January 2026 JACOBS MUSIC CENTER
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25 YEAR AN NIVE RS A RY / JAN UAR Y 2 0 2 6
MAGAZINE
P1 Program
Cast, performances, who’s who, director’s notes, donors and more.
6 In the Wings
The Barber of Seville by San Diego Opera; The Simon & Garfunkel Story presented by Broadway San Diego; Hedda Gabler at The Old Globe; January concerts at Jacobs Music Center; and Louisa Gillis at North Coast Rep.
10 Feature:
Museum Spotlight
The San Diego Museum of Art celebrates its 100-year anniversary in 2026 with exciting exhibits, events, collaborations and more.
13 Dining
January dining gems around town, including Nobu Del Coronado, Veranda, Fonda del Barrio, Shorebird Restaurant and LUCIEN.
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24 Parting Thought Performances’ program platform for theater shows and concerts can be accessed from any digital device.
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CLOCKWISE FROM TOP: UNI AT LUCIEN IS A COURTESY IMAGE; RAFAEL PAYARE BY TODD ROSENBERG; COURTESY OF THE SAN DIEGO MUSEUM OF ART
contents
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CLOCKWISE FROM TOP: UNI AT LUCIEN IS A COURTESY IMAGE; RAFAEL PAYARE BY TODD ROSENBERG; COURTESY OF THE SAN DIEGO MUSEUM OF ART
MAGAZINE
PUBLISHER
Jeff Levy EDITOR
Sarah Daoust ART DIRECTOR
Carol Wakano
PRODUCTION MANAGER
Glenda Mendez
PRODUCTION ARTIST
Diana Gonzalez
CONTRIBUTING WRITERS
Benjamin Epstein, Stephanie Saad
ADVERTISING DIRECTOR
Kerry Baggett
ACCOUNT DIRECTORS
Walter Lewis, Jean Greene, Liz Moore CIRCULATION MANAGER
Christine Noriega-Roessler BUSINESS MANAGER
Leanne Killian Riggar MARKETING/ PRODUCTION MANAGER
Dawn Kiko Cheng
DIGITAL MANAGER
v
Lorenzo Dela Rama Contact Us ADVERTISING Kerry.Baggett@ CaliforniaMediaGroup.com WEBSITE Lorenzo.DelaRama@ CaliforniaMediaGroup.com CIRCULATION Christine.Roessler@ CaliforniaMediaGroup.com HONORARY PRESIDENT
Ted Levy
For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com Performances Magazine is published by California Media Group to serve performing arts venues throughout the West.
Explore connections between people, instruments, and the music we make.
© 2026 California Media Group. All Rights Reserved.
Printed in the United States.
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IN TH E W I N G S
MUSIC
JANUARY AT THE JACOBS
THE NEW YEAR is filled with high notes, thanks to the San Diego Symphony and its notable Jacobs Masterworks concerts at Jacobs Music Center. “Heroic Monuments: Dvořák Symphony No. 7,” Jan. 17-18, features Brahms’ Piano Concerto No. 1, with guest pianist Marc-André Hamelin; as well as Dvořák’s Symphony No. 7; Thomas Guggeis conducts. “Tragedy and Triumph: Shostakovich Symphony No. 8” showcases the Symphony Orchestra in performances of Beethoven’s Symphony No. 1 and Shostakovich’s Symphony No. 8; with Music Director Rafael Payare conducting, Jan. 24-25. Payare also conducts “Music of the Night: Mahler Symphony No. 7,” Jan. 31-Feb. 1, with the Orchestra delivering Mahler’s powerful Symphony No. 7 in E minor. And save the date for a special Jazz @ The Jacobs concert on Feb. 14, featuring trumpeter Gilbert Castellanos, saxophonist Charles McPherson, pianist Randy Porter, vocalist Melissa Morgan and other talents. 750 B St., downtown, 619.235.0804, sandiegosymphony.org
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From left: pianist Marc-André Hamelin; Rafael Payare.
FROM LEFT: COURTESY IMAGE; TODD ROSENBERG
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IN TH E W I N G S
OPERA
A Night at the Opera
Exquisite costuming (left); and a past staging of The Barber of Seville.
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SAVE THE DATE for a night at the opera in February! Just in time for Valentine’s Day, San Diego Opera brings us The Barber of Seville, Feb. 13-15, with music by Gioachino Rossini and libretto by Cesare Sterbini. Rossini’s prequel to Mozart’s funny, romantic opera, The Marriage of Figaro, centers on Figaro, the witty and charismatic barber. Figaro plays matchmaker for his friend, Count Almaviva, who is desperately in love with the beautiful Rosina—all challenged by Rosina’s greedy, paranoid guardian,
Dr. Bartolo. Mistaken identities and hilarious hijinks ensue. Steller baritone Dean Murphy portrays Figaro, with mezzo-soprano Stephanie Doche as Rosina, and Minghao Liu as the Count. Yves Abel conducts; Chuck Hudson directs. The opera is sung in Italian, with English and Spanish translations projected above the stage. And after that? San Diego Opera stages Georges Bizet’s Carmen, March 27-29. Both take take place at San Diego Civic Theatre. 1100 Third Ave., downtown, 619.533.7000, sdopera.org
FROM LEFT: COURTESY OF MINNESOTA OPERA; COURTESY OF SAN DIEGO OPERA; LANE PETERS; JAN WELTERS
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THEATER
Ben Cooley (left) and Taylor Bloom perform in a past production of The Simon & Garfunkel Story; Katie Holmes.
GILLIS TO GABLER THE WORLD PREMIERE of Louisa Gillis runs at North Coast Rep, Jan. 14Feb. 8. Joanna McClelland Glass’ psychological thriller explores the effects of betrayal, revenge, family ties and forgiveness. northcoastrep.org Broadway San Diego presents The Simon & Garfunkel Story, Jan. 31-Feb. 1 at Balboa Theatre. The acclaimed concert-style theater show profiles one of the more successful music duos of all time, beginning with their start as two kids from Queens. Accompanied by a full live band, the concert showcases Simon & Garfunkel’s nostalgic hits—including “Bridge Over Troubled Water,” “Mrs. Robinson,” “Scarborough Fair” and “The Sound of Silence.” broadwaysd.com And nab tickets now for the world premiere of Hedda Gabler at The Old Globe, Feb. 7March 8. Henrik Ibsen’s Hedda Gabler comes to us in a new version by Erin Cressida Wilson, starring actress Katie Holmes as Hedda. theoldglobe.org
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FEATURE
SDMA’s planned west wing; a Fabergé Egg Balloon, 1989.
100 YEARS OF ICONIC ART
The San Diego Museum of Art Celebrates a Century of Inspiration and Innovation by STEPHANIE SAAD
IN THE HEART of Balboa Park, a cultural beacon prepares for a massive milestone: the 100th anniversary of The San Diego Museum of Art (SDMA) in 2026. A yearlong celebration promises groundbreaking exhibitions, dynamic community programs, and unforgettable events that honor a remarkable past while casting a bold vision for the future of art in San Diego and beyond. As with most of the structures in Balboa Park, the museum’s history is tied to the 1915-16 PanamaCalifornia Exposition. Opening as the Fine Arts Gallery
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of San Diego in 1926, the building’s Spanish Colonial Revival design by William Templeton Johnson and Robert W. Snyder is part of Balboa Park’s iconic architecture. The museum’s distinctive Plateresque façade was inspired by the University of Salamanca, setting an early standard for architectural beauty within the park. Now the region’s oldest, largest and most visited art museum, SDMA serves as a key institution for exhibitions, education and cultural exchange. Its permanent collection includes more than /CONTINUED ON PAGE 18
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FROM THE PRESIDENT & CHIEF EXECUTIVE OFFICER Dear friends, As we begin a new year together at the San Diego Symphony, I am especially grateful to welcome you back to the concert hall for a month of extraordinary symphonic music. January offers a rare opportunity to experience, in close succession, works that stand at the very core of our musical identity—compositions by Beethoven, Brahms, Dvořák, Mahler, and Shostakovich. Each of these composers reshaped the symphonic landscape, and hearing their voices side by side reminds us how powerfully orchestral music can speak to our shared human striving, resilience, and longing for a better world. The links among these composers form a remarkable lineage of inspiration. Beethoven’s First Symphony signaled a bold departure from the elegance of Haydn and Mozart, introducing a new, heroic scale that made the symphony a public declaration of ideals. Its energy so astonished his contemporaries that it sparked the idea that Beethoven should portray Prometheus—the bringer of fire—as a musical hero. Brahms, deeply aware of Beethoven’s towering example, wrestled for years with the challenge of extending that symphonic tradition. His own path led him to transform an early symphonic idea into a piano concerto of grand, symphonic breadth—music that moves from turbulence and anguish toward hope and triumph. Dvořák, in turn, found in Beethoven and Brahms a template for expressing the longings of his own people. His Seventh Symphony carries the urgency of a nation yearning for justice and self-determination, shaped by real events he witnessed in the streets of Prague. Mahler expanded the symphony yet again, infusing it with the scale of the natural world and the depth of human reflection. His Seventh Symphony—born from nighttime journeys across an Austrian lake—embraces the vastness of nature, the shadows of the unknown, and a final blaze of collective joy. Shostakovich, living in a different century and under unimaginable pressures, used the symphony to give voice to human suffering and perseverance. His Eighth Symphony, rooted in the devastation of the Second World War, ends not in triumphal celebration but in the quiet renewal of spring after a brutal winter. This month, Music and Artistic Director Rafael Payare leads performances of Beethoven, Shostakovich, and Mahler—programs he has shaped with a clear artistic purpose. His vision for the season brings these monumental works into conversation between our orchestra and audience and he guides the orchestra through repertoire that continually challenges and expands our expressive voice. Thank you for joining us as we begin another year of music-making. I look forward to sharing this powerful and uplifting journey with you. Warmest wishes,
Martha A. Gilmer President and Chief Executive Officer
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ARTIST BIO | RAFAEL PAYARE
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RAFAEL PAYARE
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MUSIC & ARTISTIC DIRECTOR With his innate musicianship, charismatic energy, gift for communication, and irresistibly joyous spirit, conductor Rafael Payare is “considerable grace and considerable swagger, making the two go unusually yet inexorably together” (Los Angeles Times). Payare conducted the San Diego Symphony (SDS) for the first time in 2018 and was subsequently named the orchestra’s music director designate one month later, assuming the role of music director in January 2019. Now in the seventh season of his transformative tenure, Payare and the SDS continue their ongoing performances of the complete cycle of symphonies by Shostakovich and Mahler, performing Shostakovich’s Eighth Symphony and Mahler’s Seventh. Other highlights include Bruckner’s Fourth Symphony; Beethoven’s First Symphony; Mendelssohn’s Third Symphony; a two-week Brahms festival in the spring encompassing the German Requiem, all four symphonies, and the Violin Concerto performed by Leonidas Kavakos; and Gabriela Ortiz’s new ecology-themed cello concerto, Dzonot, featuring dedicatee Alisa Weilerstein. The 2025-26 season also marks his fourth as music director of Canada’s Montreal Symphony Orchestra/OSM. With the OSM he leads a similarly full season with Berlioz’s Damnation of Faust, followed in October by a Berlioz album release. Other season highlights there include Mahler’s Fourth and Ninth Symphonies; Beethoven’s Piano Concerto featuring Emanuel Ax; Mozart’s The Marriage of Figaro; and Stravinsky’s Rite of Spring. The conductor rounds out his season with high profile returns to the Cleveland and Philadelphia Orchestras, Pittsburgh Symphony Orchestra, London’s Philharmonia, and the NHK Symphony. He also makes his debut with the Royal Concertgebouw Orchestra.
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Other current positions are Principal Conductor of Virginia’s Castleton Festival, a post he has held since 2015, and Conductor Laureate of Northern Ireland’s Ulster Orchestra, where he was Principal Conductor and Music Director from 2014-19, making multiple appearances at London’s BBC Proms.
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Also a dedicated opera conductor, Payare has made debuts at both London’s Royal Opera House in Covent Garden and the Glyndebourne Festival with Il barbiere di Siviglia and he has led Madama Butterfly and La bohème at Stockholm’s Royal Swedish Opera, Tosca at the Royal Danish Opera, Gounod’s Roméo et Juliette at the Castleton Festival, and a new production of La traviata in Malmö, Sweden. Since winning first prize at Denmark’s Malko Competition for Young Conductors in 2012, Payare has made debuts and forged longstanding relationships with many of the world’s preeminent orchestras. His U.S. collaborations include engagements with the New York Philharmonic, Boston Symphony, Chicago Symphony, Houston Symphony, Los Angeles Philharmonic, Minnesota Orchestra, and Philadelphia Orchestra, while his notable European appearances include dates with the Bavarian Radio Symphony, Leipzig Gewandhaus Orchestra, London Symphony Orchestra, Mahler Chamber Orchestra, Munich Philharmonic, NDR Elbphilharmonie Orchestra, Orchestre Philharmonique de Radio France, Philharmonia Orchestra, Royal Stockholm Philharmonic, Tonhalle Orchestra Zurich, and Vienna Philharmonic, which he has led at the Vienna Konzerthaus and Musikverein, on a Baltic tour, and at Paris’s Théâtre des Champs-Élysées. n
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THE MEMBERS OF THE SAN DIEGO SYMPHONY MUSIC AND ARTISTIC DIRECTOR RAFAEL PAYARE
BASS Jeremy Kurtz-Harris Principal SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR
TROMBONE
VIOLIN
Susan Wulff Associate Principal
Greg Ochotorena* Kyle Mendiguchia
Jeff Thayer^ Concertmaster DEBORAH PATE AND JOHN FORREST CHAIR Wesley Precourt Associate Concertmaster Jisun Yang^ Assistant Concertmaster Katia Tesarczyk Principal Second Violin Cherry Choi Tung Yeung Associate Principal Second Violin Nick Grant Principal Associate Concertmaster Emeritus Ai Nihira Awata Jing Yan Bowcott Yumi Cho Alicia Engley Kathryn Hatmaker Kenneth Liao Alexander Palamidis Igor Pandurski Evan Pasternak Julia Pautz Yeh Shen Xiaoxuan Shi Edmund Stein Hanah Stuart John Stubbs
Aaron Blick P.J. Cinque Kevin Gobetz Samuel Hager Margaret Johnston+ FLUTE Rose Lombardo Principal Sarah Tuck Lily Josefsberg PICCOLO
Rodion Belousov Andrea Overturf ENGLISH HORN Andrea Overturf DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR
VIOLA Chi-Yuan Chen Principal KAREN AND WARREN KESSLER CHAIR Nancy Lochner Associate Principal Jason Karlyn Alexander Knecht
BASS CLARINET Frank Renk
Zeyu Victor Li Qing Liang Ethan Pernela Megan Wei CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal Vivian Chang Maximus Gurath Andrew Hayhurst Tzu-Wei Jack Huang Richard Levine Nathan Walhout Xian Zhuo
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HARP Julie Phillips Principal
Ryan J. DiLisi Principal Andrew Watkins Assistant Principal PERCUSSION Gregory Cohen Principal Andrew Watkins
PRINCIPAL LIBRARIAN Courtney Secoy Cohen LIBRARIAN Rachel Fields
BASSOON Valentin Martchev Principal Ryan Simmons Leyla Zamora
* Long Term Substitute Musician + Staff Opera Musician ^ Performs on an instrument generously gifted by Dr. Irwin & Joan Jacobs
CONTRABASSOON Leyla Zamora
Wanda Law Sung Jin Lee
Aaron McCalla Principal
Eduardo Meneses*
Frank Renk
Sarah Schwartz*
TUBA
CLARINET
Zou Yu Margeaux Maloney*
Kyle Mendiguchia
TIMPANI OBOE Sarah Skuster Principal
Sheryl Renk Principal Max Opferkuch
Yeim Lee*
BASS TROMBONE
Lily Josefsberg
Tiffany Wee
Pei-Chun Tsai
Kyle R. Covington Principal
HORN Benjamin Jaber Principal Darby Hinshaw Assistant Principal & Utility
The musicians of the San Diego Symphony are members of San Diego County, Local 325, American Federation of Musicians, AFL-CIO.
