale collector and writer Charles Perrault and his contemporaries (Tales of Mother Goose), Ravel was the ultimate musical escapist. The children—unlike the lands of his imaginings—were often real, he was comfortable with them, and they adored him in turn. This side of his nature is shown in the set of piano duets, Ma mère l’Oye, that he wrote in 1908 for young Mimi and Jean Godebski, whose parents, Ida and Cyprian (“Cipa”) Godebski, were among the few close friends the composer ever had.
Mimi would later write: “Ravel used to tell me marvelous stories. I would sit on his knee and he would begin, ‘Once upon a time...’
And it was Laideronnette, Beauty and the Beast, and the adventures of a poor mouse that he had made up for me. It was [at the Godebskis’ country home] that Ravel finished and presented us with Ma mère l’Oye. But neither my brother nor I were of an age to appreciate such a dedication and we regarded it rather as something that involved hard work.”
The piano duets were instead performed by two other children of the composer’s acquaintance, Jeanne Leleu and Geneviève Durony, in April 1910. In 1912 Ravel orchestrated the duets for a ballet, changing their order and adding numbers and transitions. He later adapted this into a concert suite, following the original piano-duet order:
Pavane of the Sleeping Beauty (Pavane de la Belle aus bois dormant) finds a princess who has been asleep for a hundred years, indicated by Ravel’s evocation of the long-ago through the use of an old Aeolian church mode and distantly tinkling chimes.
Tom Thumb (Petit Poucet) is headed by a quotation from Perrault’s story: “He believed he would have no difficulty finding his way by means of the bread crumbs he had strewn everywhere he had passed; but he was greatly surprised when he could not find a single crumb; the birds had come and eaten them all.” The character of Tom Thumb, and his winding path, are depicted by a solo oboe, with the chirping of the birds heard midway through.
Laideronnette, Empress of the Pagodas (Laideronnette, Impératrice des pagodes) derives its flavor from the use of the pentatonic scale. The story, by Perrault’s contemporary the Countess d’Aulnoy, tells of an “Ugly Little Girl,” under an enchantment by an evil witch, and a green
serpent, once a handsome prince, who voyage to a country inhabited by the Pagodas, tiny beings whose bodies are made of jewels and porcelain. The Ugly Little Girl and the Green Serpent are eventually restored to their original— beautiful—forms and, of course, marry. The specific scene that Ravel describes reads: “She undressed and went into the bath. The Pagodas began to sing and play...some had theorbos [stringed instruments] made of walnut shells, some violas made of almond shells, for they were obliged to proportion their instruments to their figure.”
Conversations of Beauty and the Beast (Les entretiens de la Belle et de la bête) is in the form of a languorous waltz during which Beauty tells the Beast that his kindheartedness makes him no longer ugly.
The Fairy Garden (Le jardin féerique), the enchanting finale, in which Sleeping Beauty is awakened by Prince Charming, ends the score in a gorgeously sonorous wash of piano, harp, and celesta glissandos. —Herbert Glass
Before spring 2020, the notion of an empty New York City could only have been considered science-fiction fantasy. But as a mysterious, highly transmissible virus began sowing its seeds across the United States, the city’s streets, usually flooded with people and bumper-tobumper traffic, were hollowed out, its residents surrounded by an unsettling sea of silence punctuated only by the shrieks of ambulance sirens.
How to avoid infection and how best to care for those suffering the virus’ violent attack were riddles lacking solutions. Isolation ran rampant as social distancing and lockdown orders forced everyone inside. And as time went by and more families faced the reality of newly empty chairs at their dinner tables, an emotional crisis took root: How do we mourn the deaths of loved ones when houses of worship are shuttered and the simple act of gathering together could prove fatal?
In that atmosphere of fear and loss, Matthias Pintscher composed the orchestral poem neharot from his home in Manhattan’s Chelsea neighborhood. For Pintscher, the act of composing served as refuge—a safe space to process the distress that characterized the pandemic’s early days.
“There are no tears when you’re writing,” the German composer-conductor said in a 2017 interview. “Before or after, maybe, but not during. You’re searching.”
Pintscher would ultimately leverage that stoic, exploratory approach to composition to create a musical channel for expressing communal grief. In his own words, neharot evokes “a clear echo of the devastation and fear, but
also the hope for light, that so emotionally characterized this time in our lives,” its journey from grief to a place of hope and renewal serving as “a tombeau, a requiem, a kaddish for all the people we have lost.”
Just as the Hebrew term neharot carries two meanings—“tears” and “rivers”—Pintscher’s piece provides dual pathways for experiencing this music. In the former sense, we’re offered a canvas on which we can project our individual sorrows, the many tears shed as we processed overwhelming loss and upheaval. And in the latter sense, neharot invites us to turn to history for hope—specifically the story of Chartres Cathedral in northwestern France.
A site of communion and congregation built atop the convergence of seven rivers, the cathedral has repeatedly been destroyed by fire and acts of war throughout its nearly 900-year history. And each time it was rebuilt as a symbol of resilience. “I see the image of a river as something eternal, the water always flowing,” Pintscher shared in an interview leading up to this weekend’s LA Phil performances of the work. “We come and go, the world falls apart and is patched together, but the
water is always there as a symbol for eternity.”
Pintscher weaves those threads of dark and light, destruction and resurrection throughout neharot
Following a violent opening fanfare, we begin to make out the ghostly soundscape that permeates the work: echoes of labored breathing in winds and brass, plucked strings that pulse like unstable heartbeats, and sustained, shadowy gestures that ebb and flow in the depths of the orchestra. From that slow-moving swell of sound, individual voices emerge like beacons of light on a distant horizon. Solo passages for horn and oboe provide moments of solace in between the roar of the work’s seething climaxes, while a lone trumpet delivers its profound song of sorrow, a melody of heartache and grief delivered, in Pintscher’s words, “in the style of the mourner’s kaddish.” As the orchestral textures dissolve in the work’s closing moments, an eerie lament arises in the quiver of a solo thunderbolt—marked “distant, very expressive, in ecstasy” in the score— silenced by a final cry of anguish, jolting us out of our temporary reverie and back into sober reality.
—Michael Cirigliano II
COMPOSER’S NOTE
“Neharot” means rivers in Hebrew, but also tears. It also describes the tears of lamentation. This music was written during the worst time of many daily deaths in spring 2020 and is a clear echo of the devastation and fear, but also of the hope for light, that so emotionally characterized this time of our lives. Since the music evokes the river as a sonic phenomenon, it is also inspired by the mysteries of Chartres Cathedral, where several rivers cross exactly under the place where Chartres was built (and rebuilt after it was burned down, totally destroyed by fate and resurrected...thus a symbol for the emotional content of the music). I wanted to paint long arcs of sound with the music— whereby the two harps are used extensively as the source of the sound spectrum of the dark sound world of neharot The piece is a tombeau, a requiem, a kaddish—for all the people we have lost in this unprecedented time.
—Matthias Pintscher
PIANO CONCERTO NO. 25 IN C MAJOR, K. 503
Wolfgang Amadeus Mozart (1756–91)
Composed: 1786
Orchestration: flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano
First LA Phil performance: November 16, 1961, Walter Hendl conducting, with Leon Fleisher, soloist
The undisputable genius of Mozart has blessed us with a wealth of musical treasures, but very few other genres are so richly stocked as the piano concerto. Even if we begin the inventory with No. 9 and pass over No. 10 (which calls for two pianos), there are 17 mature examples in the Mozart catalog, matching or exceeding the storehouse of standard symphonies, quartets, sonatas, and operas by the Salzburgborn master.
The synthesis of symphonic style, solo display, and operatic characterization in these works makes them difficult to match as a realization of an idealized Classical work of art. Balancing beauty and nobility with the emotional range of expressive melodic contours that speak volumes without the need of text, these scores provide us with an unparalleled opportunity to experience the miracle of Mozart.