Tricia Skye John Degnan TRUMPET Christopher Smith Principal Ray Nowak
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SAN DIEGO SYMPHONY
PA R T N E R WITH A PL AY ER
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The San Diego Symphony Orchestra gratefully acknowledges the generous support of Partner with a Player members, whose contributions make a profound impact. This program offers donors a unique opportunity to personally connect with the orchestra and engage in meaningful ways.
Ann Yao
Ano San
Dian Aaro
Nico Nat
Listing reflects gifts and pledges as of November 3, 2025. ^Jewish Community Foundation
$100,000 AND ABOVE Raffaella and John* Belanich Rafael Payare, Music Director
°Rancho Santa Fe Foundation
+San Diego Foundation
*Deceased
Step Chia Prin
^ Joan* and Irwin Jacobs Martha Gilmer, President and Chief Executive Officer
Ann Xian
Kath Qin
$50,000 – $99,999 Anonymous (2) San Diego Symphony Musicians Michele and Jules Arthur Kevin Gobetz, Bass Terry Atkinson San Diego Symphony Musicians Eloise and Warren* Batts Alicia Engley, Violin Julia R. Brown Leyla Zamora, Bassoon and Contrabassoon
Carol and Richard Hertzberg Nick Grant, Principal Associate Concertmaster Emeritus
Karen Foster Silberman and Jeff Silberman Jisun Yang, Assistant Concertmaster
Arlene Inch John Degnan, Horn
^ Gayle* and Donald Slate Wesley Precourt, Associate Concertmaster
Lise Fou Ros
Dave and Phyllis Snyder Julia Pautz, Violin
Dian San
Gloria and Rodney Stone P.J. Cinque, Bass
Kell Mic Vivi
Hayley Janecek and Ross Caleca Gregory Ochotorena, Trombone Karen and Warren Kessler Chi-Yuan Chen, Principal Viola KAREN AND WARREN KESSLER CHAIR Monica and Robert Oder Gregory Cohen, Principal Percussion
Jayne and Bill Turpin Max Opferkuch, Clarinet
James Silberrad Brown Foundation Katia Tesarczyk, Principal Second Violin
^ Linda and Shearn* Platt Ryan J. DiLisi, Principal Timpani
Karen Wahler San Diego Symphony Musicians
John and Janice Cone Benjamin Jaber, Principal Horn
^ Marie G. Raftery and Robert A. Rubenstein, M.D. Eduardo Maneses, Percussionist
Leslie and Joe Waters Ethan Pernela, Viola
Kevin and Jan Curtis Aaron McCalla, Principal Tuba Una Davis and Jack McGrory Susan Wulff, Associate Principal Bass Drs. Martha G. and Edward Dennis San Diego Symphony Musicians Mr. and Mrs.* Brian K. Devine San Diego Symphony Musicians Phyllis and Daniel J. Epstein Sheryl Renk, Principal Clarinet Pam and Hal Fuson Courtney Cohen, Principal Librarian ^ Elaine Galinson and Herbert Solomon Yumi Cho, Violin
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Jaqueline and Jean-Luc Robert San Diego Symphony Musicians Elena Romanowsky Edmund Stein, Violin Penny and Louis Rosso Andrew Watkins, Assistant Principal Timpani PENNY AND LOUIS ROSSO CHAIR + Colette Carson Royston and Ivor Royston Yeh Shen, Violin
Kari Jaso
Lind San
+ Sue and Bill* Weber Jing Yan Bowcott, Violin + Kathryn A. and James E. Whistler Rachel Fields, Librarian Cole and Judy Willoughby Christopher Smith, Principal Trumpet Mitchell Woodbury Valentin Martchev, Principal Bassoon Sarah and Marc Zeitlin Cherry Choi Tung Yeung, Associate Principal Second Violin
Jean and Gary Shekhter San Diego Symphony Musicians Karen and Kit Sickels Jeremy Kurtz-Harris, Principal Bass SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR
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$25,000 – $49,999 Anonymous (2) San Diego Symphony Musicians Diane and Norman Blumenthal Aaron Blick, Bass Annette and Daniel Bradbury Yao Zhao, Principal Cello
Suzanne and Lawrence Hess San Diego Symphony Musicians ^ Jerri-Ann and Gary Jacobs Ai Nihira Awata, Violin Helen and Sig Kupka Lily Josefsberg, Piccolo/Flute
^ Allison and Robert Price San Diego Symphony Musicians Joetta* Ragland San Diego Symphony Musicians Carol Randolph, Ph.D. and Robert Caplan/ Seltzer Caplan McMahon Vitek Pei-Chun Tsai, Violin
Nicole A. and Benjamin G. Clay Nathan Walhout, Cello
Dr. William and Evelyn Lamden Andrea Overturf, Oboe Dr. WILLIAM AND EVELYN LAMDEN CHAIR
Karen and Donald* Cohn Hanah Stuart, Violin
Carol and George Lattimer Rodion Belousov, Oboe
Stephanie and Richard Coutts Chia-Ling Chien, Associate Principal Cello
Lisa and Gary Levine, Arthur J. Gallagher & Co. San Diego Symphony Musicians
Ann Davies Xian Zhuo, Cello
^ Sandy and Arthur* Levinson Kyle Covington, Principal Trombone
Elizabeth and Joseph* Taft Wanda Law, Viola
Kathleen Seely Davis Qing Liang, Viola
Eileen Mason Julie Smith Phillips, Principal Harp
Karin and Gary Eastham Jason Karlyn, Viola
Anne and Andy McCammon Richard Levine, Cello
Linda and Raymond* Thomas R.V. Thomas Family Fund Ray Nowak, Trumpet
Lisette and Mick Farrell/Farrell Family Foundation Rose Lombardo, Principal Flute
Val and Ron Ontell Darby Hinshaw, Assistant Principal & Utility Horn
Diane and Elliot Feuerstein San Diego Symphony Musicians
Deborah Pate and John Forrest Jeff Thayer, Concertmaster DEBORAH PATE AND JOHN FORREST CHAIR
Kelly Greenleaf and Michael Magerman Vivian Chang, Cello Linda Hervey San Diego Symphony Musicians
Marilyn James and Richard Phetteplace John Stubbs, Violin Jane and Jon Pollock Evan Pasternak, Section Violin
Sally and Steve Rogers Kyle Mendiguchia, Trombone Robert Singer, M. D. San Diego Symphony Musicians Jeanette Stevens Kathryn Hatmaker, Violin
Sandra Timmons and Richard Sandstrom Sarah Skuster, Principal Oboe University of San Diego San Diego Symphony Musicians Sheryl and Harvey White Alexander Palamidis, Principal Second Violin The Zygowicz Family (John*, Judy, and Michelle) Nancy Lochner, Associate Principal Viola
For more information, or to join, please contact Sheri Broedlow, Vice President of Institutional Advancement, at (619) 615-3910 or sbroedlow@sandiegosymphony.org.
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THE SAN DIEGO SYMPHONY ORCHESTRA PROUDLY PRESENTS
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The Beethoven Society is designed to raise consistent, critical funding for artistic, educational and community programs. Members pledge multi-year support and commit to annual gifts of $50,000 and higher, designated for projects ranging from classical and jazz concerts to education and military programs.
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The Symphony and its Board of Directors are pleased to thank the following for their leadership and to acknowledge them as Members of The Beethoven Society. For information about supporting the San Diego Symphony Orchestra through membership in The Beethoven Society, please call Sheri Broedlow at (619) 615-3910. The following listing reflects pledges or gifts entered as of November 3, 2025. * Denotes deceased
$200,000 Anonymous (2) Michele and Jules Arthur
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JOAN* AND IRWIN JACOBS
$5 MILLION
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Karen and Kit Sickels
Carol and Richard Hertzberg
Karen Foster Silberman and Jeff Silberman
Arlene inch
Gayle* and Donald Slate
Karen and Warren Kessler
Dave and Phyllis Snyder
Monica and Robert Oder
Gloria and Rodney Stone
Linda and Shearn* Platt
Jayne and Bill Turpin
Ross Caleca and Hayley Janecek
Marie G. Raftery and Robert A. Rubenstein, M.D.
Karen Wahler
Jan and Kevin Curtis
Jaqueline and Jean-Luc Robert
Terry L. Atkinson Eloise and Warren* Batts Julia R. Brown James Silberrad Brown Foundation
Una Davis and Jack McGrory Drs. Edward A. and Martha G. Dennis Brian and Silvija* Devine Phyllis and Daniel Epstein Pam and Hal Fuson
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Elena Romanowsky Penny and Louis Rosso Colette Carson Royston and Ivor Royston Jean and Gary Shekhter
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Leslie and Joe Waters Sue and Bill* Weber Kathryn A. and James E. Whistler Cole and Judy Willoughby Mitchell Woodbury Sarah and Marc Zeitlin
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SAN DIEGO SYMPHONY BOARDS BOARD OF DIRECTORS David R. Snyder, Esq. Chair of the Board* Harold W. Fuson Jr. Immediate Past Chair* Colette Carson Royston Vice Chair* Una Davis Vice Chair* Kathleen Davis Treasurer* Linda Platt Secretary*
Michele Arthur Lisa Behun* Steve G. Bjorg Anthony C. Boganey, M.D., FACS Annette Bradbury* Julia Brown Martha G. Dennis, Ph.D. Karin Eastham Phyllis Epstein* Sarah Flatley* Karen Foster Silberman Dr. Nancy Hong* Arlene Inch
Jerri-Ann Jacobs Warren O. Kessler, M.D.* Kris Kopensky Deborah Pate Robert A. Rubenstein, M.D. Sherron Schuster Marivi Shivers Gloria Stone Frank Vizcarra James Whistler Mitchell R. Woodbury*
*EXECUTIVE COMMIT TEE MEMBER
HONORARY LIFETIME DIRECTORS Dr. Irwin M. Jacobs Joan K. Jacobs (1933-2024) Warren O. Kessler, M.D.
Anne Francis Ratner (1911-2011)
Herbert Solomon
Lawrence B. Robinson (d. 2021)
Mitchell R. Woodbury
FOUNDATION BOARD OF DIRECTORS Warren O. Kessler, M.D. Chair
Eunice Bragais
David R. Snyder, Esq. Vice Chair
Harold W. Fuson Jr.
Sandy Levinson Secretary Mitchell R. Woodbury Treasurer
Robert Caplan, Esq. Martha Gilmer Susan Mallory Jeremy Pearl Gretchen Shaffer Mark Stuart
PAST BOARD CHAIRS 2021-23 Harold W. Fuson Jr. 2018-21 David R. Snyder, Esq. 2015-18 Warren O. Kessler, M.D. 2014-15 Shearn H. Platt 2011-14 Evelyn Olson Lamden 2009-11 Mitchell R. Woodbury 2008-09 Theresa J. Drew 2007-08 Steven R. Penhall 2005-07 Mitchell R. Woodbury 2004-05 Craig A. Schloss, Esq. 2003-04 John R. Queen 2001-03 Harold B. Dokmo Jr. 2000-01 Ben G. Clay 1998-00 Sandra Pay 1995-96 Elsie V. Weston
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1994-95 Thomas Morgan 1993-94 David Dorne, Esq. 1989-93 Warren O. Kessler, M.D. 1988-89 Elsie V. Weston 1986-88 Herbert J. Solomon 1984-86 M.B. “Det” Merryman 1982-84 Louis F. Cumming 1980-82 David E. Porter 1978-80 Paul L. Stevens 1976-78 Laurie H. Waddy 1974-76 William N. Jenkins, Esq. 1971-74 L. Thomas Halverstadt 1970-71 Simon Reznikoff 1969-70 Robert J. Sullivan 1968-69 Arthur S. Johnson
1966-68 Michael Ibs Gonzalez, Esq. 1964-66 Philip M. Klauber 1963-64 Oliver B. James Jr. 1961-63 J. Dallas Clark 1960-61 Fielder K. Lutes 1959-60 Dr. G. Burch Mehlin 1956-58 Admiral Wilder D. Baker 1953-56 Mrs. Fred G. Goss 1952-53 Donald A. Stewart 1940-42 Donald B. Smith 1938-39 Mrs. William H. Porterfield 1934-37 Mrs. Marshall O. Terry 1930-33 Mouney C. Pfefferkorn 1928-29 Willett S. Dorland 1927 Ed H. Clay
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BUILDING A SOUND TOMORROW
JACOBS MUSIC CENTER RENOVATION & ENDOWMENT CAMPAIGN The San Diego Symphony acknowledges the following donors who have made a gift of $10,000 or more toward the BUILDING A SOUND TOMORROW campaign, which supports the renovation of Jacobs Music Center and the San Diego Symphony Foundation’s endowment fund. With profound gratitude, we celebrate these generous supporters who have made a commitment to the future of music in our community. To make a gift, please call (619)237-1969 or email campaign@sandiegosymphony.org. The following listing reflects pledges or gifts entered as of November 3, 2025. *Deceased
$3,000,000 AND ABOVE
$1,000,000 to $2,999,999
$500,000 - $999,999
Raffaella and John* Belanich Pamela Hamilton Lester In memory of James A Lester Joan* and Irwin Jacobs The Miller Fund Price Philanthropies Foundation
Willis J. Larkin Dick* and Dorothea Laub Marie G. Raftery and Robert A. Rubenstein, MD Lou and Penny Rosso and the Rosso Family Pauline* & Stan* Foster and Karen Foster Silberman & Jeff Silberman Elaine Galinson and Herbert Solomon Through the Glickman Fund of the S.D. Jewish Community Foundation The Rev. Michael Kaehr Haeyoung Kong Tang Katherine “Kaylan” Thornhill Artistic Initiatives Fund Timmstrom Family
Anonymous The James Silberrad Brown Foundation Dr. Paul Jacobs Mitchell R. Woodbury
$250,000 - $499,999
$100,000 - $249,999
$50,000 - $99,999
Anonymous Michele and Jules Arthur The Bjorg Family Julia R. Brown Karin and Gary Eastham Arlene Inch Debby and Hal Jacobs Karen and Warren Kessler Jerry and Terri Kohl Sandy and Arthur* Levinson Imozelle and Jim McVeigh Robert Glenn Rapp Foundation Colette Carson Royston and Ivor Royston Gayle* and Donald Slate Colonel (Ret.) Joseph and Mrs Joyce Timmons Kathryn A. and James E. Whistler
Anonymous Eloise and Warren* Batts David Bialis Drs. Edward A. and Martha G. Dennis The Fuson Family Tom and Carolina Gildred Annie and Jeffrey Jacobs Marilyn K. James and Richard Phetteplace Carol and Mike Kearney Susan and Peter Mallory In honor of Martha Gilmer The Littman Jonkman Community Engagement and Education Fund Robert, Monica, and Celeste Oder Debby Parrish and Lori Moore Chris and Kris Seeger Dr. Seuss Foundation In honor of Ted and Audrey Geisel Dave and Phyllis Snyder Sue and Bill* Weber Jo and Howard* Weiner
Lisa and Ben Arnold Trupti and Pratik Multani Richard A. Samuelson Tom and Jen Ranglas Carol Rolf and Steven Adler
$25,000 - $49,999
$10,000 - $24,999
Kathleen S. and Stephen J.* Davis Una Davis Family Janet and Wil Gorrie The Hong-Patapoutian Family Carol and George Lattimer Amy and John Malone David Marchesani In loving memory of Alex and Judy McDonald In memory of Lorna Nemcek Linda and Shearn* Platt Ingrid M. Van Moppes In honor of Willard Howard Kline Karen Wahler In memory of Michael Gay* Waldron Family Trust
Ben Brand and Shara Williams James and Lynn Caughey Charles and Charyle Chiles Susan and Peter Crotty Peter Czipott and Marisa SorBello Monica Fimbres Gertrude B. Fletcher Jason and Somi Han In memory of Lillian Hauser Wolfgang* and Erika Horn Marilyn K. James and Richard Phetteplace The Rev. Michael Kaehr Sharon Lapid In honor of Gilbert & Miriam Lapid Karen Zurawski Leland Joan Lewan Trust Sylvia and Jaime* Liwerant Jack McGrory Joani Nelson Deborah Pate and John Forrest Joan Salb Trust Leticia & Craig Sapin Diane and Bill Stumph Linda Thomas In honor of John Zygowicz*
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Building a Sound Tomorrow Jacobs Music Center Renovation and Endowment Campaign Under the leadership of Music Director Rafael Payare and Chief Executive Officer Martha Gilmer, the San Diego Symphony has completed a historic renovation of its indoor home. The renovation of The Joan and Irwin Jacobs Music Center complements The Rady Shell at Jacobs Park and provides San Diego with two extraordinary venues designed to celebrate music and community. Likewise, in the same way that these venues promise an ever-brighter future, the San Diego Symphony Foundation’s endowment provides long-term financial stability for the organization, ensuring that the power of live music continues to inspire and uplift our community for generations to come.
PLAY A PART IN BUILDING THE SYMPHONY’S FUTURE The San Diego Symphony Foundation manages our Endowment, the cornerstone of our long-term stability and artistic excellence. By contributing to the Endowment, donors play a crucial role in sustaining our orchestra’s ability to present world-class performances, expand our educational outreach, and foster innovation in the arts. We invite you to join us in this enduring legacy by supporting the Endowment, securing the future of music in San Diego, and leaving an indelible mark on our cultural landscape.
NAME A SEAT! The beauty of the newly renovated Jacobs Music Center will be most enjoyed from the reconfigured seating in the hall. We ask you to join this historic campaign by investing in the San Diego Symphony and NAMING A SEAT. The named seats serve as a celebration of all individuals who helped make the renovation possible. With a gift of $10,000, you can name a seat on the Orchestra level, or with a gift of $25,000, you can name a seat in the Grand Tier. Your contribution can be pledged and paid over a period of one to five years. A gift toward the renovated Jacobs Music Center supports the orchestra, elevates the audience experience, and impacts the growing vitality of downtown San Diego. To learn more, send an email to: campaign@sandiegosymphony.org
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MUSICIAN TRIBUTE: RECOGNIZING MICHAEL WAIS One of the Symphony’s longest-serving members, Michael Wais played his final concerts with the San Diego Symphony this past spring. Mike joined the orchestra in 1976, shortly after graduating from San Francisco State University and performing with several Bay Area ensembles, including the Marin Symphony, Oakland Symphony, California Bach Society, San Francisco Chamber Players, and the Berkeley Promenade Orchestra. A few seasons into his tenure with the San Diego Symphony, Mike was awarded the prestigious summer fellowship to study at Boston Symphony Orchestra’s renowned Tanglewood Music Center in Lenox, Massachusetts. Since joining the Symphony, Mike has devoted his career to music in San Diego, performing with the San Diego Opera, Orchestra Nova, and appearing as a soloist with the University of San Diego and San Diego State University orchestras. For nearly 50 years, Mike has made San Diego his home and this orchestra a central part of his life. We are deeply grateful for his decades of service and artistry, which have helped shape the orchestra we know today. Thank you, Mike! n
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UPCOMING SHOW THE RADY SHELL AT JACOBS PARK Friday, March 20 | 7:30PM The Rady Shell at Jacobs Park Stuart Chafetz, conductor San Diego Symphony Orchestra
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Rock and Roll Hall of Famers FOREIGNER are celebrating their 50th anniversary orchestral style! Coming to The Rady Shell at Jacobs Park, the band will perform rock and roll’s most enduring anthems with the San Diego Symphony Orchestra, conducted by Stuart Chafetz. Universally hailed as one of the most popular rock acts in the world and with 10 multi-platinum albums and 16 Top 30 hits – including “Juke Box Hero,” “Cold As Ice,” “Hot Blooded,” “Waiting For A Girl Like You,” “Feels Like The First Time,” “Urgent,” “Head Games,” “Say You Will,” “Dirty White Boy,” “Long, Long Way From Home” and the worldwide #1 hit, “I Want To Know What Love Is,” – their formidable music arsenal promises an unforgettable night on the San Diego Bay. S A N D IEGO SY MPH ON Y JA N UA RY 2 02 6
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SATURDAY JAN. 10 | 6PM Jacobs Music Center
GORDON GOODWIN’S BIG PHAT BAND
JMC SPECIAL PRESENTATION
PROGRAM TO BE ANNOUNCED ON STAGE
ABOUT THE ARTIST GORDON GOODWIN’S BIG PHAT BAND
Gordon Goodwin’s Big Phat Band is one of the most exciting large jazz ensembles on the planet. Populated by L.A.’s finest players, the Big Phat Band takes the big band tradition into the new millennium with a contemporary, highly original sound featuring Goodwin’s witty, intricate, and hard-swinging compositions in a veritable grab bag of styles: swing, Latin, blues, classical, rock and more. Fans will recognize the band from the Pixar film The Incredibles and in music from The Naked Gun. n
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PROGRAM JOHANNES BRAHMS Piano Concerto No. 1 in D Minor, Op. 15 Maestoso Adagio Rondo: Allegro non troppo -INTERMISSION-
ANTONÍN DVOŘÁK Symphony No. 7 in D Minor, Op. 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro
SATURDAY, JAN. 17 | 7:30PM SUNDAY, JAN. 18 | 2PM
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Total Program Duration: 1 hour 45 mins Includes one 20-minute intermission
Jacobs Music Center 2025-26 JACOBS MASTERWORKS
HEROIC MONUMENTS: DVOŘÁK SYMPHONY NO. 7
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Thomas Guggeis, conductor Marc-André Hamelin, piano San Diego Symphony Orchestra Steinway is the official piano of the San Diego Symphony
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Marc-André Hamelin appears by arrangement with Colbert Artists Management, Inc., 460 East Fordham Rd.,#2059, Bronx, NY 10458 Marc-André Hamelin records exclusively for Hyperion Records, Ltd.
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ARTIST BIOS | HEROIC MONUMENTS
Photo by Simon Pauly
THOMAS GUGGEIS Thomas Guggeis has emerged as one of the most compelling conductors of his generation. Equally at home in the opera house and the concert hall, he has built a strong international profile with engagements across Europe and beyond. Guggeis has served as Generalmusikdirektor of Oper Frankfurt and Artistic Director of the Frankfurter Museumsorchester since the 2023-24 season. In Frankfurt’s 2025-26 season, he conducts new productions of Così fan tutte, Boris Godunov, and Turandot, as well as revivals of Peter Grimes and Tristan und Isolde, and Museumskonzerte featuring works by Richard Strauss, Shostakovich, Haydn, Beethoven, and Mahler. He also returns to the Bayerische Staatsoper for Salome and to the Staatsoper Unter den Linden for Die Entführung aus dem Serail. Beyond Frankfurt, Guggeis makes concert debuts this season with the Berlin Philharmonic, Tonhalle-Orchester Zürich, Radio Philharmonic Orchestra (Netherlands), SWR Symphony Orchestra Stuttgart, and Orchestre national de Lyon, in addition to the San Diego Symphony. Further appearances include return engagements with the Orchestre national de France, Orchestra del Maggio Musicale Fiorentino, Boulez Ensemble Berlin, the Royal Swedish Opera Orchestra, and Bach’s Christmas Oratorio in the Isarphilharmonie Munich. His additional opera credits include Der fliegende Holländer at the Metropolitan Opera, Die Entführung aus dem Serail at Teatro alla Scala, and numerous productions at the Wiener Staatsoper (Salome, La traviata, Ariadne auf Naxos, Falstaff, Die tote Stadt) and the Staatsoper Unter den Linden (Der Ring des Nibelungen, Katja Kabanová, Don Giovanni, Elektra, Falstaff, Daphne, Salome, Samson et Dalila, La traviata, Der fliegende Holländer, Die Zauberflöte, Lohengrin, Ariadne auf Naxos, Hänsel und Gretel, Die lustigen Weiber von Windsor), as well as the Theater an der Wien (Peter Grimes, Oberon). In concert, he has led the Wiener Philharmoniker at the Mozartwoche in Salzburg, the Bayerisches Staatsorchester, Staatskapelle Dresden, Staatskapelle Berlin, Münchner Philharmoniker, Wiener Symphoniker, Orchestre de Paris, Cleveland Orchestra, London Philharmonic Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, and others. Earlier in his career, Guggeis was Staatskapellmeister at the Staatsoper Unter den Linden and First Kapellmeister at the Staatsoper Stuttgart. He studied conducting in Munich and Milan. n
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MARC-ANDRÉ HAMELIN Marc André Hamelin’s 2025-26 season spans North America, Europe, Asia, and Australia, with a mix of orchestral, recital, and chamber music engagements. He opened the season with a tour of Australia and Asia, featuring concerto and recital appearances with the Sydney Symphony, concerto engagements with the Wuxi, Ningbo, and Shenzhen symphonies, and solo recitals in Adelaide, Xiamen, and Shenzhen. In North America, Hamelin appears with the Philadelphia Orchestra, Los Angeles Chamber Orchestra, and Orpheus Chamber Orchestra on tour. Recital highlights include Chicago Symphony Presents, San Francisco Symphony, Chamber Music Pittsburgh, The Gilmore Piano Festival, Keyboard Concerts in Fresno, and Soka Performing Arts Center. European appearances include Rhapsody in Blue with the Bayerisches Staatsorchester, the Marx Piano Concerto with the Tonkünstler-Orchester Niederösterreich, and performances with the Bremer Philharmoniker, Wigmore Hall, the Schubertiade, MDR Wartburg, and the Chipping Campden Festival. Additional recitals take place in Italy, the Netherlands, and Berlin. Chamber music highlights include the Chausson Concert with Augustin Hadelich and members of the Boston Symphony Orchestra, and the Franck Piano Quintet with the Juilliard String Quartet for the Philadelphia Chamber Music Society. With pianist Charles Richard-Hamelin, he tours Toronto, Montréal, Québec, and Kingston. An exclusive recording artist for Hyperion Records, Hamelin has released 92 notable recordings of a broad range of repertoire, including the October 2025 Found Objects / Sound Objects, featuring contemporary works. Recent acclaimed recordings include Beethoven’s Hammerklavier Sonata as well as the Dvořák and Florence Price quintets with the Takács Quartet. A composer of more than 30 works, Hamelin’s Études and Toccata on “L’homme armé” were commissioned by the Van Cliburn International Piano Competition and published by Edition Peters. His latest work, Mazurka, was commissioned by the Library of Congress and premiered in April 2024. Born in Montreal and based in the Boston area, Hamelin is the recipient of seven Juno Awards, 11 Grammy nominations, and the Jean Gimbel Lane Prize from Northwestern University. He is an Officer of the Order of Canada, a Chevalier de l’Ordre national du Québec, and a member of the Royal Society of Canada. n PER FOR M A N C ES M AG A Z IN E
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ABOUT THE MUSIC Piano Concerto No. 1 in D Minor, Op. 15 JOHANNES BRAHMS Born May 7, 1833, Hamburg Died April 3, 1897, Vienna APPROXIMATE PERFORMANCE TIME 47 MINUTES
Robert Schumann met Brahms when the latter was still just a rosy-cheeked boy of 20 but immediately recognized his talent and became his enthusiastic champion. In a review that must have seemed overpowering to the young man, Schumann proclaimed Brahms “a young eagle” and said: “When he holds his magic wand over the massed resources of chorus and orchestra, we shall be granted marvelous insights into spiritual secrets.” And almost immediately came disaster: Schumann went into steep mental decline, attempted suicide by throwing himself into the Rhine, and died two years later in a mental asylum. It was natural for the young composer to try to register his feelings in music (and at a subconscious level to try to justify Schumann’s faith in him), and in March 1854 – only weeks after Robert’s suicide attempt – Brahms set out to create that most dramatic and challenging of forms, a symphony. He was not even 21 at this time and had never written anything for orchestra, so he first sketched this symphony as a sonata for two pianos. Brahms soon realized that he was not yet ready to compose a symphony. He abandoned the project but salvaged a great deal of music from these sketches: ten years later the symphony’s projected slow scherzo became the second movement – Denn alles Fleisch, es ist wie Gras – of his German Requiem. Brahms saw more immediate possibilities in the pianistic brilliance of the sketches and decided to transform the first movement into the opening movement of a piano concerto. Once this was completed, he composed a new slow movement and a new rondofinale. Still desperately uncertain of his abilities, Brahms worked on this concerto for four years before he was willing to try it out in a private performance in March 1858. The first public performance did not take place until January 1859, nearly five years after he had set out to write his symphony. Brahms marks the first movement Maestoso, but it hardly feels majestic. Instead, it feels catastrophic. Brahms told Joseph Joachim that this violent opening was a depiction of his feelings when he learned of Schumann’s suicide attempt. At well over 20 minutes, this is a huge movement, and Malcolm MacDonald has described it as “nearly the longest, and probably the most dramatic, symphonic movement since Beethoven.” After the opening sound and fury, the piano makes a deceptively understated entrance, and this in turn points to a remarkable feature of this movement: in general, the orchestra has the more aggressive material, the piano the friendlier music. While the piano part is extremely difficult, this is not an ostentatiously virtuoso concerto in the manner of Liszt and other pianist-composers at mid-