Among his piano concertos, No. 25 (the last of three such works in the key of C major) ranks high on the list for its sublime integration of the composer’s manifold gifts. The opening is marked maestoso, but qualities beyond mere majesty are soon apparent. The swings to the minor mode bring twinges of uncertainty and hesitation to the otherwise heroic scenario being depicted. Abundant use of wind instruments reminds us of Mozart’s amazing gift for orchestration, not just in the mercurial opening movement, but also throughout the concerto. Mozart left no cadenza for the first movement, which allows soloists to choose one by another performer or to perform their own.
Contrast is an essential element in Mozart’s arsenal, and the second movement provides ample demonstration. After the discursive and extended opening movement, the lyrical centerpiece of the concerto remains aloof and eloquent, an oasis of calm reflection in which the extreme registers of the piano are explored and exploited.
Echoing standard practice in opening movements, Mozart begins the finale with a full statement of themes by the orchestra. As usual in Mozart’s concerto finales, the ensuing scenario is disrupted by surprises along the way, and he supplies plenty of pomp to round off the work’s grand opening pages.
First LA Phil performance: October 10, 1924, Walter Henry Rothwell conducting La valse occupies a special place in Ravel’s output in that it contains a chilling social commentary, specifically the portrayal in its final pages of the frenzied death throes of 19th-century imperial society as symbolized by its dance obsession, the waltz. Ravel had planned the work as early as 1906 as an homage to Johann Strauss and at that time referred to it as “Wien” (Vienna). But 14
years and World War I came between its genesis and completion. Undoubtedly the catastrophic conflict greatly affected the character of the music, which may have been the reason Serge Diaghilev rejected the score after having commissioned it for his Ballets Russes. The change of title was an obvious necessity.
Ravel himself appended a descriptive note to the score, which reads: “At first the scene is limned by a kind of swirling mist through which one discerns, vaguely and intermittently, the waltzing couples. Little by little the vapors begin to disperse, and the illumination grows brighter, revealing an immense ballroom filled with dancers. The blaze of the chandeliers comes to full splendor. An Imperial Ballet about 1855.”
The mists are created first by muted cellos and basses playing tremolos; they are joined by higher strings, harp, and timpani. Out of this, a figure tries to take shape in bassoons, next in bass clarinet and clarinets,
then strings. Flutes and violins add their fragmented voices, until at last violas and bassoons emerge to make a defined melodic statement even through the continuing orchestral swirls, which now threaten to disperse. Finally the strings prevail and present the first theme in all its lush waltz glory. This is the signal for the dance to begin in earnest, and other melodies appear in profusion—e.g., a lilting one sung by an oboe, a buoyant one given by a trumpet, etc. Intriguing instrumental combinations vitalize the scene in a dazzling array of incomparable Ravelian orchestral colors. But this elegance is destined to be violated. The waltz becomes grotesquely distorted as rhythms and harmonies clash wildly and the orchestra begins a tumultuous eruption that proceeds in a chaotic instrumental orgy until, all energies spent, five crashing unisons in full orchestra bring the work to a shuddering close. —Orrin Howard
MATTHIAS PINTSCHER
Matthias Pintscher is Music Director of the Kansas City Symphony Orchestra, appointed in the 2024/25 season. The 2025/26 season marks his sixth as Creative Partner at the Cincinnati Symphony Orchestra. Pintscher recently concluded a successful decade-long tenure as Music Director of Ensemble Intercontemporain, the iconic Parisian contemporary ensemble founded by Pierre Boulez, during which he won the 2022 Polar Prize. Pintscher led the institution in the creation of dozens of world premieres by
cutting-edge composers from all over the world and took the ensemble on tours to Asia, North America, and throughout Europe to all the major festivals and concert halls. This season, highlights include the world premiere performances of his new opera Das kalte Herz, which he will conduct at Staatsoper Berlin and later at l’OpéraComique in a French reprise titled Nuit sans aube
As guest conductor, Pintscher makes debuts with the Oregon Symphony and Munich Philharmonic and returns to the Los Angeles Philharmonic, Philadelphia Orchestra, Barcelona Symphony, Orchestre Philharmonique de Radio France, NDR Elbphilharmonie Orchestra, Bavarian Radio Symphony Orchestra, and Boulez Ensemble. Recent highlights include tours with the Kansas City Symphony and the Chamber Orchestra of Europe, as well as debuts with the Oslo Philharmonic and the Spanish National Orchestra.
On the operatic stage, Pintscher has conducted several productions for the Berliner Staatsoper (Wagner’s Lohengrin and The Flying Dutchman and Beat Furrer’s Violetter Schnee), Wiener Staatsoper (Olga Neuwirth’s Orlando), and Théâtre du Châtelet in Paris.
Pintscher is known equally as one of today’s foremost composers. His works appear frequently on the programs of major symphony orchestras throughout the world. He was composer in residence at Junge Deutsche Philharmonie for the 2023/24 season, and in August 2021 he was the focus of the Suntory Hall Summer Festival—a weeklong celebration of his works with the Tokyo Symphony Orchestra as well as a residency by Ensemble Intercontemporain with symphonic and chamber music performances. Pintscher has been a professor at The Juilliard School since 2014 and is published by Boosey & Hawkes.
EMANUEL AX
Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Ax made his New York debut in the Young Concert Artists Series and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award presented by Young Concert Artists, followed four years later by the Avery Fisher Prize. In recognition of the 50th anniversary of his first appearance with the orchestra, Ax’s 2025/26 season began with The
Philadelphia Orchestra in Carnegie Hall. This fall also includes a tour to Asia that will take him to Tokyo, Seoul, and Hong Kong. Following its world premiere at Tanglewood in summer 2025, the concerto written for him by John Williams will have its Boston Symphony subscription debut in January, with the New York premiere one month later with the New York Philharmonic. As a guest artist he returns to orchestras in Dallas, St. Louis, Los Angeles, San Francisco, Pittsburgh, Charleston, Madison, Naples, and New Jersey. In recital he can be heard in Philadelphia, Baltimore, Santa Barbara, Des Moines, Cedar Falls, Schenectady, and Princeton. An extensive European tour will include concerts in Munich, Prague, Berlin, Rome, and Turin.
Ax has been a Sony Classical exclusive recording artist since 1987, and following the success of Brahms: The Piano Trios with Leonidas Kavakos and Yo-Yo Ma, the three
launched an ambitious, multiyear project to record all the Beethoven trios and symphonies arranged for trio, of which the first three discs have been released. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season Ax contributed to an International Emmy Award–winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).
Emanuel Ax is a member of the American Academy of Arts and Sciences and holds honorary Doctor of Music degrees from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.
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 corporatepartnerships@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 fill 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 (Youth Orchestra Los Angeles), which provides free after-school 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.
January 29-31, 2026 The Wallis
The Nutcracker 0
Don’t Miss LA’s Most Beloved Holiday Tradition!
Royce Hall at UCLA
Dec 12 - 14
Dolby Theatre with LAB Orchestra
Dec 19 - 28
2025/2026 Season
losangelesballet.org
Scan for tickets
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 July 31, 2025.
$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
Affiliates
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 Rich
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
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
Y & S Nazarian
Family Foundation
Nancy and Sidney Petersen
Rice Family Foundation
Robert Robinson
Katharine and Thomas Stoever
Sue Tsao
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
Tom and Janet Unterman
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
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
National Endowment for the Arts
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.
“THE
IMPACT OF A DONOR’S GIFT IS AMPLIFIED BY ITS ABILITY TO CHANGE THE CITY”
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 Company campus partners: Center Theatre Group, LA Master Chorale, LA Opera, and LA Philharmonic.
Lifting up the performing arts in Los Angeles is a unique opportunity that we can take on together. By making a gift through the Foundation, you can be a part of supporting inspirational new work that threads our community together through a vibrant, emotional connection to the performing arts.
In the spirit of Mrs. Chandler, the impact of a donor’s gift is amplified by its ability to change Los Angeles.
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
ANNUAL DONORS
The LA Phil is pleased to recognize and thank our generous donors. The following list includes donors who have contributed $3,500 or more to the LA Phil, including special event fundraisers (LA Phil Gala and Opening Night at the Hollywood Bowl) between August 1, 2024, and July 31, 2025.
$1,000,000 AND ABOVE
Anonymous (2)
$500,000 TO $999,999
Anne Akiko Meyers and Jason Subotky
Anonymous Ballmer GroupJennifer Miller Goff Music Center Foundation
$200,000 TO $499,999
Anonymous
Judith and Thomas L. Beckmen
Canon Insurance Service
Colburn Foundation
Michael J. Connell Foundation
Jane B. and Michael D. Eisner
Lisa Field
Robyn Field and Anthony O’Carroll
$100,000 TO $199,999
Anonymous (4)
Nancy and Leslie Abell
Mr. Gregory A. Adams
The Blue Ribbon Kawanna and Jay Brown
R. Martin Chavez Dunard Fund USA
Louise and Brad Edgerton/Edgerton Foundation
The Eisner Foundation
Estate of Joseph Garcia
Alexandra S. Glickman and Gayle Whittemore
$50,000 TO $99,999
Anonymous
Ms. Kate Angelo and Mr. Francois Mobasser
Mr. Joe Berchtold
David Bohnett
Foundation
Linda and Maynard Brittan
Andrea Chao-Kharma and Kenneth Kharma
Dan Clivner
Nancy and Donald de Brier
De Marchena-Huyke Foundation
The Walt Disney Company
Kathleen and Jerry L. Eberhardt
Dr. Paul and Patti Eisenberg
Mr. James Gleason
Ms. Susanne H. Goldstein
Lori Greene Gordon
Faye Greenberg and David Lawrence Harman Family Foundation
Yvonne Hessler
Mr. Philip Hettema
$25,000 TO $49,999
Anonymous (11)
The Herb Alpert Foundation
Dr. William Benbassat
Susan and Adam Berger
Samuel and Erin Biggs
Mr. and Mrs.
Norris J. Bishton, Jr.
Jill Black Zalben
Michele Brustin
Gail Buchalter and Warren Breslow
Thy Bui
Steven and Lori Bush
Business and Professional Committee
Ying Cai & Wann
S. Lee Foundation
Chevron Products Company
Esther S.M. Chui Chao & Andrea Chao-Kharma
Mr. Richard W. Colburn
Mr. and Mrs.
Robert Cook
Faith and Jonathan Cookler
Orna and David Delrahim
Mike Dreyer
Joseph Drown Foundation
East West Bank
Edison International
Marianna J. Fisher and David Fisher
Austin and Lauren Fite Foundation
Debra Frank
Drs. Jessie and Steven Galson
The Rosalinde and Arthur Gilbert Foundation
Gordon P. Getty
Ms. Erika J. Glazer
Max H. Gluck Foundation
The Hearthland Foundation
The Hillenburg Family
Tamara Golihew
GRoW @ Annenberg
The José Iturbi Foundation
Kaiser Permanente
Winnie Kho and Chris Testa
Alexa Hong and Derek Reeves
David Z. & Young O. Hong
Family Foundation
Barbara and Amos Hostetter
Monique and Jonathan Kagan
Mr. and Mrs.
Joshua R. Kaplan
Linda and Donald Kaplan
Terri and Michael Kaplan
W.M. Keck Foundation
Darioush and Shahpar Khaledi
Tylie Jones
Terri and Jerry M. Kohl
The Music Man Foundation
Mr. and Mrs.
Jason O’Leary
County of Los Angeles
Ms. Irene Mecchi
Michael and Lori Milken Family Foundation
John Mohme Foundation
Maureen and Stanley Moore
Delores M. Komar and Susan M. Wolford
Dr. Ralph A. Korpman
Mr. and Mrs. Keith Landenberger
Norman and Sadie
Lee Foundation
Los Angeles County Department of Arts and Culture
Roger Lustberg and Cheryl Petersen
Alfred E. Mann Charities
Linda May and Jack Suzar
Barbara and Buzz McCoy
M. David and Diane Paul
Barbara and Jay Rasulo
The Rauch Family Foundation
Rolex Watch USA, Inc.
Maria Seferian
Koni and Geoff Rich
Michael Ritz
The Rose Hills Foundation Rosenthal Family Foundation Snap Foundation
Mr. and Mrs. David Meline
Peninsula Committee
Ms. Linda L. Pierce
Sandy and Barry D. Pressman
James D. Rigler/Lloyd E. Rigler - Lawrence E. Deutsch Foundation
Richard and Diane Schirtzer
Audre Slater Foundation
Smidt Family Foundation Trust
Sony Pictures Entertainment, Inc.
Linda and David Shaheen
Jay and Deanie Stein Foundation Trust
Alyce de Roulet
Williamson
Margo and Irwin Winkler
Ellen and Arnold Zetcher
Marilyn and Eugene Stein
Ronald and Valerie Sugar
Cecilia Terasaki
Sue Tsao
David William Upham Foundation
Ellen Goldsmith-Vein and Jon Vein
Mr. Alex Weingarten
John and Marilyn Wells Family Foundation
Jenny Williams
Debra Wong Yang and John W. Spiegel
Francis Goelet
Charitable Lead Trusts
Ms. Susanne H. Goldstein
Kate Good
Liz and Peter Goulds
Marnie and Dan Gruen
Renée and Paul Haas
Vicken and Susan J. Haleblian
Sam Harris
Lynette Maria
Carlucci Hayde
Madeleine Heil and Sean Petersen
Donna and Walter Helm
Stephen D. Henry and Rudy M. Oclaray
Marion and Tod Hindin
Mr. Tyler Holcomb
Thomas Dubois Hormel Foundation
David and Michelle Horowitz
Ms. Teena Hostovich and Mr. Doug Martinet
Frank Hu and Vikki Sung
Jim and Joanne Hunter
Rif and Bridget Hutton
Mr. Gregory Jackson and Mrs. Lenora
Jackson
Robin and Gary Jacobs
Julia Kalmus and Abe Lillard
Paul Kester
Vicki King
Elizabeth Kolawa
Mrs. Grace E. Latt
David Lee
Ms. Agnes Lew
Simon and June Li
Charlene and Vinny Lingham
Live Nation-Hewitt Silva Concerts, LLC
Ms. Judith W. Locke
City of Los Angeles, Department of Cultural Affairs
Los Angeles Philharmonic Affiliates
The Seth MacFarlane Foundation
Mrs. Beverly C. Marksbury
Matt Construction Corporation
Ms. Kim McCarthy and Mr. Ben Cheng
Heidi and Steve McLean
Coco Miller
Ms. Christine Muller and Mr. John Swanson
Molly Munger and Stephen English
Deena and Edward Nahmias
Anthony and Olivia Neece
Mr. and Mrs. Randy Newman
Estate of Robert W. Olsen
Tye Ouzounian
Mr. Ralph Page and Patty Lesh
Ellen Pansky
Bruce and Aulana Peters
Dennis and Cindy Poulsen
Madeline and Bruce Ramer
Mr. Bennett Rosenthal
Ross Endowment Fund
Bill and Amy Roth
Pasadena Showcase House for the Arts
Don’t just watch— come and complete the experience.
CAP.UCLA.EDU
Featuring:
Join us for fearless and transformative theater, dance and music that unites and inspires.
> Bill T. Jones/Arnie Zane Company > Wild Up
> Sullivan Fortner Trio > Laurel Halo > Jlin
> d. Sabela grimes > Joy Guidry > asses.masses
> Third Coast Percussion and Salar Nader
JLIN
Photo by Jordan Munns
The Ruby Family
Katy and Michael S. Saei
Mr. Lee C. Samson
San Marino-Pasadena Philharmonic Committee
Ellen and Richard Sandler
Miguel Santana
Elizabeth and Justus Schlichting
Howard and Stephanie Sherwood
Ms. Pilar Simmons
John Sinnema and Laura Sinnema
$15,000 TO $24,999
Anonymous (2)
Mr. Robert J. Abernethy
Drew and Susan Adams
Honorable and Mrs. Richard Adler
Tichina Arnold
Ms. Michelle Ashford and Mr. Greg Walker
Mrs. Stella Balesh
Ms. Elizabeth Barbatelli
Karen Barragan
Joni and Miles Benickes
Robert and Joan Blackman Family Foundation
Mr. and Mrs.
Geoff C. Bland
Mr. Ronald H. Bloom
Tracey BoldemannTatkin and Stan Tatkin
The Otis Booth Foundation
Mr. and Mrs.