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century. (This massive first movement has no cadenza, in fact.) To call this a “symphony-concerto,” as some have done, goes too far, but such a description does point toward the unusually dramatic character of this music and its refusal to treat the piano as a display instrument. The huge exposition leads to a relatively brief development that includes a shimmering, dancing episode in D major, but the recapitulation is long and fairly literal. It offers no emotional release, no modulation into a major key, and the movement drives unrelentingly to its close in the mood of the very opening. Relief arrives with the Adagio. In the early stages of its composition, Brahms had written in the manuscript “Benedictus qui venit in nomine Domini:” “Blessed is he who comes in the name of the Lord.” The young Brahms had playfully addressed the older Schumann as “Domini,” and some have felt that this must be a tribute to that composer, but in a letter from December 1856 Brahms wrote to Clara, he provides a very different source of inspiration: “I am also painting a lovely portrait of you; it is to be the Adagio.” And there is this: when this music was published, Brahms had removed the Latin inscription and any hint of larger reference. All conjecture aside, this movement has a quiet expressiveness in D major, an almost consoling quality after the furies of the opening movement. It rises to a gentle climax before a brief cadenza leads to a quiet close. The last movement, a vigorous rondo, returns to the mood – and D minor tonality – of the opening. Solo piano leads the way here, and all the movement’s thematic material seems to grow out of this opening theme. The theme itself makes few literal returns but is skillfully transformed on each reappearance, including one use as the subject for a brief but lithe fugue. Brahms offers two cadenzas in this movement, the first almost Bachian in its keyboard writing, and at the very end the rising shape of the rondo theme helps propel the movement – finally in D major – to a heroic close. Initial reaction to this concerto was harsh. After a performance in Leipzig, Brahms wrote to Clara: “You have probably already heard that it was a complete fiasco; at the rehearsal it met with total silence, and at the performance (where hardly three people raised their hands to clap) it was actually hissed.” A Leipzig critic described the concerto as “a composition dragged to its grave. This work cannot give pleasure... it has nothing to offer but hopeless desolation and aridity... for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes! Not only must one take in this fermenting mass; one must also swallow a dessert of the shrillest dissonances and most unpleasant sounds.” It must have given Brahms particular pleasure when – thirty-five years later, in 1894 – he conducted a program in Leipzig that included both his piano concertos and heard this product of his youth cheered in the same hall where it had been reviled so many years before. n
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Symphony No. 7 in D Minor, Op. 70 ANTONÍN DVOŘÁK Born September 8, 1841, Muhlhausen, Bohemia Died May 1, 1904, Prague APPROXIMATE PERFORMANCE TIME 35 MINUTES
Success came late to Dvořák. After years of obscurity, during which he supported his family by giving music lessons and playing the viola in orchestras, Dvořák achieved almost instant fame at the age of 37 when his first set of Slavonic Dances took his name around the world. Now Dvořák found his music in demand, and one of the most important signs of this new fame came in June 1884 when the Philharmonic Society of London nominated him for membership and invited him to compose a symphony that he would conduct in London. Shortly after beginning work on the score in December 1884, Dvořák wrote to a friend: “Now I am occupied with my new symphony (for London), and wherever I go I have nothing else in mind but my work, which must be such as to shake the world and God grant that it may!” Dvořák completed the symphony on March 17, 1885 and journeyed to London to conduct the premiere on June 22. It was a tremendous success: “The enthusiasm at the close of the work was such as is rarely seen at a Philharmonic concert,” wrote one critic. Yet the new symphony, today numbered as Dvořák’s Seventh, came as a surprise. The composer of the snappy, exhilarating Slavonic Dances had written a dark and dramatic symphony, and critics ever since have been at pains to discover the source of this new gravity in the details of Dvořák’s own life. Some hear an intensified Czech nationalism in this symphony, some hear signs of an artistic crisis, others feel that the symphony represents an effort to please Brahms, still others feel that it reflects Dvořák’s reaction to the death of his mother in 1882. But it is better simply to take the Seventh Symphony for what it is: the effort by a powerful creative imagination to expand the scope and dimensions of his art. There can be little doubt that he succeeded. The Seventh is regarded by many as not just Dvořák’s finest symphony but as one of his greatest achievements.
ominous opening melody, but also the violins’ rhythmic “kick,” a sharply-rising figure, and a turn-figure first spit out by violins and eventually taken over by the solo horn. The second subject (if it can be called that, after such a dizzying parade of ideas in the opening moments) arrives as a gently-rocking melody for flutes and clarinets that Dvořák marks dolce, but quickly this section too is spinning off subordinate ideas. Though the development begins quietly, it soon turns dramatic, and the movement builds to a grand climax, then falls away to an impressive close as two horns sound the dark opening theme one last time. The Poco Adagio stays in D minor. Woodwinds, singly or as a choir, announce most of the melodic material here. This music may be gentle on its first appearance, but this movement too grows to a series of great climaxes, and it is left to the cellos to sing the relaxed reprise of the main theme as the music makes its way to the quiet close. The real fun of the Scherzo (and this is a fun movement) lies in its rhythmic vitality. Dvořák sets it in the unusual meter 6/4 and marks it Vivace, but then complicates matters by placing accents where we don’t expect them – sometimes this meter is accented in two, sometimes in three, and sometimes both simultaneously. The music dances madly into the trio section, which seems to begin quietly and simply (some have heard the sound of birdcalls here), but soon introduces complexities of its own; Dvořák makes a powerful return to the scherzo proper and drives the movement to a resounding conclusion. The Finale, marked simply Allegro, returns to the ominous mood of the beginning of the first movement. The cellos’ arching-and-falling opening idea will shape much of this movement, and Dvořák winds tensions tight and then releases them with a timpani salvo that launches this movement on its way. Cellos eventually provide relief with one of those wonderfully amiable themes that only Dvořák could write, and from this material he builds another extremely dramatic movement. In fact, Dvořák stays relentlessly in D minor as the movement nears its climax, and it is only in the final seconds that he almost wrenches it into D major for a conclusion that truly does – as Dvořák hoped – “shake the world.” n -Program notes by Eric Bromberger
This symphony has been called Dvořák’s most “Brahmsian” work, but that term needs to be understood carefully. It is not to say that this is an imitative work – every bar of the Seventh Symphony is unmistakably the music of Dvořák – but it is to say that this music has the same grandeur, seriousness of purpose, and dark sonority that we associate with the symphonies of Brahms, who would remain a close friend of Dvořák throughout his life. Those dark sonorities are evident from the first instant of the Allegro maestoso: over a deep pedal D, violas and cellos sound the brooding opening idea. The movement is in the expected sonata form, but Dvořák uses that form with unusual freedom – his themes are not so much clearlydefined single ideas as they are groups of ideas that spin off a wealth of material for development. In the first moments of this symphony we hear not just that S A N DI EGO SY M PHON Y JA NUA RY 2 026
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Brahms Festival Brahms is not only one of the most famous and cherished composers in all of 19th century music, but an artist of rich and wonderful contradictions. A musical architect of incredible intellectual skill, he wrote music that tugs instinctively at every human heart. Anyone can listen to it and be deeply moved and captivated by it, but each of us will always find that there is more and more to discover in it. Brahms, in a word, is a whole world of feelings and of melody. This San Diego festival is a rare occasion, bringing together some of his best-loved pieces – his four symphonies, his violin concerto and his ravishingly beautiful German Requiem – so that we can listen to them all in a single breath. Don’t miss this opportunity to take a deep dive into one of the greatest musical imaginations that ever lived!
FRIDAY, FEBRUARY 27 | 7:30 PM SUNDAY, MARCH 1 | 2 PM
FRIDAY, MARCH 6 | 7:30 PM
Rafael Payare, conductor Julie Boulianne, soprano Michael Sumuel, bass-baritone Andrew Megill, advisor & chrous master San Diego Symphony Chorus
Rafael Payare, conductor Leonidas Kavakos, violin
VIOLIN CONCERTO & SYMPHONY NO. 4
A GERMAN REQUIEM
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BRAHMS Violin Concerto in D Major BRAHMS Symphony No. 4 in E Minor
FRIDAY, FEBRUARY 28 | 7:30 PM
FRIDAY, MARCH 7 | 7:30 PM
SYMPHONIES 1 & 2
T e D o a t c
SYMPHONY NO. 3 & VIOLIN CONCERTO
Rafael Payare, conductor
Rafael Payare, conductor Leonidas Kavakos, violin
BRAHMS Symphony No. 1 in C Minor BRAHMS Symphony No. 2 in D Major
BRAHMS Symphony No. 3 in F Minor BRAHMS Violin Concerto in D Major
Rafael Paya re
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“Exuding a podium manner of extreme, yet unforced, exuberance... Mr. Payare puts a high premium on bringing joy to concert audiences.” - Wall Street Journal
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RAFAEL PAYARE EXTENDS TENURE WITH THE SAN DIEGO SYMPHONY The San Diego Symphony is delighted to announce the extension of Rafael Payare’s tenure as Music and Artistic Director through the 2028-29 season, marking 10 years of his transformative leadership at the helm. Since his arrival in 2019, Payare’s vision and artistry have elevated the Symphony’s expressive range and strengthened its connection with audiences. This period has been a historic one for the San Diego Symphony, highlighted by the opening of two landmark venues—the acclaimed Rady Shell at Jacobs Park on the San Diego Bay and the beautifully restored Jacobs Music Center in downtown San Diego. “We are delighted that Rafael has extended his time with us,” says Symphony President and CEO Martha Gilmer. “Rafael’s vision for the orchestra and his inspiring musicianship have transformed our Orchestra, deepening both the artistic excellence our musicians regularly bring to the stage as well as our bond with the San Diego community. During his tenure we have opened two extraordinary venues, welcomed 26 new members to our orchestra, performed countless new works, and reached deeper into our community taking our musicians to many communities, civic centers, schools, and hospitals. As we look forward to the years ahead, we will take the sound
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of our orchestra even further. Expanding our reach in our region, nationally and internationally, and developing a deeper connection with audiences is our top priority. As Rafael has always said, ‘the sky’s the limit’ and we continue to set our sights high. We look forward to this next chapter of extraordinary collaboration and creativity.” Payare shares his enthusiasm for continuing this creative partnership: “The artistic partnership I share with my wonderful San Diego Symphony continues to thrive, and I’m proud to be part of shaping the orchestra’s evolving sound. The extraordinary venues here in San Diego inspire us and allow us to explore and present music in new ways. Together, we’ll continue to deepen the orchestra’s artistry, achieve new heights, and keep expanding the repertoire. I am so very happy to share this remarkable journey with our audiences.” We are energized by all that lies ahead under Payare’s leadership—performances that inspire and unite us, collaborations that enrich our community, and a shared commitment to musical excellence that defines the San Diego Symphony’s future. n
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THE LEGACY SOCIETY The Legacy Society honors the following individuals who have made cash pledges or future commitments from their estates to the San Diego Symphony Foundation and/or the San Diego Symphony Orchestra Association to ensure the success of the orchestra for generations to come. The following listing includes commitments as of November 3, 2025 *Deceased $1,000,000 AND ABOVE
$100,000 AND ABOVE
Sophie & Arthur Brody Foundation* Nicole A. and Benjamin G. Clay Phyllis and Daniel J. Epstein John Forrest and Deborah Pate Norman Forrester and Bill Griffin Pauline Foster* Elaine Galinson and Herbert Solomon Pamela Hamilton Lester In memory of Jim Lester Joan* and Irwin Jacobs Karen and Warren Kessler Willis J. Larkin* Beatrice P. and Charles W. Lynds* Jack McGrory The Rev. Michael Kaehr The Miller Fund Marilyn James and Richard Phetteplace Penny and Louis Rosso ^ Marie G. Raftery and Robert A. Rubenstein, M.D. Lyn Small and Miguel Ikeda Katherine “Kaylan” Thornhill Sue and Bill* Weber Mitchell R. Woodbury
Anonymous Alfred F. Antonicelli* Rosanne B. and W. Gregory Berton Julia Brown Margaret and David* Brown Roberta and Malin Burnham The Carton Charitable Trust* Joan R. Cooper* Bob and Kathy Cueva Karin and Gary Eastham Elizabeth and Newell A. Eddy* Esther and Bud* Fischer Pam and Hal Fuson Joyce A. Glazer Nancy and Fred Gloyna Muriel Gluck* Susan and Paul Hering Barbara M. Katz Evelyn and William Lamden Inge Lehman* Sandy and Arthur* Levinson
Pamela Mallory Elizabeth R. Mayer* Vance M. McBurney* Imozelle and Jim McVeigh Michael Napoli Shona Pierce* Linda and Shearn* Platt Anne Ratner* Colette Carson Royston and Ivor Royston Ken Schwartz* Kris and Chris Seeger Karen and Kit Sickels Gayle* and Donald Slate Sheila Sloan* Dave and Phyllis Snyder Pat Stein* James L.* and June A. Swartz Elizabeth and Joseph* Taft Col. Joseph Timmons (Ret.) and Mrs. Joyce Timmons Leslie and Joe Waters Jennie Jackson Werner
UNDISCLOSED OR UNDER $100,000 Anonymous (3) Leonard Abrahms* Pat Baker and Laurence Norquist* William Beamish Stephen and Michele* Beck-von-Peccoz Alan Benaroya Lt. Margaret L Boyce USN* Dennis and Lisa Bradley Gordon Brodfuehrer Joseph H. Brooks and Douglas Walker Donna Bullock Melanie and Russ Chapman Clancy-Jordan Family Catherine Cleary Warrine and Ted Cranston* Elisabeth and Robert* Crouch Anna Curren Peter V. Czipott and Marisa SorBello Caroline S. DeMar Ms. Peggy Ann Dillon* Alice Dyer* Arthur S. Ecker* Ellen C. Revelle* Jeanne and Morey Feldman* David Finkelstein* Teresa and Merle Fischlowitz* Margaret A. Flickinger Judith and Dr. William Friedel Carol J. Gable* Edward B. Gill Madeline and Milton Goldberg* Helene Grant* Dorothy and Waldo Greiner* David and Claire Guggenheim Lulu Hsu Marjory Kaplan
The Rev. Michael Kaehr Patricia A. Keller* Anne* and Takashi Kiyoizumi Carol Lazier and James Merritt Joan Lewan* Jaime z’’l* and Sylvia Liwerant Gladys Madoff* Amy and John Malone Richard Manion James Marshall, Ph.D. Patricia and Peter Matthews Antoinette Chaix McCabe* Sandra Miner Judith A. Moore Ermen and Fred Moradi* Mona and Sam Morebello Joani Nelson* Helen and Joseph R. Nelson* Mariellen Oliver* Elizabeth and Dene Oliver Val and Ron Ontell Steven Penhall Margaret F. Peninger* Pauline Peternella * Robert Plimpton Elizabeth Poltere Sheila Potiker* Jim Price and Joan Sieber Carol Randolph Ph. D and Bob Caplan Sarah Marsh-Rebelo and John Rebelo Lois Richmond - JCF Debra Thomas Richter and Mark Richter Carol Rolf and Steven Adler Dr. Arno Safier* Joan and Jack Salb*
Richard A. Samuelson* Craig Schloss Todd Schultz Melynnique and Edward* Seabrook Pat Shank Kathleen and Lewis* Shuster Drs. Bella and Alexander* Silverman Stephen M. Silverman Judith Harris* and Robert Singer, M.D. Richard Sipan* Nora Jean Smith Linda and Bob Snider Suellen and James Sorenson Valerie Stallings Richard Stern* Marjorie A. Stettbacher Susan B. Stillings* Joyce and Ted Strauss* Gene Summ Sheryl Sutton Victor van Lint Harriet and Maneck* Wadia Pauline and Ralph Wagner* Betty and Phillip Ward PIF Fund* K. Nikki Waters + Mike & Janet Westling James R. Williams and Nancy S. Williams* Martha Jean Winslow* Marga Winston* Edward Witt Carolyn and Eric Witt David A. Wood Zarbock 1990 Trust* LeAnna S. Zevely Dr. and Mrs. Philip Ziring
If you are interested in more information about joining The Legacy Society, please contact Vice President of Institutional Advancement Sheri Broedlow at (619) 615-3910 or sbroedlow@sandiegosymphony.org.