Wade Bourne
Campagna Family Trust
Mara and Joseph Carieri
Dominic Chan
Marlene Schall
Chavez, Ph.D
Sarah and Roger Chrisman
Larison Clark
Mr. and Mrs. V. Shannon Clyne
Cary Davidson and Andrew Ogilvie
Victoria Seaver Dean, Patrick Seaver, Carlton Seaver
Jennifer Diener and Eric Small
Malsi and Johnny Doyle
James and Andrea Drollinger
Van and Francine Durrer
Dr. and Mrs.
William M. Duxler
Michael Edelstein
Ms. Robin Eisenman and Mr. Maurice LaMarche
Geoff Emery
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
Lisa Fung
Beth Gertmenian
Mr. and Mrs. Ronald Gertz
Leslie and Cliff Gilbert-Lurie
Carrie and Rob Glicksteen
Greg and Etty Goetzman
$10,000 TO $14,999
Anonymous (5)
Ameriprise Financial
Debra and Benjamin Ansell
Ms. Lisette
Arsuaga and Mr. Gilbert Davila
Aversa Foundation
Judy and Leigh Bardugo
Stephanie Barron
Mr. Joseph A. Bartush
Catherine and Joseph Battaglia
Susan Baumgarten
Sondra Behrens
Mr. and Mrs.
Philip Bellomy
Mr. and Mrs.
Bill Benenson
Mark and Pat Benjamin
Suzette and Monroe Berkman
Melanie and Harold Snedcof
Randy and Susan Snyder
Jeremy and Luanne Stark
Eva and Marc Stern
Megan Watanabe and Hideya Terashima
Mr. Gregg Goldman and Mr. Anthony DeFrancesco
Goodman Family Foundation
Robert and Lori Goodman
Rob and Jan Graner
Mr. Bill Grubman
Laurie and Chris Harbert and Family
The Harding-Huth Family
Erin W. Hearst
Diane Henderson, M.D.
Jackson N. Henry
Stephen F. Hinchliffe
K. Hohman Family
Deedie and Tom Hudnut
International Committee of the LA Philharmonic Association
Mr. Gregory Jackson and Mrs. Lenora Jackson
Meredith Jackson and Jan Voboril
Meg and Bahram Jalali
Sharon and Alan Jones
Dr. William B. Jones
Robin and Craig Justice
Mr. Eugene Kapaloski
Tobe and Greg Karns
Rizwan and Hollee Kassim
Diann Kim
Mr. and Mrs. Elmar and Katrina Klotz
Larry and Lisa Kohorn
Naomi and Fred Kurata
Ms. Gail K. Bernstein
Helen and
Peter S. Bing
Kenneth Blakeley and Quentin O’Brien
Mitchell Bloom
Mr. and Mrs.
Hal Borthwick
Mr. and Mrs.
Steven Bristing
Oleg and Tatiana Butenko
Garrett Camp
Ms. Nancy Carson and Mr. Chris Tobin
Ms. Jessica Chen
Chien Family
Chivaroli and Associates, Tiffany and Christian Chivaroli
Dr. and Mrs.
Lawrence J. Cohen
Dr. James Thompson and Dr. Diane Birnbaumer
Michael Frazier
Thompson
Michael Tyler
Bob and
Michelle Valentine
Arthur E. Levine and Lauren B. Leichtman
Allyn and Jeffrey L. Levine
Saul Levine
Dr. Stuart Levine and Dr. Donna Richey
Karen and Clark Linstone
Anita Lorber
Bethany Lukitsch and Bart Nelson
The Mailman Foundation
Raulee Marcus
Mr. and Mrs.
Andrew W. Marlowe
Jonathan and Delia Matz
Dwayne and Eileen McKenzie
David and Margaret Mgrublian
Marcy Miller
Mrs. Judith S. Mishkin
Mr. John Monahan
Ms. Susan Morad at Worldwide Integrated Resources, Inc.
Mr. Brian R. Morrow
John Nagler
Ms. Kari Nakama
Mr. and Mrs.
Dan Napier
Mr. Jose Luis Nazar
NBC Universal
Shelby Notkin and Teresita Tinajero
Laura Owens
Melissa Papp-Green and Jeff Green
Andy S. Park
Gregory Pickert and Beth Price
Jay and Nadege Conger
Hillary and Weston Cookler
Alison Moore Cotter
Jessica and James Dabney
Lynette and Michael C. Davis
Rosette Delug
Nancy and Patrick Dennis
The Randee and Ken Devlin Foundation
Michael Dreyer
Sean Dugan and Joe Custer
Victoria Dummer and Brion Allen
Mr. Tommy Finkelstein and Mr. Dan Chang
Daniel and Maryann Fong
Jennifer and Dr. Ken Waltzer
Walter and Shirley Wang
Debra and John Warfel
Stasia and Michael Washington
Mr. Michael Fox
Ms. Kimberly Friedman
Dr. and Mrs.
David Fung
Roberta and Conrad Furlong
Dr. and Mrs.
Bruce Gainsley
Kiki Ramos Gindler and David Gindler
Tina Warsaw Gittelson
Sharon and Herb z”l Glaser
Harriett and Richard E. Gold
Carol Goldsmith
Mr. and Mrs.
Louis L. Gonda
Manuela Cerri Goren
Mr. and Mrs.
Daniel M. Gottlieb
Mr. and Mrs. Ken Gouw
Tricia and Richard Grey
Mindy and David Weiner
Alana L. Wray and Chase Thomas
Lynn and Roger Zino
Zolla Family Foundation
Nancy and Glenn Pittson
Cathleen and Scott Richland
Anne Rimer
John Peter Robinson and Denise Hudson
Mimi Rotter
Linda and Tony Rubin
Thomas Safran
The SahanDaywi Foundation
Ron and Melissa Sanders
Alexander and Mariette Sawchuk
Dena and Irv Schechter/The Hyman Levine
Family Foundation: L’DOR V’DOR
Evy and Fred Scholder Family
Howard and Linda Schwimmer
Samantha and Marc Sedaka
Mr. Murat Sehidoglu
Joan and Arnold Seidel
Neil Selman and Cynthia Chapman
Marc Seltzer and Christina Snyder
Mr. James J. Sepe
Julie and Bradley Shames
Mr. Steven Shapiro
Nina Shaw and Wallace Little
Jill and Neil Sheffield
Grady and Shelley Smith
Mr. and Mrs. Richard Sondheimer
Angelina and Mark Speare
Terry and Karey Spidell
Joseph and Suzanne Sposato
Stein Family FundJudie Stein
Zenia Stept and Lee Hutcherson
Katharine and Thomas Stoever
Tom Strickler
Akio Tagawa
Priscilla and Curtis S. Tamkin
Warren B. and Nancy L. Tucker
Elinor and Rubin Turner
Charles Edward
Uhlmann
Mr. and Mrs.
Leonard Unger
Tom and Janet Unterman
Arnold Urquidez and Martha Shen-Urquidez
Nancy Valentine
Noralisa Villarreal and John Matthew Trott
Frank Wagner and Lynn O’Hearn
Wagner
Warner Bros. Discovery
Sheila and Wally Weisman
Mr. and Mrs.
Steven White
Libby Wilson, M.D.
Karl and Dian Zeile
Kevork and Elizabeth Zoryan
Cindi Griffith
Beverly and Felix Grossman
Roberta L. Haft and Howard L. Rosoff
Ms. Marian L. Hall
Beth Fishbein
Hansen
Mr. and Mrs.
John R. Harbison
Mr. and Mrs. Irwin
Helford and Family
Betsydiane and Larry Hendrickson
Carol Henry
Mr. and Mrs. Enrique Hernandez, Jr.
Jessica and Elliot Hirsch
Liz Levitt Hirsch
Elizabeth Hirsh
Elizabeth Hofert-
Dailey Trust
Mr. Raymond W. Holdsworth
Joyce and Fredric Horowitz
Mr. Frank J. Intiso
Harry and Judy Isaacs
Kristi Jackson and William Newby
Elizabeth Bixby
Janeway Foundation
Doug and Minda Johnstone
Mr. and Mrs.