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CORPORATE HONOR ROLL THESE PARTNERS CURRENTLY MAINTAIN AN ANNUAL SAN DIEGO SYMPHONY ORCHESTRA SPONSORSHIP:
$200,000+
on
$100,000+
SAN DIEGO BAYFRONT
$50,000+
$25,000+
$15,000+
*
$10,000+
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LUDWIG VAN BEETHOVEN Symphony No. 1 in C Major, Op. 21 Adagio molto - Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio - Allegro molto e vivace
LU Bo Die
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-INTERMISSION-
SATURDAY, JAN. 24 | 7:30PM SUNDAY, JAN. 25 | 2PM Jacobs Music Center
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DMITRI SHOSTAKOVICH Symphony No. 8 in C Minor, Op. 65 Adagio - Allegro non troppo Allegretto Allegro non troppo Largo Allegretto Total Program Duration: 2 hours Includes one 20-minute intermission
2025-26 JACOBS MASTERWORKS
TRAGEDY AND TRIUMPH: SHOSTAKOVICH SYMPHONY NO. 8
RAFAEL PAYARE See bio on page P2.
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Rafael Payare, conductor San Diego Symphony Orchestra
The is in ope une key “co on C rese her
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ABOUT THE MUSIC Symphony No. 1 in C Major, Op. 21 LUDWIG VAN BEETHOVEN Born December 16, 1770, Bonn Died March 26, 1827, Vienna APPROXIMATE PERFORMANCE TIME 30 MINUTES
Beethoven began sketches for a symphony in C major in 1795, just three years after he arrived in Vienna, but the piece did not go well and he abandoned it. The symphony was the grandest of purely instrumental forms, and – because he did not want to rush into a field where Haydn and Mozart had done such distinguished work – Beethoven used the decade of the 1790s to refine his technique as a composer and to prepare to write a symphony. He slowly mastered sonata form and began to write for larger chamber ensembles and for wind instruments; he also composed two piano concertos before taking on the challenge of a symphony. Beethoven then wrote the First Symphony in 1799-1800, and it was first performed, along with his Septet, in Vienna on April 2, 1800. The genial First Symphony has occasionally been burdened with ponderous commentary by those who feel that it must contain the seeds of Beethoven’s future development – every modulation and detail of orchestration has been squeezed for evidence of the revolutionary directions the composer would later take. Actually, Beethoven’s First is a very straightforward late-18th-century symphony, the product of a talented young man quite aware of the examples of Haydn and Mozart and anxious to master the most challenging form he had faced so far. In fact, one of the most impressive things about Beethoven’s First Symphony is just how conservative it is. It uses the standard Haydn-Mozart orchestra of pairs of winds plus timpani and strings (though early reviewers commented on its heavy use of the winds); its form is right out of Haydn (with whom Beethoven had studied); and its spirit is consistently carefree. There are no battles fought and won here, no grappling with darkness and struggling toward the light – the distinction of the First Symphony lies simply in its crisp energy and exuberant music-making. There are some unusual features along the way, but these should be enjoyed as the striking touches they are rather than exaggerated in light of Beethoven’s future directions as a symphonist. The young composer who wrote the First Symphony was, frankly, looking backward rather than forward.
composed 12 years earlier. This is not a case of plagiarism or of slavish imitation – only a young man’s awareness of the thunder behind him. This energetic movement, with its graceful second theme in the woodwinds, develops concisely and powerfully. The second movement, marked Andante cantabile con moto, is also in sonata form. The main theme arrives as a series of polyphonic entrances, and Beethoven soon transforms the dotted rhythm of this theme’s third measure into an accompaniment figure – it trips along in the background through much of this movement, and Beethoven gives it to the solo timpani for extended periods. Beethoven’s stipulation con moto is crucial: this may be a slow movement, but it pulses continuously forward along its 3/8 meter, driving to a graceful climax as the woodwind choir sings a variant of the main theme. By contrast, the third movement bristles with energy, and Beethoven’s marking Menuetto seems incorrect: this may well be a minuet in form, but the indication Allegro molto e vivace banishes any notion of dance music. This movement is – in everything but name – a scherzo, the first of the remarkable series of symphonic scherzos Beethoven would write across his career. (This movement is similar to the third movement of Beethoven’s String Quartet in F Major, Op. 18, No. 1, composed in these same years – that movement is marked Scherzo.) The trio section is dominated by the winds, whose chorale-like main tune is accompanied by madly-scampering violins. The most amusing joke in this symphony comes at the opening of the finale, where a rising scale emerges bit by bit, like a snake coming out of its hole; at the Allegro molto e con brio that scale rockets upward to introduce the main theme. With this eight-bar theme, the movement seems at first a rondo, but it is actually in sonata form, complete with exposition repeat and development of secondary themes. A vigorous little march drives the symphony to its resounding close. Beethoven’s First Symphony found enthusiastic audiences – it was soon performed in Berlin, Breslau, Frankfurt, Dresden, Munich, Paris and London, and there is even evidence that it may have been performed in Lexington, Kentucky, in 1817 (Beethoven would have been delighted). To those dismayed by the course of Beethoven’s subsequent music (their number included Haydn), the First Symphony – which so cheerfully trails clouds of eighteenth-century glory – remained a symbol of the direction his career should have taken. n
Continued next page
The key signature of this symphony may suggest that it is in C major, but the first movement’s slow introduction opens with a stinging discord that glances off into the unexpected key of F major. This leads to another “wrong” key – G major – and only gradually does Beethoven “correct” the tonality when the orchestra alights gracefully on C major at the Allegro con brio. Many have noticed the resemblance between Beethoven’s sturdy main theme here and the opening of Mozart’s Jupiter Symphony, S A N DI EGO SY M PHON Y JA NUA RY 2 026
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Symphony No. 8 in C Minor, Op. 65 DMITRI SHOSTAKOVICH Born September 25, 1906, St. Petersburg Died August 9, 1975, Moscow APPROXIMATE PERFORMANCE TIME 1 HOUR
Shostakovich’s Seventh Symphony, premiered in March 1942 during some of the darkest moments of World War II, had a popular success unequaled in the history of music. Subtitled the “Leningrad” and written during the Nazi siege of that city, the symphony became a worldwide symbol of resistance to Hitler. Within the first season the Seventh Symphony was performed over sixty times in the United States alone, and Shostakovich appeared on the cover of Time magazine wearing the hat of his volunteer fire brigade in Leningrad. Yet in the midst of such acclaim Shostakovich found himself anxious to press on with another symphony, and this one would prove quite different from the heroic public oratory of the Seventh. He began work early in July 1943 and had the first movement complete by August 3. Shostakovich then moved to the retreat the Soviet government maintained for its composers in Ivanovo, 150 miles northeast of Moscow. There, working in a converted henhouse in the forest, he quickly wrote the second and third movements and had the entire Eighth Symphony complete by September 9. It left him exhausted. To his friend Ivan Sollertinsky he wrote: “There’s a certain vacuum in my soul, the kind that’s always there when a big work has been completed.” Given the international triumph of the Seventh Symphony, its successor was eagerly anticipated, but its premiere on November 3, 1943, by Eugene Mravinsky and the Leningrad Philharmonic brought no comparable success. In fact, the reaction was confused. Audiences that had come expecting a repeat of the Seventh’s heroic sentiments were left puzzled. Performances in the United States and England had no greater success, one American critic describing the Eighth as “the least interesting” of Shostakovich’s wartime symphonies. The music fell into a sort of limbo, where it remained for several years. Then it became infamous. At the horrifying Congress of the Union of Soviet Composers in February 1948, at which leading Russian composers were attacked for failing to write the sort of optimistic music Soviet society demanded, Shostakovich’s Eighth Symphony was singled out for savage censure as one of those works full of “confused, neuropathological combinations which transform music into cacophony.” Shostakovich was fired from his position at the Conservatory, and performances of the Eighth Symphony (and many other works) were forbidden. That ban remained in effect until the cultural thaw after the death of Stalin in 1953. The Eighth Symphony began to be played again in 1956, and a memorable 1960 performance by Mravinsky and the Leningrad Philharmonic in London (at which the composer was present) symbolized its complete rehabilitation. Since then, the Eighth has been regarded as one of Shostakovich’s most important symphonies.
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But it is not one of his most popular, and it can be as puzzling to audiences today as it was during the war. It is a big work, in five movements that span an hour, and it clearly reflects the experience of the war: a huge, dramatic first movement is followed by three much shorter movements of sharply-contrasted, often violent, character. The problem lies in the concluding fifth movement. It has been suggested that had Shostakovich written a powerful finale that made properly heroic noises about the war, there would have been no problem for audiences and the symphony would have escaped censure in 1948. But he did not. Instead, he wrote a finale that not only fails to resolve the issues the symphony had raised but refuses to address them at all. Consciously non-heroic, at moments even light-hearted, the finale draws this massive war symphony to a close in ambiguous silence. Even if one does not share the ideological priorities that demanded heroic conclusions, Shostakovich’s finale can feel mystifying and emotionally unsettling. Yet that ambiguous close is also the source of this music’s greatness. The huge (25-minute) opening Adagio seems to recall the opening of Shostakovich’s Fifth Symphony, composed six years earlier: both begin with powerful dotted rhythms from the lower strings, both introduce quiet violin material over this foundation, both develop their material by playing these themes up in an almost brutalized development, and both subside to a quiet close that seems only momentarily to resolve the movement’s tensions. Shostakovich was sometimes criticized for the plainness of his material, but how fine are his themes in this movement! Over slowly-dotted lower strings, first violins lay out the movement’s long, dark main idea, played entirely over the fingerboard to produce a soft, disembodied sound. Beethoven, who could write a similar kind of music, would mark such a passage ermattet: “choked.” The quiet second subject also arrives in the first violins over pulsing rhythms, its angular shape draped upon the unusual meter of 5/4. These subdued themes are then savaged in the long development, which is violent, brutal, strident. This is by no means pictorial music, but it is impossible not to feel this music as a direct response to the war that was raging only a couple of hundred miles to the west of where it was written. The violence subsides, and over tremolo strings a long solo for English horn winds down the tensions, its melancholy sound exactly right for this moment and this music. Shostakovich revisits his main themes very briefly, and the movement fades into silence on quiet string chords – rarely has C major sounded so grim. This Adagio, almost a complete work in itself, makes an overpowering beginning to the Eighth Symphony, and it is worth recalling Serge Koussevitsky’s description of it as music “which, by the power of its human emotion, surpasses everything else created in our time.” Extravagant praise, and perhaps the result of wartime fervor, but it does suggest the scope and intensity of this movement.
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Each of the three interior movements has a distinctive tempo and character. The Allegretto sustains some of the brutality of the first movement as it lurches forward on heavy-footed three-note patterns. These furies subside as solo piccolo introduces the skittering tune that will make up the middle of the movement, but the
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three-note pattern returns to overpower this and drive the movement to a thunderous close. The final three movements are played without pause. The viola’s steady rush of quarter notes pounds through the Allegro non troppo, which hurtles along unstoppably. Was this movement inspired by newsreels of the huge battles between Nazi and Soviet armor that took place around Kursk in the summer of 1943, just as Shostakovich was writing this music? The unstoppable rhythms suggest the mechanistic grind of tanks, while shells shriek overhead and distant explosions punctuate the music. A drum roll leads directly into the fourth movement, which brings another complete change. Marked Largo, this is a passacaglia based on the cellos’ ten-measure ground bass, and it is a measure of Shostakovich’s skill as a symphonist that this ground is a transformation of the powerful cello figure that began the symphony. Gone is the brutality of the earlier movements, and in their place comes an icy stillness. Muted strings establish the veiled, murky atmosphere, and against this still landscape emerge lonely passages for solo winds: horn, piccolo, two clarinets. The tone is bleak, and the music flows without pause into the finale. This finale is problematic in countless ways. It begins with the three-note figure that had permeated the second movement, but where that figure had sounded massive before, now it turns playful. The tone of the finale seems all wrong: Shostakovich concludes this wartime symphony
with music that feels casual, almost light-hearted. The perky woodwind solos of the opening give way to a waltz in the cellos; brass fanfares are followed by cadenza-like passages for the violins, and suddenly the music roars up into a savage climax that revisits the furies of earlier movements. In the stunned aftermath, the bass clarinet’s insouciant little tune disarms tensions and pushes the movement toward its close. After the drama and sharp profile of the earlier movements, the symphony comes to an uncertain and quiet close. Far from being the “least interesting” of Shostakovich’s wartime symphonies, the Eighth Symphony is the greatest of them, and it is precisely this ending that is the source of its greatness. In the face of a devastating war (even at a time when that struggle was beginning to succeed), Shostakovich refuses to pound his chest. Instead, he registers a deeper, more complex reaction to war than he had in the packaged heroism of the “Leningrad” Symphony. The Eighth Symphony speaks not of jingoistic triumph but of the more immediate realities of violence and pain. If Shostakovich fails to wrap a satisfying artistic form around these raw emotions and if his music seems to end in the middle of nowhere, the Eighth Symphony nevertheless offers a direct response to the experience of war, undistilled by obligation to political or public oratory. It is no wonder that its effect should be so disturbing. n -Program notes by Eric Bromberger
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THE FUTURE IS HEAR CAMPAIGN The San Diego Symphony is proud to announce that we have met our goal of $125 million for “The Future is HEAR” campaign! We gratefully acknowledge the donors who have made a gift of $10,000 or more toward this campaign supporting the construction of The Rady Shell at Jacobs Park, improvements to Jacobs Music Center, and ongoing artistic initiatives for San Diego’s communities. For giving and recognition opportunities, please email campaign@sandiegosymphony.org or call (619) 237-1969. The following listing reflects pledges entered as of November 3, 2025.
^Jewish Community Foundation $1,000,000 AND ABOVE Terry L. Atkinson Bank of America Dianne Bashor Malin and Roberta Burnham Harry and Judy Collins Foundation ^ Daniel J. and Phyllis Epstein Ted and Audrey Geisel* The George Gildred Family and The Philip Gildred Family ^ Joan* and Irwin Jacobs Sheri Lynne Jamieson The Kong Tang Family Dick* and Dorothea Laub Jack McGrory The Alexander and Eva Nemeth Foundation The Conrad Prebys Foundation Allison and Robert Price Evelyn and Ernest Rady Lou and Penny Rosso and the Rosso Family Colette Carson Royston and Ivor Royston Sahm Family Foundation T. Denny Sanford Karen and Christopher “Kit” Sickels Karen and Jeff Silberman Donald and Gayle* Slate The State of California Gloria and Rodney Stone Sycuan Casino Resort The Kong Tang Family Roger* Thieme and Sylvia Steding ° Sue and Bill* Weber $250,000 AND ABOVE Anonymous Raffaella and John Belanich Alan Benaroya Susan and Jim Blair The James Silberrad Brown Foundation Julia Brown Family David C. Copley Foundation Sam B. Ersan* Esther Fischer Pam and Hal Fuson Karen and Warren Kessler
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°Rancho Santa Fe Foundation Carol Ann and George Lattimer The Payne Family Foundation M&I Pfister Foundation Linda and Shearn* Platt Robert Glenn Rapp Foundation Dave and Phyllis Snyder ^ Elaine Galinson and Herbert Solomon Elizabeth and Joseph* Taft Jayne and Bill Turpin + Kathryn A. and James E. Whistler $100,000 AND ABOVE Jules and Michele Arthur Denise and Lon Bevers Rosanne B. and W. Gregory Berton David Bialis Catherine & Phil Blair, Linda & Mel Katz, Manpower San Diego Nicole A. and Benjamin G. Clay Stephanie and Richard Coutts Diane and Charles Culp Diane and Elliot Feuerstein Walt Fidler Anne and Steve Furgal Lisa Braun Glazer and Jeff Glazer In memory of Jim Lester The Hering Family Carol and Richard Hertzberg Arlene Inch Brooke and Dan* Koehler Bill and Evelyn Lamden Curt Leland and Mary DiMatteo ^ Sandy and Arthur* Levinson The Alex C. McDonald Family Lori Moore, Cushman Foundation The Parker Foundation (Gerald T. & Inez Grant Parker) Bill and Clarice Perkins Marilyn James and Richard Phetteplace Jeanne and Arthur* Rivkin Sage Foundation In memory of Bob Nelson who loved the music, the bay and San Diego Tucker Sadler Architects Katherine “Kaylan” Thornhill U.S. Bank
+San Diego Foundation
*Deceased
Jo and Howard* Weiner Cole and Judy Willoughby Richard* and Joanie Zecher
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Anonymous Lisa and Dennis Bradley Gordon Brodfuehrer Pamela and Jerry Cesak County of San Diego The Druck/Silvia Family Susan E. Dubé Lisette and Mick Farrell
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Bonnie & Krishna Arora and Family David A. and Jill Wien Badger Carolyn and Paul Barber Cindy and Larry Bloch Lisa and David Casey The John D. & Janice W. Cone Family Trust Scotty Dale Kathleen Seely Davis The den Uijl Family In Loving Memory of LV Gary and Karin Eastham In loving memory of Kenrick “Ken” Wirtz* Jose Fimbres Moreno* Karen Wahler and Michael Gay* William and Martha Gilmer Mark Gosselin Family Foundation The Jaime Family Trust Roy, Peggy, Dean, and Denise Lago The Peggy and Robert Matthews Foundation Admiral Riley* D. Mixson Gerry and Jeannie Ranglas Tom and Jen Ranglas Marilyn & Michael Rosen, Juniper and Ivy Restaurant Carol Rolf and Steven Adler Richard Sandstrom and Sandra Timmons Congresswoman Lynn Schenk Kris and Chris Seeger Deborah Heitz and Shaw Wagener Emma and Leo* Zuckerman $25,000 AND ABOVE
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Dr. John and Susan Fratamico Janet and Wil Gorrie Virginia and Peter Jensen Jeff Light and Teri Sforza Sig Mickelson* Sandy and Greg Rechtsteiner The Segur Family In honor of Robert (Bud) Emile, SDS Concertmaster 1960-1975 Bill and Diane Stumph Gayle and Philip Tauber In memory of my husband Raymond V. Thomas, Lover of the Symphony The Bartzis-Villalobos Family RANAS Leslie and Joe Waters John* J. Zygowicz and Judy Gaze Zygowicz $10,000 AND ABOVE 4040 Agency - Mary, Bill & John Erina Angelucci Aptis Global, A subsidiary of The Kimball Group Eloise and Warren* Batts Lauren Lee Beaudry Karl and Christina Becker Edgar and Julie Berner Diane and Norm Blumenthal The Boros Family Sarah* and John Boyer Annette and Daniel Bradbury Lori and Richard Brenckman Sheri Broedlow and Kyle Van Dyke Beth Callender and Pete Garcia The Casdorph Family Angela Chilcott Kurt and Elizabeth Chilcott Dr. Samuel M. Ciccati and Kristine J. Ciccati P. Kay Coleman & Janice E. Montle Dr. William Coleman Peter V. Czipott and Marisa SorBello Ann Davies Caroline S. DeMar Drs. Edward A. and Martha G. Dennis George and Jan DeVries Nina and Robert* Doede In loving memory of Karen Cooper Ferm* Michael and Susan Finnane Gertrude B. Fletcher K. Forbes Deborah Pate and John Forrest Judith and William Friedel Barbara and Doug Fuller Vicki Garcia-Golden and Tim Jeffries Gardiner & Theobald Inc. Joyce M. Gattas, PhD Lynn and Charlie Gaylord In memory of Royce G. Darby* Kimberly and Jeffrey Goldman In memory of Samuel Lipman* Clarinetist S A N DI EGO SY M PHON Y JA NUA RY 2 026
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The Granada Fund Robert and Carole Greenes Carrie and Jim Greenstein Georgia Griffiths and Colleen Kendall Lulu Hadaya Jeff and Tina Hauser In memory of Lucille Bandel* Marjorie Heinrich and Jan Nunn In Memory of Dick Hess* Richard A. Heyman and Anne E. Daigle Family Foundation Cheryl J. Hintzen-Gaines and Ira J. Gaines Mary Ann and John Hurley Thomas Jordan and Meredith M. Clancy Keith and Cheryl Kim Katherine Kimball Helen and Sig Kupka Linda and Tom Lang Alexis and Steven Larky Let the music play on, Drew! Tom and Terry Lewis Foundation The Li Family Larry Low and Mikayla Lay Josephine & Alex Lupinetti* Scott MacDonald and Patti Kurtz Daniel and Chris Mahai Sally and Luis Maizel Susan and Peter Mallory, in honor of Martha Gilmer David Marchesani Family Anne and Andy McCammon The McComb Family Katy McDonald Larry McDonald and Clare WhiteMcDonald Mark, Amy, Auguste & Paris Melden In Memory of James C. Moore* Judith and Neil* Morgan Clara and Donald Murphy Patricia R. Nelson The Lorna* & Adrian Nemcek Family The Ning Family Frank O’Dea, O’Dea Hospitality Val and Ron Ontell Carol and Vann Parker Philip and Sally Patton The Hong-Patapoutian Family The Pollock Family Phillip Rand, M.D., dedicated Ob-Gyn, kind and gentle soul, humanitarian In loving memory of Long “Chris” Truong* Carol Randolph, Ph. D. and Robert Caplan, Seltzer Caplan McMahon Vitek Dr. Vivian Reznik and Dr. Andrew Ries Burton X and Sheli Rosenberg ^ Marie G. Raftery and Robert A. Rubenstein, M. D. + The Ryde Family Memorial Foundation at The San Diego Foundation Shari and Frederick Schenk Colin Seid and Dr. Nancy Gold
Susan and Michael Shaffer Brigg and Jayne Sherman Shinnick Family Ruey & Marivi Shivers Stephen M. Silverman Janet Simkins DeAnne Steele, Carlo Barbara and Cole Barbara Hon. Stephanie Sontag and Hon. David B. Oberholtzer Jeanette Stevens Sudberry Properties Beatriz & Matthew Thome Jacqueline Thousand and Richard Villa Cynthia Thornton and Michael Keenan Glenda Sue Tuttle Michael and Eunicar Twyman Susan and Richard Ulevitch Aysegul Underhill Patricia and Joe Waldron Lori and Bill* Walton The Warner Family + The K. Nikki Waters Trust Shirli, Damien and Justin Weiss Mike and Susan Williams Jeffrey P. Winter and Barbara Cox-Winter The Witz Family In loving memory of Ching H. Yang Howard and Christy Zatkin
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UPCOMING SHOWS AT JACOBS MUSIC CENTER
FRI. FEB 6 | 7:30PM
Steve Hackman’s Beethoven X Beyoncé San Diego Symphony Orchestra Combining pop’s Queen with classical music’s King! Hear Beethoven’s Symphony No. 7—his most joyful and pulsing celebration of dance— interwoven with Beyoncé’s most popular songs including, “Girls,” “Crazy in Love,” “Sorry,” “Cuff It,” “Single Ladies,” and “Texas Hold ‘Em.”
FE
SAT. MAR. 14 | 7:30PM
Ye
The Gershwins on Broadway with Rob Fisher
Sch Deb
Broadway favorites—and real-life married couple—Colin Donnell & Patti Murin pair up for one night only performing George & Ira Gershwin’s greatest songs. Expect showstopping vocals, sparkling duets, and the kind of stage chemistry critics have called “infectious” and “dazzle-worthy.” The San Diego Symphony Orchestra does not appear on this program.
SAT, APR. 4 | 7:30PM
Dave Brubeck Quartet’s TIME OUT A record-breaking album by the West Coast-cool Dave Brubeck Quartet, Time Out broke records and conventions alike, becoming the first jazz album to sell a million copies. With all-original pieces, it explores a variety of musical styles and time signatures, the album was inducted into the GRAMMY® Hall of Fame and was selected for preservation in the United States National Recording Registry by the Library of Congress as being “culturally, historically or aesthetically significant.” The San Diego Symphony Orchestra does not appear on this program.
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SIX MASTERS. ONE INSTRUMENT. INFINITE EMOTION From Romantic fire to modern brilliance, these concerts highlight the piano’s power to move, dazzle, and inspire. Steinway is the official piano of the San Diego Symphony.
APR 10 & 11
FEB 15*
FEB 21 & 22
Yefim Bronfman In Recital
Benjamin Grosvenor
Conrad Tao
Schumann, Brahms, Debussy & Prokofiev
RAVEL Piano Concerto in G Major
JOHN ADAMS Century Rolls
APR 18 & 19
APR 24 & 25
Ingrid Fliter
Alexandra Dovgan
CHOPIN Piano Concerto No. 2 in F Minor
BEETHOVEN Piano Concerto No. 5, Emperor
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GUSTAV MAHLER Symphony No. 7 in E Minor Langsam - Allegro Nachtmusik I Scherzo: Schattenhaft Nachtmusik II Rondo-Finale
GU Bo Die
APP 80 M
Total Program Duration: 1 hour 20 minutes No intermission
SATURDAY, JAN. 31 | 7:30PM SUNDAY, FEB. 01 | 2PM
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RAFAEL PAYARE See bio on page P2.