Steaven K. Jones, Jr.
Marilee and Fred Karlsen
Marty and Cari Kavinoky
Estate of Yates Keir
Mr. and Mrs.
Stephen Keller
Jay T. Kinn and Jules B. Vogel
Mr. and Mrs.
Kenneth N. Klee
Mr. and Mrs.
Scott Krivis
Nickie and Marc Kubasak
Hon. Ruth A. Kwan
Craig Kwiatkowski and Oren Rosenthal
Ellie and Mark Lainer
The Laufey Foundation
Mr. and Mrs.
Norman A. Levin
Randi Levine
Marie and Edward Lewis
Maria and Matthew Lichtenberg
Lynn Loeb
Milli M. Martinez and
Don Wilson
Vilma S. Martinez, Esq.
Leslie and Ray Mathiasen
Janis B. McEldowney
Cathy McMullen
Lisa and Willem Mesdag
Ms. Marlane Meyer
Marc and Jessica Mitchell
Wendy Stark Morrissey
Sheila Muller
Carrie Nery
Dick and Chris Newman / C & R Newman Family Foundation
Kenneth T. & Eileen L. Norris Foundation
$5,500 TO $9,999
Anonymous (11)
Mechelle and Joe Adams
Edgar Aleman
Bobken and Hasmik Amirian
Art and Pat Antin
Dr. Mehrdad Ariani
Ms. Judith A. Avery
Mr. Mustapha Baha
Dr. Richard Bardowell, M.D.
Mrs. Linda E. Barnes
Reed Baumgarten
Camilo Esteban Becdach
Ms. Nettie Becker
Logan Beitler
Maria and Bill Bell
Carlo Bernardino
Richard Birnholz
Thomas J. Blumenthal
Joan N. Borinstein
Greg Borrud
Mr. Ray Boucher
The Hon. Bob Bowers and Mrs.
Reveta Bowers
Mr. John Nuckols
Irene and Edward Ojdana
Steve and Gail Orens
Kim and P.F.
James Overton
Ana Paludi and Michael Lebovitz
Loren Pannier
Ms. Debra Pelton and Mr. Jon
Johannessen
Julie and Marc Platt
Debbie and Rick Powell
Mark Proksch and Amelie Gillette
Eduardo Repetto and Carla Figueroa
Risk Placement Services
Ernesto Rocco
Murphy and Ed Romano
and Family
Mr. Steven F. Roth
Ms. Rita Rothman
Mr. David Rudy
Jesse Russo and Alicia Hirsch
Mr. and Mrs.
Paul Rutter
Ann M. Ryder
Dr. and Mrs.
Heinrich Schelbert
Dr. Donald Seligman and Dr. Jon Zimmermann
Jane Semel
Ruth and
Mitchell Shapiro
The Sikand Foundation
Smart & Final Charitable Foundation
Jennifer Speers
Mr. and Mrs.
Mark Stern
Tammy E. Strome
Rose and Mark Sturza
Mr. and Mrs.
Mark G. Sullivan
Marcie Polier Swartz and David Swartz
Tamara L. Harris Foundation, Inc.
Mrs. Elayne Techentin
Christine Upton
Kathy Valentino
Valerie Vanaman
Vhernier USA LLC
Christopher V. Walker
Dr. and Mrs.
Hans Bozler
Faith Branvold
Ms. Marie Brazil
Lynne Brickner and Gerald Gallard
Drs. Maryam and Iman Brivanlou
Jennifer Broder and Soham Patel
Lupe Burson
Mary Lou Byrne and Gary W. Kearney
Lisa Calderon
CBS Entertainment
Mr. Jon C. Chambers
Dr. Kirk Y. Chang
Arthur and Katheryn Chinski
Dr. Stephanie Cho and Jacob Green
Mr. and Mrs.
Ronald Clements
Mr. and Mrs. Richard W. Cook
Mr. and Mrs.
Bruce Corwin
Lloyd Eric Cotsen
BANC WITH STRENGTH
Mrs. Nancy A. Cypert
Mr. James Davidson and Mr. Michael Nunez
Elizabeth and Kenneth M. Doran
Dody Dorn and Kevin Hughes
Julie and Stan Dorobek
Bob Ducsay and Marina Pires
de Souza
Bob and Dorothy Webb
Abby and Ray Weiss
Bryan D. Weissman and Jennifer Resnik
Doris Weitz and Alexander Williams
Estate of Ronald Wilkniss
Renae Williams Niles
Susan Winfield and Stephen Grynberg
Karen and Rick Wolfen
Edward and Terrilyn Zaelke
Mr. and Mrs. Howard Zelikow
Bobbi and Walter Zifkin
David Zuckerman and Ellie Kanner
Steven Duffy
Mr. and Mrs. Brack W. Duker
Anna Sanders Eigler
John B. Emerson and Kimberly Marteau Emerson
Janice Feldman, JANUS et cie
Laura Fox, M.D., and John Hofbauer, M.D.
The Franke Family Trust
CONTINUED ON PAGE 36
Lynn Franklin
Dr. and Mrs.
Robert Freilich
Linda and James Freund
Mrs. Diane Futterman
Ruchika Garga
Susan and Jaime Gesundheit
Gibson, Dunn & Crutcher
Dr. and Mrs.
Steven Goldberg
Jory Goldman
Mr. and Mrs.
Russell Goldsmith
Juan Carlos Gonzalez
Edith Gould
Lee Graff Foundation
Diane and Peter H. Gray
Mr. and Mrs.
Paul E. Griffin III
Mr. and Mrs.
Paul Guerin
Rod Hagenbuch
Mr. William Hair
Dwight Hare and Stephanie Bergsma
Drs. Susan Hammar and Rick Harrison
Jeff Hasler
Mr. Rex Heinke
and Judge
Margaret Nagle
Myrna and Uri Herscher Family Foundation
William Hewes
Arlene Hirschkowitz
David and Martha Ho
Linda Joyce Hodge
Janice and Laurence Hoffmann
Glenn Hogan
Rachel Hollis
Eugene and Katinka Holt
Douglas Honig
Jill Hopper
Dr. Louise Horvitz and Carrie Fishman
Dr. and Mrs.
Mel Hoshiko
Michael Insalago
James Jackoway
Libby and Arthur Jacobson
Mrs. Leonard Jaffe
Gordon M. Johnson and Barbara A. Schnell
Randi and Richard B. Jones
Mr. William Jordan
Meredith Jury
Hun and Jee Kang
Judith and Russell Kantor
Leigha Kemmett and Jacob Goldstein
Sharon Kerson
Daisietta Kim
Mr. Mark Kim and Ms. Jeehyun Lee
Remembering Lynn
Wheeler Kinikin
Alan S. Koenigsberg and John A. Dotto
Lee Kolodny
Dr. and Mrs.
Kihong Kwon
Lena and Mark Labowe
Mr. Richard W.
Labowe
Katherine Lance
Mr. and Mrs.
Jack D. Lantz
Joan and
Chris Larkin
Mr. George Lee
Mr. Randall Lee and Ms. Stella M. Jeong
Mr. Benjamin Lench
Lennox Foundation
Ms. Diana Longarzo
Kyle Lott
Mr. Joseph Lund and Mr.
James Kelley
Theresa Macellaro / The Macellaro
Law Firm
Kevin MacLellan and Brian Curran
Mona and Frank Mapel
Pam and Ron Mass
Mr. and Mrs. Thomas
E. McCarthy
Mr. and Mrs. William F. McDonald
Courtney McKeown
Lawry Meister
Carlos Melich
Mr. Robert Merz
Mr. and Mrs.
Dana Messina
Mr. Weston F. Milliken
Linda and Kenneth Millman
Mrs. Lillian Mueller
Craig and Lisa Murray
Ms. Yvonne Nam and Mr. David Sands
Mrs. Cynthia Nelson
Ms. Mary D. Nichols
Mr. Michael B. Nissman
Mr. and Mrs.
Charles R. Norman
Amelia and Joe Norris
Mr. Frank O’Dea
Cynthia Patton
Alyssa Phaneuf
Peggy Phillips
Lorena and R. Joseph Plascencia
Lyle and Lisi Poncher
Robert J. Posek, M.D.
James S. Pratty, M.D.
William “Mito” Rafert
Susan Erburu
Reardon and George D. Reardon
Hon. Ernest M. Robles
Maria Rodriguez and Victoria Bullock
Mr. and Mrs. William C. Roen
Peter and Marla Rosen
Bill Rowland
Andrew E. Rubin, and Roberta and Stanley Bogen
Dr. Michael Rudolph
Thomas C. Sadler and Dr. Eila C. Skinner
Dr. and Mrs.
Bernard Salick
Santa MonicaWestside Philharmonic Committee
Dr. Marlene M. Schultz and Philip M. Walent
Sue and Don Schuster
Michael Sedrak
Dr. and Mrs.
Hervey Segall
Laurie Selik
Mr. Chris Sheridan
Muriel and Neil Sherman
Pamela and Russ Shimizu
Lauren Shuler Donner
Mr. Adam Sidy
Loraine Sinskey
Mr. and Mrs.
Peter R. Skinner
Mr. Douglas H. Smith
Pamela J. Smith
Mr. and Mrs.
Michael G. Smooke
Adam Snyder
Dr. Michael Sopher and Dr.
Debra Vilinsky
Shondell and Ed Spiegel
William Spiller
Lael Stabler and Jerone English
Jennifer Taguchi
Mr. and Mrs.
Randall Tamura
Andrew Tapper and
Mary Ann Weyman
Mr. Stephen S. Taylor
Ms. Evangeline M. Thomson
Leonard Torres and Anita Brenner
Carol and Andrew Valdivia
Jack VanAken and Kathy Marsailes
Kathleen and Louis Victorino
Olga Vidueira
Jenny Vogel
Terry and Ann Marie Volk
Mr. Nate Walker
Lisa and Tim Wallender
Mr. Darryl Wash
J. Leslie Waxman
Jeffrey Westheimer
Ms. Jill Wickert
Mr. Robert E. Willett
David and Michele Wilson
Mr. Steve Winfield
Bill Wishner
Ms. Eileen Wong
Emiko Wong
Mr. and Mrs.
Richard Wynne
Kevin Yoder and Jeffrey Hall
Mr. Nabih Youssef
Classical
Colburn Orchestra
Carlos Miguel Prieto, conductor
Zi Yang Low, violin
Mert Yalniz, assistant conductor
Ray Chen, violin
Chelsea Wang , piano ONSTAGE CLASSICAL
Chicago Symphony Orchestra
Riccardo Muti, conductor
Academy of St Martin in the Fields
Joshua Bell, violin and music director
Mahler Chamber Orchestra
Yuja Wang , piano and director
Matthew Truscott , concertmaster and leader
Yuja Wang
Riccardo Muti
$3,500 TO $5,499
Anonymous (5)
Mr. Robert A.
Ahdoot
Ty Ahmad-Taylor
Ms. Rose Ahrens
Cary Albertsone
Adrienne S. Alpert
Lynne Alschuler
Edna R.S. Alvarez
Juliette Ambatzidis
Mr. Peter Anderson and Ms.
Valerie Goo
Mr. Robert C. Anderson
Lawrence Andrews
Dr. Philip Anthony
Victor and Iris Antola
Betsy and Harold E. Applebaum
Javi Arango
Sandra Aronberg, M.D.
Carlo and Amy Baghoomian
Tawney Bains and Zachary Roberts
Terence Balagia
Pamela and Jeffrey Balton
Howard Banchik
Clare Baren and David Dwiggins
Ken and Lisa Baronsky
Kay and Joe Baumbach
Mr. Richard Bayer
George and Karen Bayz
Newton and Rochelle Becker
Charitable Trust
Ellis N. Beesley, Jr., M.D.
Garrett Bell and Catherine Simms
Ms. Karen S. Bell and Mr. Robert Cox
Patricia Bellinger
Benjamin Family Foundation
Dr. and Mrs.
Gerald Berke
Mr. and Mrs.
Elliot S. Berkowitz
Mr. and Mrs. Gregg and Dara Bernstein
Mr. Alan N. Berro
Timothy Bigelow
Mr. and Mrs.
Dan Biles
Dr. Andrew C. Blaine and Dr. Leigh
Lindsey
Michael Blake
Mr. Larry Blivas and Ms. Julie Blivas
Ms. Judith Blumenthal
Leni I. Boorstin
Ms. Leslie Botnick
Michael Boucher and Ashley Coats
Jemelia Bowie
Anita and Joel Boxer
Mrs. William Brand and Ms. Carla B.
Breitner
Mr. Donald M.
Briggs and Mrs.
Deborah J. Briggs
Carrie Brillstein
Kevin Brockman and Dan Berendsen
Ronald Brot
Ryan and Michelle Brown
Dwight Buchanan
Diana Buckhantz
Ken Bunt
Cardinal Industrial
Susan Chait
Charities Aid Foundation of America
Adam Chase
Dr. Hai S. Chen
Mr. Louis Chertkow
Mr. and Mrs.
Joel T. Chitea
Ms. Barbara Cohn
Mr. and Mrs.
Michael Colby
In Honor of Judge
John L. Cole and Mrs. Peggy S. Cole
Susan and David Cole
Ms. Ina Coleman Committee of Professional Women
Mr. Michael
Corben and Ms. Linda Covette
Cox Family - Pernell, Keila, and Harper Q.
Dr. Carey Cullinane
Ms. Laurie Dahlerbruch
Mr. and Mrs.
Leo David
Mrs. Judi Davidson
Mr. Howard M. Davine
Gloria De Olarte
Ms. Mary Denove
Wanda Denson-Low and Ronald Low
Tim and Neda Disney
R. Stephen Doan and Donna E. Doan
Mr. Anthony
Dominici and Ms. Georgia Archer
Mr. Gregory C. Drapac
Ray Duncan and Lauren Crosby
Miguel Duran
Robert and
Betsy Eaton
Dr. David Eisenberg
Susan Entin
Bob Estrin
Lyn and Bruce Ferber
Dr. Walter Fierson and Dr. Carolyn Fierson
Michael Firestein and Deborah Krakow
A.B. Fischer
Mr. and Mrs.
Michael M. Flynn
Mrs. Diane Forester
Bruce Fortune and Elodie Keene
Alfred Fraijo Jr. and Arturo Becerra
Mr. and Mrs.
Michael Freeland
Ms. Alisa J. Freundlich
Friars Charitable
Foundation
Ian and Meredith Fried
Steven Friednam
Mr. and Mrs.
Alan M. Gasmer
Ms. Jane Gavens
Mr. and Mrs.
Harlan Gibbs
Jon M. Gibson
Jason Gilbert
Mr. and Mrs.
David A. Gill
Stephen and Renee Gingold
William and Phyllis Glantz
Madelyn and Bruce S. Glickfeld
Sheila Golden
Dr. Patricia Goldring
Elliot Gordon and
Carol Schwartz
Dr. Stuart and Adrienne Green
Mr. and Mrs.
Carl C. Gregory
Rita and William Griffin
Barrie Grobstein
Mr. Frank Gruber and Ms. Janet Levin
Mr. Gary M. Gugelchuk
Dr. and Mrs.
Charles Gustafson
Eric Gutshall and Felicia Davis
Judith and Robert D. Hall
Fred Hameetman
Mr. Robert T. Harkins
Mr. and Mrs.
Brian L. Harvey
Mr. and Mrs.
Lewis K. Hashimoto
Kaitlin and Jonathan Hawk
Byron and DeAnne Hayes
Mr. Donald V. Hayes
Peter and Nicolette Hebert
Gail and Murray E. Heltzer
Ms. Gail Herring
Jim Herzfeld
Mr. Bruce Heymont
The Hill Family
Dr. and Mrs. Hank Hilty
Matthew Hinks
Photo by Julieta Cervantes
Photo courtesy of the artist
CITY OF LOS ANGELES
Karen Bass
Hydee Feldstein Soto
City Attorney
Kenneth Mejia
CITY COUNCIL
Bob Blumenfield
Marqueece Harris-Dawson
President
Eunisses Hernandez
Heather Hutt
Ysabel J. Jurado
John Lee
Tim McOsker
Adrin Nazarian
Imelda Padilla
Traci Park
Curren D. Price, Jr.