Jacobs Music Center 2025-26 JACOBS MASTERWORKS
MUSIC OF THE NIGHT: MAHLER SYMPHONY NO. 7
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Rafael Payare, conductor San Diego Symphony Orchestra
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PROGRAM NOTES | MUSIC OF THE NIGHT
ABOUT THE MUSIC Symphony No. 7 in E Minor GUSTAV MAHLER Born July 7, 1860, Kalischt, Bohemia Died May 18, 1911, Vienna APPROXIMATE PERFORMANCE TIME 80 MINUTES
The Seventh has always been the neglected stepsister among Mahler’s ten symphonies, and greater familiarity over the last several decades has not yet transformed it into Cinderella. The last of Mahler’s three purely instrumental “middle” symphonies, the Seventh had the strangest creation of any of his symphonies. In the summer of 1904, Mahler brought his family to their summer retreat at Maiernigg, on the southern shore of the Wörthersee in central Austria. There Mahler composed some of his darkest music, the finale of the Sixth Symphony, then pressed on to write two quite different movements. Both were relatively brief, both were relaxed, and Mahler referred to them as Nachtmusik movements: “night-music” or “serenades.” But he had no idea how they might fit into a larger symphonic context. Mahler returned to Maiernigg in the summer of 1905, still with no idea how to proceed. A trip to the Dolomites and a walk around a favorite lake there brought no inspiration, and the dejected composer headed back to Maiernigg. At Klagenfurt, he got into a boat to be rowed across to Maiernigg, and “As soon as the oar touched the water the theme (or rather the rhythm and the feeling) of the introduction to the first movement came to me – and in four weeks the first, third and fifth movements were ready and done with!” In fact, Mahler wrote the third movement first, then the finale, and only then did he go back and compose the first movement. Mahler led the premiere of the Seventh Symphony on September 19, 1908 in Prague, where his wife Alma reported that it had only a succès d’estime. Mahler claimed to be wary of providing programs for his symphonies, yet he left a wealth of hints as to what the Seventh is “about.” The Seventh, he said, is about the progress from night to day. A massive opening movement, which depicts what he called “the power of darkness . . . [night as a] violent, stubborn, brutal and tyrannical force,” is followed by three briefer movements that offer different responses to night. The finale, which Mahler nicknamed “Der Tag” (Day), escapes the darkness and thrusts us into bright C-Major sunlight. For some years, the Seventh even had the spurious nickname “Song of the Night,” a title that did not originate with the composer (and which in fact is legitimately the nickname of Karol Szymanowski’s Third Symphony). Mahler’s program seems a likely dramatic sequence, but for all its many strengths, the Seventh remains the least-familiar of Mahler’s symphonies. About one thing, however, everyone agrees: the Seventh is an uneven work of art. The three inner movements – the two Nachtmusik movements and the central scherzo – have an instant S A N DI EGO SY M PHON Y JA NUA RY 2 026
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charm, and in the days before Mahler’s music became popular, they were sometimes performed by themselves. When in the 1950s Erich Leinsdorf led them with the Los Angeles Philharmonic, he was taken to task the following day on the editorial page of the Los Angeles Times, which demanded to hear the outer movements. And it is these outer movements, particularly the finale, that have occasioned sharp debate. Mahler described the opening movement as “tragic night” and even went so far as to say that it is “dominated by a tragic and elemental power, that of Death.” It opens quietly with the pulsing rhythm inspired by the oars, and over this intrudes the strange sound of the tenor horn. Mahler, who asks that this passage be played with großer Ton, referred to this beginning as the sound of “nature roaring.” Gradually the music eases ahead and becomes a march, and this in turn accelerates into the main body of the movement. A spectacular collection of night-sounds – shrieks, whistles, trills – accompanies the rush into the main theme, a mighty horncall marked Allegro risoluto, ma non troppo. To the conductor Willem Mengelberg, Mahler described this theme as the force that would do battle against the forces of the night. The second subject is one of the most beautiful melodies Mahler ever wrote, a soaring theme for violins that he marks Mit großem Schwung: “With great energy, swing.” The development is long and episodic, and one of its interludes deserves particular mention. The music grows quiet and solemn, and a harp glissando sweeps us into a moment that can only be described as magic: Mahler stacks up all four of his main themes – the opening oar rhythm, the march, the main horn theme, and the violins’ soaring second subject – and presents them simultaneously. It is a moment fully worthy of those other towering examples of symphonic counterpoint, the finales of Mozart’s Jupiter Symphony and Bruckner’s Eighth, and the wonder is that instead of sounding chaotic or forced, this episode sounds so luminous and beautiful. Mahler builds to a climax he marks Grandioso, and the march propels the movement to its firm close. Mahler may have believed this movement full of night and death, but it ends in a triumph that appears to have dispelled the forces of darkness. The three interior movements, all much shorter, offer less ominous faces of the night. Mahler said that the second movement was inspired by Rembrandt’s painting The Night Watch and felt that this particular patrol was moving through what he called “fantastic semi-darkness.” Listeners should not search for a literal depiction of a patrol at night but instead for the sense of moving through darkness. The opening horn call and its distant answer create a sense of space, and Mahler heightens this with periodic use of quiet cowbells, heard from afar. Shortest of the movements, the central scherzo is full of “things that go bump in the night.” Mahler marks this movement Schattenhaft (“Shadowy”), and it rushes past like something flickering through the darkness. Much of the writing is in the depths of the orchestra (full of whirring, thumping, banging sounds from low strings, tuba, timpani), and the music keeps breaking into ghostly little waltzes that are more devilish than demonic – this
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PROGRAM NOTES | MUSIC OF THE NIGHT
movement is fun rather than frightening. At the end, the waltz falls apart, and the movement ends with a wry joke. Mahler’s marking for the fourth movement – Andante amoroso – reminds us that there is another side to night: it is also the time of love. This is a moonlit serenade, and Mahler underlines that character by including guitar and mandolin, instruments that traditionally accompany such music, and scoring much of it for another instrument associated with the music of love, the solo violin. Night here is warm and perfumed, and this sensual music is scored with unusual delicacy: Mahler gives the percussion and all brass except two horns this movement off. Cellos and then violins sing luxuriously in the central episode, but the opening serenade returns to close out the movement on the guitar’s softly-strummed chords.
the three middle movements have considerable charm, and there is much to love in that strange, dark first movement. But more than anything else it is the finale – the destination point of that journey – that has proven the thorniest part of the Seventh Symphony. Listeners come out of this finale (and so out of the entire symphony) amazed, fascinated, dizzied – and challenged to make full sense of this fantastic symphonic journey. n -Program notes by Eric Bromberger
All this delicacy vanishes in the first instant of the finale, which opens with timpani salvos, wild horn trills, and a trumpet solo that rips into the stratosphere. We have left behind night, in its many apparitions, and are now in the full light of day. This finale, brilliantly scored and written, overflows with incandescent energy. It is also full of quotations from other music, and if the main theme seems to take the shape of another piece of celebration music – Wagner’s Prelude to Die Meistersinger – what are we to make of the other references? Some have heard a touch of Lehár’s The Merry Widow here, others a bit of Mendelssohn there, and there is even a whiff of Rimsky’s Russian Easter Overture along the way. More unsettling are the movement’s constant dislocations. This music hurtles through instantaneous changes of key, tempo, mood and even kinds of music, and while this has been described as a kaleidoscopic inclusiveness, sometimes it feels as if Mahler is shifting gears without benefit of clutch. Episodic and wildly varied as this music may be, Mahler provides a degree of balance by bringing back the main theme of the opening movement as he nears the conclusion, and it is a measure of the suddenness of his vision in the rowboat that the finale – written first – returns to the main theme of a movement written after it was complete. First we hear bits of that theme, and finally – to the sound of wildly pealing bells – the full theme is shouted out in all its glory, and the symphony hurtles to its close.
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The finale of the Seventh Symphony has become a lightning rod for those who love Mahler’s music, and there have been many efforts to explain it. Even so devoted a Mahlerian as Deryck Cooke was brutally frank about this movement, saying that “there can be no question that the finale is largely a failure.” But others have found much to praise here. Some have viewed the finale as a dizzy festival of all human activity, seen in the bright light of day, its confusions and dislocations simply a portrait of the chaotic human state. Others believe it satiric, a withering look back at the rotting world of Hapsburg Europe; this, they say, would explain the number of quotations. Still others see it as prophetic, Mahler looking ahead from 1905 to foresee World War I and the destruction of Europe, and their argument is that of course such music should leave us unsettled.
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The Seventh Symphony is the most fantastic music (in the literal sense of that adjective) that Mahler ever wrote. This long night’s journey into day is a dazzling passage:
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MUSICIAN SPOTLIGHT
LILY JOSEFSBERG • PICCOLO AND FLUTE
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Please tell us about your journey to the San Diego Symphony
I grew up in New Jersey and started on the piano at age 8! I started playing the flute in fifth grade because my best friend was playing it. From there I became a band nerd and participated in any and all music activities that were available. After high school I attended Boston University, and then the Peabody Conservatory for my graduate degrees. During that time, I attended Aspen Music Festival for four summers and took many, many orchestral auditions. Auditioning was a series of highs and lows and a lot of trial and error. Once COVID happened and music halls and performing arts theaters closed, I worked jobs in retail, nannying, and even helped out in administration for an English-as-a-Second-Language test center. It was fun to learn new skills, but I was definitely eager to get back to playing music. I think that eagerness really helped me win my position with the San Diego Symphony in January of 2022! I wasn’t so worried about winning or losing an audition at that point, I just wanted to play the piccolo and have fun with it!
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You got married this year to your partner who is also an accomplished classical musician. Can you share a little bit about your celebration?
My husband Silvio and I got married in New York City on July 25th. It was an exceptionally hot day, probably close to triple digits, and there was also a monsoon right before our outdoor botanical garden ceremony. In the end, everything turned out beautifully! We put many of our own personal touches into it—we handmade all the signage, including a giant crossword puzzle with fun facts about us as a couple; bought and arranged all of the flowers with my family; rented an ice cream cart; and my sister-in-law was our officiant!
What are you most excited to play during the 2025-26 season?
I am most excited to play Shostakovich’s eighth symphony in January! It has been on my bucket list and my goal is to play all of his symphonies. In fact, for my very first week here as a musician of the San Diego Symphony we played Shostakovich’s ninth symphony.
Do you have any pre-performance rituals, routines or warm-ups?
I actually don’t have any regular rituals pre-performance. Even though I am quite a superstitious person, I feel like part of my superstition is that if I start doing something the same way before each concert, it might become a crutch. I want to have the best possible mindset and treat each concert like it’s something new each time so that I can be prepared for anything. Also, it’s great now that the recording studio at Jacobs Music Center is up and running, so we can listen back to our previously recorded concerts and learn from them.
When not performing, what do you like to do in your free time? Do you have any hobbies?
I play pickleball! There are some really nice courts in Coronado, Barnes Tennis Center, and Santee. It’s an easy sport to learn, pretty inexpensive overall, and it’s great that you can choose to play with friends—if you have a pre-set team/partner, but you can also go by yourself and meet new people! I am also part of the Milestone Run Club in North Park, where I recently ran my longest run of six miles! And from time to time, I bake banana bread and other desserts. I had a small business during COVID called “Bach2Baking” where I baked pies for the neighborhood. It was a lot of work, but worth it! n
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ANNUAL GIVING HONOR ROLL The Musicians, members of the Board of Directors and the Administrative Staff wish to gratefully acknowledge the growing list of friends who give so generously to support the San Diego Symphony. To make a gift, please call (619) 615-3901. The following listing reflects pledges entered as of November 3, 2025.