Nithya Raman
Monica Rodriguez
Hugo Soto-Martínez
Katy Yaroslavsky
DEPARTMENT OF CULTURAL AFFAIRS
Daniel Tarica General Manager
CULTURAL AFFAIRS COMMISSION
Robert Vinson
Natasha Case
Thien Ho
Ray Jimenez
Asantewa Olatunji
Christina Tung
Tria Blu Wakpa
WALT DISNEY
CONCERT HALL HOUSE STAFF
Marcus Conroy
Master Electrician, Steward
Charles Miledi
Master Props
Sergio Quintanar
Master Carpenter
Kevin F. Wapner
Master Audio/Video
Fritz Hoelscher
In Hong
Douglas and Carolyn Honig
Jonathan Howard
Dr. Timothy Howard and Jerry Beale
Terry Huang
Hung Foundation
Mrs. Carole Innes
Jackie and Warren Jackson
Mr. Channing Johnson
Mr. Sean Johnson
Ratna Jones
Mr. Ken Kahan
Lawrence Kalantari
Catherine and Harry Kane
Karen and Don Karl
Mr. and Mrs. David S. Karton
Jonathan and Christine Kaunitz
Dr. and Mrs. David Kawanishi
Kayne, Anderson and Rudnick
Mary and Stephen Kayne
John Keith
Mr. and Mrs. Michael C. Kelley
Richard Kelton
Lauren King
Mr. and Mrs. Jon Kirchner
Brian and Molly Kirk
Phyllis H. Klein, M.D.
Michael and Patricia Klowden
Mr. and Mrs. Lyn Konheim
Sandra Krause and William Fitzgerald
Sharon and Joel Krischer
Brett Kroha and Ryan Bean
Mr. and Mrs. Howard A. Kroll
Carole and Norm La Caze
Tom Lallas and Sandy Milo
Thomas and Gloria Lang
James Laur and
Peter Kongkasem
Craig Lawson and Terry Peters
Rick Lax
Mr. Les Lazar
Ms. Leerae Leaver
Joey Lee
Mr. Robert Leevan
Dr. Bob Leibowitz
Mr. Stephen Leidner
Mr. and Mrs. Russ Lesser
Mr. Donald S. Levin
Mr. and Mrs. Edward B. Levine
Lydia and Charles Levy
David and Meghan Licata
David and Rebecca Lindberg
Ms. Elisabeth Lipsman
Mr. Greg Lipstone
Mr. and Mrs. Lewis Lipstone
Ms. Bonnie Lockrem and Mr. Steven Ravaglioli
Robert andSusan Long
Jasmine Lord
Los Angeles Philharmonic Committee
Kristine and David Losito
Mr. and Mrs. Boutie Lucas
Crystal and Elwood Lui
Jane and Bob Lurie
Dr. Jamshid Maddahi
Malibu Music
Mr. and Mrs. Ronald Manzani
Dorrie and Paul Markovits
Allan Marks and Dr. Mara Cohen
Mr. and Mrs. Stanley Maron
Samantha Grant Marsh
Paul Martin
Phillip and Stephanie Martineau
Stephen Martinez
Mr. Gary J. Matus
Dr. and Mrs. Gene Matzkin
Ms. Paula Meichtry
Michael and Jan Meisel
Robert L. Mendow
Marcia Bonner Meudell and Mike Merrigan
Linda and David Michaelson
MA Mielke
Dr. Gary Milan
Mr. and Mrs. Simon Mills
Janet Minami
Mr. and Mrs. William Mingst
Mr. Lawrence A. Mirisch
Cynthia Miscikowski
Maria and Marzi Mistry
Robert and Claudia Modlin
Katherine Molloy
Linda and John Moore
Mr. Alexander Moradi
Kathy and Michael Moray
William Morton
Gretl and Arnold Mulder
Munger, Tolles & Olson
Mr. James A. Nadal and Amelia Nadal
Rachel Nass
Mr. and Mrs. Jeff Nathan
Bruce Needleman
Robert and Sally Neely
Mr. Liron Nelik
Mumsey and Allan Nemiroff
Ms. Beatrice H. Nemlaha
Mr. Jerold B. Neuman
John W. Newbold
Sabraj Nijjar
Ms. Jeri L. Nowlen
Mr. and Mrs. Oberfeld
Mr. and Mrs. Arthur J. Ochoa
Ms. Margo Leonetti O’Connell
Ms. Margaret R. O’Donnell
Mr. John O’Keefe
Mr. Dale Okuno
David Olson and Ruth Stevens
Michael Olson
Susan Oppenheimer
Mr. and Mrs. Richard Orkand
Adriana Ortiz
Sharon Osbourne
Alicyn Packard and Jason Friedman
January Parkos-Arnall
Mr. and Mrs. Robert D. Paster
Mrs. Ethel Phipps
Mr. Jeff Polak and Mrs. Lauren Reisman Polak
Ms. Virginia Pollack
Ms. Eleanor Pott
Joseph Powe
Mr. Albert Praw
Joyce and David Primes
John R. Privitelli
Ms. Marci Proietto
Q-Mark Manufacturing, Inc.
Ms. Miriam Rain
Bradley Ramberg
Marcia and Roger Rashman
Mr. and Mrs. Wayne Ratkovich
Mr. and Mrs. Harold Ray
Gay and Ronald Redcay
David and Mary Beth Redding
Diana Reid and Marc Chazaud
Kirk and Cathy Reynolds
Susan F and Donald B Rice
Mrs. Barrie Richter and Mr. Charles Richter
Mr. Ronald Ridgeway
Mr. and Mrs. Kenneth Riley
Mr. and Mrs. Norman L. Roberts
Natalie Roberts
Mr. Jed Robinson
Robert Robinson
Rock River
Mrs. Laura H. Rockwell
Ms. Kristina Rodgers
In memory of RJ and JK Roe
Mr. Lee N. Rosenbaum and Mrs. Corinna Cotsen
Michelle and Mark Rosenblatt
Mr. Richard Rosenthal and Ms. Katherine Spillar
TICKETS ON SALE NOW!
RICHARD GOODE PLAYS MOZART
Dec 14 | 4 | THE WALLIS
Dec 16 | 7:30 | ZIPPER HALL
Margaret Batjer
Director of Chamber Music
Richard Goode Piano
R. Schumann, Violin Sonata No. 1 in A minor
W. Mozart, Piano Quartet in E-flat major
L. Beethoven, Septet in E-flat major
A GRAND BAROQUE SALON
Jan 17 | 7:30 | THE HUNTINGTON
Jan 18 | 4 | THE WALLIS
Pierre Hantaï Leader + Harpsichord
Margaret Batjer Violin
C.P.E. Bach, Symphony No. 3 in F major
J.S. Bach, Brandenburg Concerto No. 5 in D major
J. Leclair, Concerto in D major for Violin, Strings, and Basso Continuo
J.P. Rameau, Selections from Les Paladins
PASSION
+ MYSTERY MARTÍN + SAY +
BEETHOVEN
Feb 14 | 7:30 | ZIPPER HALL
Feb 15 | 4 | THE WALLIS
Jaime Martín, Music Director
Fazıl Say, Piano
Michael Abels, Meraki WORLD PREMIERE
G. Fauré, Pelléas et Mèlisande
L. Beethoven, Piano Concerto No. 3 in C minor
Mr. Bradley Ross and Ms. Linda McDonough
Joshua Roth and Amy Klimek
Nancy and Michael Rouse
Mr. and Mrs. Matthew Rowland
Ms. Karen Roxborough
Valerie Salkin
Ms. Allison Sampson
Curtis Sanchez
Mr. and Mrs. Michael Sanders
Mr. and Mrs. Charles M. Sarff
Ms. Maryanne Sawoski
Cliff and Linda Schaffer
Claudia and John Schauerman
Dr. and Mrs. Ronald Schwartz
Mr. Alan Scolamieri
John L. Segal
Mr. and Mrs. Peter Segal
Cyrus Semnani
Dr. and Mrs.
Hooshang Semnani
Mr. and Mrs.
Jeffrey Alan Seymour
Ms. Amy J. Shadur-Stein
Ms. Avantika Shahi
Shamban Family
Dr. Ava Shamban
Emmanuel Sharef
Hope and Richard N. Shaw
Dr. Alexis M. Sheehy
Dr. Stephen and Mrs. Janet Sherman
Mr. and Mrs. Elliot Shoenman
Mr. and Mrs. Michael S. Shore
Mr. Murray Siegel
Scott Silver
June Simmons
Leah R. Sklar
Donna Slavik
Professor Judy and Dr. William Sloan
Cynthia and John Smet
Mr. Steven Smith
Virginia Sogomonian and Rich Weiss
Michael Soloman and Steven Good
Michael and Mildred Sondermann
Mr. Hamid Soroudi
Lev L. Spiro and Melissa Rosenberg
Ian and Pamela Spiszman
Ms. Angelika Stauffer
Mr. and Mrs. Joseph Stein
Jeff and Peg Stephens
Hilde Stephens-Levonian
Mr. Adrian B. Stern
Ms. Margaret Stevens and Mr. Robin Meadow
Sugimoto Family
Deborah May and Ted Suzuki
Mr. and Mrs. Larry W. Swanson
Fran Sweeney
Mr. Marc A. Tamaroff
Judith Taylor
Mr. Nick Teeter
Mr. Michael Thaxton
Suzanne Thomas
Mr. and Mrs.
Harlan H. Thompson
Tichenor & Thorp
Architects, Inc.
John Tootle
Bonnie K. Trapp
Ingrid Urich-Sass
Mr. and Mrs.
Peter J. Van Haften
Vargo Physical Therapy
Dorrit Vered and Jerome Vered
Elliott and Felise Wachtel
Mr. and Mrs. Carl R. Waldman
Mr. Martin Washton
Mr. Robert Waters and Ms. Catherine Waters
Ms. Diane C. Weil and Mr. Leslie R. Horowitz
Robert Weingarten
Mr. and Mrs. Doug M. Weitman
Robert and Penny White
Mr. Kirk Wickstrom and Mrs. Shannon Hearst Wickstrom
Mr. and Mrs. Kenneth Williams
Mr. and Mrs. Irwin Wong
Scott Lee and Karen Wong
Linda and John Woodall
Dan Woods
Paul and Betty Woolls
Robert Wyman
Ms. Stacie Yee
Susan Young
Yust Family Trust
Mrs. Lillian Zacky
Mr. William Zak
Zamora & Hoffmeier, A Professional Corporation
Rudolf H. Ziesenhenne
Mr. Sanford Zisman and Ms. Janis Frame
Rachel and Michael Zugsmith
KASIMOFF-BLÜTHNER PIANO CO.
Concert and Home Rentals
Blüthner Pianos (since 1853)
Neupert Harpsichords (since 1868)
Schiedmayer Celesta (since 1890)
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.
Welcome to The Music Center!
This is your place to experience the magic of live performances and special events, experiencing the joy that moves you, the stories that unite us and the moments that remind us why the arts matter. Across our theatres, on Jerry Moss Plaza and in Gloria Molina Grand Park, there’s always something to inspire and connect us all.
We’re dedicated to ensuring you have the best possible experience here. Help us keep The Music Center safe, inclusive and welcoming for everyone by visiting musiccenter.org/guestagreement.
Find out what’s happening next at musiccenter.org—your guide to performances, celebrations and events across our campus.
#BeAPartOfIt
@musiccenterla
General Information (213) 972-7211 | musiccenter.org
Support The Music Center (213) 972-3333 | musiccenter.org/support
TAKE A FREE TOUR!
Step behind-the-scenes of one of the world’s leading performing arts centers. Our free, 90-minute docent-led tours invite you to discover the stories, architecture and art that bring the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum, Walt Disney Concert Hall and Jerry Moss Plaza to life.
Tours run daily—visit musiccenter.org to check the schedule and make a day of it in Downtown L.A.!
OFFICERS
Robert J. Abernethy
Chair
Cary J. Lefton
Darrell D. Miller
Vice Chairs
Rachel S. Moore
President & CEO
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki Repko
Charles F. Adams
William H. Ahmanson
Romesh Anketell
Jill C. Baldauf
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Ronald D. Kaplan
Richard B. Kendall
Lily Lee
Keith R. Leonard, Jr.
Kelsey N. Martin
Elizabeth Michelson
Cindy Miscikowski
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Beverly P. Ryder
Thomas L. Safran
Maria S. Salinas
Corinne Jessie Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 9/24/25
John McCoy for The Music Center.
Alvin Ailey American Dance Theater's James Gilmer and Samantha Figgins. Photo by Andrew Eccles.
BOARD OF SUPERVISORS
COUNTY OF LOS ANGELES
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Janice Hahn Supervisor, Fourth District
Lindsey P. Horvath Supervisor, Third District
Kathryn Barger Chair, Fifth District
Holly J. Mitchell Supervisor, Second District
Hilda L. Solis
Chair Pro Tem, First District
(From left to right)
LAND ACKNOWLEDGMENT
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
Photo Credit: David Franco, Los Angeles County Board of Supervisors Photographer.
Happening at The Music Center
SAT 1 NOV / 2:00 & 8:00 p.m.
Jaja's African Hair Braiding CENTER THEATRE GROUP
@ Mark Taper Forum Thru 11/9/2025
SAT 1 NOV / 4:00 p.m.
The Music Center Presents Black Planetarium: Uncharted Anthologies
THE MUSIC CENTER
@ Digital Art Space at The Music Center Thru 12/14/2025
SAT 1 NOV / 8:00 p.m.
Faye Webster with Orchestra
LA PHIL
@ Walt Disney Concert Hall Thru 11/2/2025
FRI 7 NOV / 8:00 p.m.
Mehta Leads Bruckner's Eighth
LA PHIL
@ Walt Disney Concert Hall Thru 11/9/2025
SAT 8 NOV / 11:00 a.m.
Symphonies for Youth
LA PHIL
@ Walt Disney Concert Hall Also 11/22/2025
SUN 9 NOV / 7:00 p.m.
LA Sings! What a Beautiful City
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 11 NOV / 8:00 p.m.
Recovecos: Angélica Negrón & Lido Pimienta
LA PHIL
@ Walt Disney Concert Hall
THU 13 NOV / 7:30 p.m.
Paranormal Activity
CENTER THEATRE GROUP
@ Ahmanson Theatre
Thru 12/7/2025
THU 13 NOV / 8:00 p.m.
Mozart, Ravel & Pintscher
LA PHIL
@ Walt Disney Concert Hall Thru 11/16/2025
SAT 15 NOV / 8:00 p.m.
Patti Smith and her band
LA PHIL
@ Walt Disney Concert Hall
NOVEMBER 2025
SUN 16 NOV / 7:30 p.m.
before and after nature
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 18 NOV / 8:00 p.m.
Brahms Strings
LA PHIL
@ Walt Disney Concert Hall
FRI 21 NOV / 8:00 p.m.
Elgar's Enigma
LA PHIL
@ Walt Disney Concert Hall Thru 11/23/2025
SAT 22 NOV / 7:30 p.m.
La Bohème
LA OPERA
@ Dorothy Chandler Pavilion Thru 12/14/2025
SCAN TO VIEW FULL CALENDAR
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
Photo by Will Yang for The Music Center.
Experience L.A.'s Favorite Holiday Tradition
See it LIVE at The Music Center's Dorothy Chandler Pavilion. December 24, 2025 | 3:00 p.m. – 6:00 p.m.
SCAN FOR FREE TICKET INFO
Photo Credit: Timothy Norris for The Music Center.
ALVIN AILEY
March 25–29, 2026
This groundbreaking company embodies African American strength and resilience through mixed repertory programs featuring beloved classics and new works, including Alvin Ailey’s soul-stirring Revelations.
The Music Center’s Dorothy Chandler Pavilion musiccenter.org/ailey | (213) 972-0711
BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.
Alvin Ailey American Dance Theater's Caroline T. Dartey. Photo by Andrew Eccles.