^Jewish Community Foundation STRADIVARIUS CIRCLE: $100,000 AND ABOVE Raffaella and John* Belanich City of San Diego Commission for Arts and Culture Carol and Richard Hertzberg^ Joan* and Irwin Jacobs The Rev. Michael Kaehr Dorothea Laub The Miller Fund The Conrad Prebys Foundation Jaqueline and Jean-Luc Robert Jerry Simms US Bank MAESTRO CIRCLE: $50,000-$99,999 Anonymous (x2) Michele and Jules Arthur Dianne Bashor Eloise and Warren* Batts Alan Benaroya The James Silberrad Brown Foundation Julia Richardson Brown Foundation John and Janice Cone Kevin and Jan Curtis DAOU Vineyards Una Davis and Jack McGrory Drs. Edward A. and Martha G. Dennis Mr. and Mrs.* Brian K. Devine Phyllis and Daniel J. Epstein Pam and Hal Fuson^ Elaine Galinson and Herbert Solomon Arlene Inch The Janecek Family Foundation Karen and Warren Kessler Brooke and Dan* Koehler Monica and Robert Oder Maryanne and Irwin Pfister ^ Linda and Shearn* Platt Price Philanthropies Qualcomm Charitable Foundation Marie G. Raftery and Robert Rubenstein, M. D. Elena Romanowsky Penny and Louis Rosso + Colette Carson Royston and Ivor Royston ^ Jean and Gary Shekhter Karen and Kit Sickels ^ Karen and Jeff Silberman, Silberman Family Fund Les J. Silver and Andrea Rothschild ^ Gayle* and Donald Slate Dave and Phyllis Snyder Gloria and Rodney Stone Steinway & Sons Jayne and Bill Turpin Vail Memorial Fund, Meredith Brown, Trustee Leslie and Joe Waters ° Sue and Bill* Weber + Kathryn A. and James E. Whistler
Cole and Judy Willoughby Mitchell Woodbury Sarah and Marc Zeitlin GUEST ARTIST CIRCLE: $25,000-$49,999 Anonymous (x3) David Bialis Diane and Norman Blumenthal Annette and Daniel Bradbury Nicole A. and Benjamin G. Clay Karen and Donald* Cohn Stephanie and Richard Coutts Cutwater Spirits Ann Davies Kathleen Seely Davis Karin and Gary Eastham Shirley Estes Lisette and Mick Farrell, Farrell Family Foundation Diane and Elliot Feuerstein Fit Athletic Club East Village Kelly Greenleaf and Michael Magerman + Hervey Family FundSuzanne and Lawrence Hess ^ Jerri-Ann and Gary Jacobs Marilyn James and Richard Phetteplace Kiwanis Club of San Diego Helen and Sig Kupka Dr. William and Evelyn Lamden Carol Ann and George Lattimer Lisa and Gary Levine ^ Sandy and Arthur* Levinson Eileen MasonMaui Brewing Anne and Andy McCammon Val and Ron Ontell Deborah Pate and John Forrest Jane and Jon Pollock ^ Allison and Robert Price Joetta Ragland Carol Randolph Ph. D and Bob Caplan Sally and Steve Rogers Jeanette Stevens + Elizabeth and Joseph* Taft Foundation Tarantula Hill Brewing + R.V. Thomas Family Fund Sandra Timmons and Richard Sandstrom University of San Diego Young Presidents’ Organization San Diego Gold The Zygowicz Family (John*, Judy, and Michelle) CONCERTMASTER CIRCLE: $15,000-$24,999 Anonymous Dr. Anthony Boganey Gisele Bonitz The Boros Family Gordon Brodfuehrer Barbara and Salvatore Capizzi Cohn Restaurant Group/David Cohn Ana de Vedia Hon. James Emerson
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°Rancho Santa Fe Foundation
+San Diego Foundation
*Deceased
Anne and Steve Furgal Gatorade Jill Gormley and Laurie Lipman Georgia Griffiths and Colleen Kendall Judith Harris* and Robert Singer, M. D. Laurie Sefton Henson Improv Beverages JuneShine Linda and Mel Katz Jo Ann Kilty Kona Brewing Linda and Tom Lang Carol Lazier and James Merritt Marshall J. Littman, M.D. Los Cuernos Lynn and Sue Miller Edward and Elizabeth McIntyre Rena Minisi and Rich Paul Owl’s Brew Dave and Jean Perry Pamela and Stephen Quinn Dr. Andrew Ries and Dr. Vivian Reznik Cathy and Lawrence* Robinson Ellen Browning Scripps Foundation Chris and Kris Seeger Sylvia Steding and Roger Thieme* Gayle and Philip Tauber Tim and Jean Valentine + K. Nikki Waters The Willink Family Margarita and Philip Wilkinson Lisa and Michael Witz
Nancy and Stephen Howard Virginia and Peter Jensen Drs. Theresa and Mark Kotanchek Toby Kramer Krumholz Family Trust Jeffrey and Claudia Lee Susan and Peter Mallory Larry McDonald and Clare White-McDonald Oliver McGonigle Morrison and Foerster Mostra Coffee Trupti and Pratik Multani The Kenneth T. and Eileen L. Norris Foundation Joyce Gattas, PhD & Jay Jeffcoat Dr. Dana and Stella Pizzuti Sandy and Greg Rechtsteiner ResMed Foundation Carol Rolf and Steven Adler Leticia Falquier and Craig Sapin Harold and Evelyn Schauer Stephen M. Silverman Jayne and Brigg Sherman Sidley Austin LLP Sipwell Wine Co. DeAnne Steele and Carlo Barbara Mike Stivers and Alan Dwyer Katherine “Kaylan” Thornhill Ingrid M. Van Moppes The Warner Family Shirli Weiss Edward and Anna Yeung
VIRTUOSO CIRCLE: $10,000-$14,999
ORCHESTRA CIRCLE: $5,000-$9,999
Anonymous Guity Balow Club Kokomo Spirits P. Kay Coleman and Janice E. Montle Anna Curren Elaine Darwin Susan Dubé Karin and Alfred Esser Norman Forrester and Bill Griffin Karen Forbes Scott and Tracey Frudden Vicki Garcia-Golden and Tim Jeffries Lynn and Charles Gaylord Martha and William Gilmer Hanna and Mark Gleiberman Lehn and Richard Goetz Marcia Green and Laurie Munday Kay and Bill Gurtin Dwight Hare and Stephanie Bergsma Tina and Jeff Hauser Beverley Haynes Richard A. Heyman and Anne E. Daigle Family Foundation Nellie High-Iredale Angela and Cory Homnick The Hong-Patapoutian Family
Nicole Acuff and Anthony Williams Sherry and Kevin Ahern Cheryl and Rand Alexander Bonnie and Krishna Arora Kevin and Michelle Aufmann Rena and Behram Baxter Edgar and Julie Berner Benjamin Brand and Shara Williams Ralph Britton Loyce Bruce Sophie Bryan and Matthew Lueders Ken Bullock and Donna Bullock Grace Evans Cherashore ^ Marilyn Colby Ann DeFields The den Uijl Family Brett Dickinson Jon and Karen Dien Karen Dow Julie and Mitchell Dubick Kenneth Fitzgerald The Irmgard Cheek Foundation Susanna and Michael Flaster ^ Leonard and Marcia* Fram Calvin Frantz Wendy and Harold Frysh Marie and Bob Garson Carrie and James Greenstein
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David and Claire Guggenheim Ivy Hanson Beau Haugh Janet and Clive Holborow Maryka and George* Hoover James B. Idell and Deborah C. Streett-Idell Kenneth Jensen Sabby Jonathan ^ Marge Katleman and Richard Perlman Angela and Matthew Kilman Robert* and Laura Kyle Gerald Lanz and Lisa Kearns Lanz Elizabeth LiAnn and Joseph Lipschitz Robin and Charles* Luby Steve Lyman and Diane McKernan Micolyn Magee Mark C. Mead Dr. Laurie Mitchell and Brent Woods Lorna* and Adrian Nemcek Alex and Jenny Ning Aradhna and Grant Oliphant Antje Olivie Ricki Pedersen Jerry Petree Mary Ann and David Petree Pratt Memorial Fund Claudia Prescott Jennifer and Eugene Rumsey Jr. M.D. Sage Foundation Dr. Carl SchmulenBonnie and Josef Sedivec Ruey and Marivi Shivers Linda J. and Jeffrey M. ShohetIris and Matthew* Strauss Charles Tiano Richard and Susan Ulevitch Aysegul Underhill Frank Vizcarra Dr. Mary WalshokIris Whiting Elizabeth Wohlford MacLeod and Clay MacLeod Carmen Young Debi and Robert Young Joanie Zecher Dr. and Mrs. Philip Ziring SYMPHONY CIRCLE: $2,500-$4,999 Lauren Lee Beaudry Dr. Thomas Beers Blowfish Tequila Signe Bergman and Jerry Marshak Mark and Ellen Bramson 3 Punk Ales Brewing Co. Donna Bullock Mayra Curiel and Carlos Larios Michelle and John Dannecker Susan and Steven Davis Caroline S. DeMar Don Duda Doris and Peter Ellsworth ^ Morey A. Feldman and Jeanne D. Feldman Family Endowment Fund Judy and Neil Finn Richard Forsyth and Katherine Leonard Ms. Linda Fortier Marilyn Friesen and John
Greenbush Brenda and Dr. Michael Goldbaum Sharon and Garry Hays Mert and Joanne Hill Hornor Family Foundation Leon and Sofia Kassel Dwight A. Kellogg Kris J. Kopensky Stephen Korniczky Betty and Leonard Kornreich Pamela Maher Dr. Sandra E. Miner Elizabeth Pille Sandra and David Polster Drs. Radmila and Igor Prislin Arlene Quaccia and Robin Hughes Jeff and Clare Quinn Robert Glenn Rapp Foundation Gagandeep Sheena Sahni Timothy Snodgrass and Elaine King Larry and Pamela Stambaugh Steve and Carmen Steinke Col. and Mrs. Joseph C. Timmons Norton S. and Barbara Walbridge Fund Thomas P. Ward and Rosemary T. Ward Carolyn and Eric Witt David A. WoodLuann and Brian E. Wright Gary and Amy Yin Claudia and Paul ZimmerHerb* and Margaret Zoehrer CONCERTO CIRCLE: $1,000-$2,499 Anonymous (x2) Dede and Michael Alpert Nicole Anderson Hector and Jennifer Anguiano Patricia and Brian Armstrong Roberta Baade Mary Barranger Rusti Bartell Lisa Behun David and Jasna Belanich Ivy and Mark Bernhardson Mary Ann Beyster Virginia and Robert Black Joseph H. Brooks and Douglas Walker Ercil Brown and Linda Silverman Maria Carrera and Corey Fayman Carol Cesena Caroline Chen and George Boomer Stan Clayton John Cochran* and Sue Lasbury Household NancyBell Coe + Colwell Family Fund Jeanette and Hal Coons Ann Craig Bob and Kathy Cueva Georgia and Emery Cummins Dr. Michelle D’Angelo Martha Darci William Davidson Mary G. Dawe Maria Deacon and Patrick Davis Anne and Charles Dick Marguerite Jackson Dill and
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Carol Archibald John E. Don Carlos Gail Donahue Philip L. Dowd Jeffrey D. Esko Max Fenstermacher FICO Walt Charles Fidler Marilyn Field Douglas Flaker and Rikk Valdivia Jean Fort The Samuel I. and John Henry Fox Foundation Nicholas R. Frost, MD Judith Fullerton Nancy and Mike Garrett + Kenneth F. Gibsen Memorial Fund Linda R. Gooden James and Donna Gordon Sally and Dave Hackel Fred Hafer and Noel HaskinsHafer Household Ann Marie and William Haney Stephanie and John Hanson Karen Hartz and Jan Adler Thomas Hawkins Brian Hays Joan and Richard Heller Ann Hesselink and Paul Naour Sarah Hillier and Paul Strand Barbara and Paul Hirshman Jennifer and Richard Hine Joyce Williams Erika Horn Lulu Hsu Borden Hughes Jeanne Curtis Hurwitz Dimitri and Elaine Jeon Arthur Johnson Dr. Henry Judd Dr. James Justeson Dr. Enoch Kariuki Maurice Kawashima Cynthia King Tandy and Gary Kippur - JCF of Southern AZ Martha and Jerry* Krasne Rhea and Armin Kuhlman Gautam and Anjali Lalani Colleen and Jeffrey Lambert Philip Larsen Dr. Mary Lawlor Eliza Lee Greg Lemke Pat and Steve Lending Gayle M. Lennard Ronald and Betty Livingston Catherine Mackey Daniel and Chris Mahai Sally and Luis Maizel Amy and John Malone Eugene Malone Suzanne S. Manley Arnulfo Manriquez Beverly and Harold Martyn Madonna Christine Maxwell and Jeffrey Omens Janet McClure Susan and Douglas McLeod The McKay Family Menard Family Foundation Julie and James Merkel Martha and Chuck Moffett Patricia Moises Dr. Thomas Moore David Morris Drs. Elaine and Douglas
°Rancho Santa Fe Foundation
Muchmoore Nagel Family Trust Tom and Anne Nagel Shelley Neiman Patricia R. Nelson Don Nicholas Dr. Jon Nowak Cynthia Obadia Larry and Linda Okmin Household Thomas O’Neill and Mary Ann Kennedy Barry Parker Sally and Phillip Patton James Pea and Sandra Petersen Cathleen Pilkington Dean and Sharon Popp Jim Price and Joan Sieber Carol Prior Barbara Rabiner Keith Record Dr. Marilyn Friesen and Dr. Michael Rensink ^ Lois J. Richmond Vivian J. Rich Darci Roger-Tracy Rose Marie and Allan Royster Ryde Family Memorial Foundation Gloria and Dean Saiki San Diego Downtown Breakfast Rotary ° Susan and Edward Sanderson Household Thomas Schwartz Judith and Robert Sharp Lari Sheehan Professor Susan Shirk Anne and Ronald Simon Ann Sixtus Sandra Smelik and Larry Manzer Darryl and Rita Solberg Suzy Soo Valerie Stallings Kathryn Starr James Storelli Emily Renee Stroebel Diane Strong John E. Sturla II Kathleen Sullivan Melissa Swanson ° Swinton Family Fund Elliot Tarson Thomas Templeton and Mary Erlenborn Jacqueline Thousand and Richard Villa William Tong Fred and Erika Torri Jennifer and Stephen Toth United Airlines Paul Van Deusen Kathleen and Louis Victorino Carol and Thomas Warschauer Dr. Jeffrey and Barbara Wasserstrom Margaret Weigand Irene, David*, and Diana Weinrieb Ruth Wikberg-Leonardi and Ron Leonardi Joseph and Mary Witztum Karen and Rod Wood Olga and Oscar Worm Barbara A. Yost Britt Zeller Charles Ralph Zellerback
+San Diego Foundation
*Deceased
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SONATA CIRCLE: $500-$999 Anonymous (x7) Barbara Alderson June and Daniel Allen Dr. Robin Allgren Shane Arlt Maureen Arrigo and Paul Ward Nancy and James Balderrama Dr. Joshua Bardin Joe Baressi Jr. Dr. Constance Ann Benson Lisa and Jay Berlin Elena Bernardi Dr. Leonard and Beverly Bernstein Annette and Kyle Betts Terri Bignell Jerry and Karen Blakely Sondra Boddy and Robert C. Smith Marcus and Kimberley Boehm Stephen and Priscilla Bothwell Mary Catherine Bowell Terri Bryson Alyssa Brzenski Jolie and Glenn Buberl Ed Budzyna and Zack Zaccaria Anita Busquets Robert and Carolyn Caietti Judith Call Margaret Carrol Patricia and Michael Casey LaVonne and Paul Cashman Gloria and Maurice Caskey Juliana Caso Edmund Chamberlain Tanya and Sutton Chen Raymond Chinn Kathleen and Stehen Clark Mary Ellen Clark Geoff and Shem Clow Dan Collins and Nancy Shimamoto Household Dale Connelly Gayle Coztanzo Florence and Robert Crick Dr. Peter Czipott and Marisa SorBello Dr. Dalia Daujotyte Erle Frederick Davis Susan and Steven Davis Morgan Day and Amy Larson Julie and Don De Ment Debra Deverill Dr. Greg Dixon Douglas P. Doucette S. Downey Fund at The Chicago Community Foundation Dr. Robert Drake Dr. Zofia Dziewanowska Jim Eastman Jeffrey Edwards Drs. Eric and Barbara Emont Robyn Erlenbush Arlene Jayne Esgate Joel Ewan and Carol SpielmanEwan Dr. Thomas Fay and Fabiola Lopez Hank Finesilver Linda Lyons Firestein Louise Firme Darlene and Robert Fleischman John Foltz Nynke Fortuin Michelle Fox
Dr. Laura Gomez Freeman and William Freeman Judith and William Friedel Catherine Friedman Roy Gilmour Vivian and Richard Giudice Diane Glow Kathleen and John Golden Ser Andre Gonzalez Donna Gray-Bowersox and James Bowersox Stephanie and H. Griswold George Guerra Leona Gulck Dean Haas Georgette Hale Gerald Hansen and Marilyn Southcott Helen Hansen The Herr Family Christine Hickman and Dennis Ragen Richard Himmelspach Harold Hoch Anne S. Holder-Erdman Thomas Houlihan Ralph Hull Mary Ann and John Hurley Nancy Hylbert Stefan Hyman Robert Jentner Benjamin Johnson Bruce A. Johnson R. Douglas and Jeanette Johnson Thesa Lorna Jolly Wilfred Kearse and Lynne Champagne John and Sue Kim Patricia and Michael Klowden Paul Krueger Robert and Elena Kucinski Bernard Kulchin and Paula Taylor Mary Kyriopoulos John Lally Laura Laslo Elizabeth Leech Lewis Leicher Claudia Levin Jean Lim and Richard Levine Scott Luttgen Anne Macek Kyong Macek Vonnie Madigan Annie Cruz Magill Richard Manion Diena and Russ Mann James R. Mathes Mac McKay Jeanne and Roger McNitt Imozelle and Jim McVeigh Ellen and Hal Meier Maggie and Paul Meyer Dr. Grant Miller Anne and John Minteer Judith Morgan Ann Morrison Susan Morse Phillip Musser Viola and Jacob Mufson Jan and Mark Newmark Sherryl A. Nicholas Barbara and Donald Dean Niemann James and Jean O’Grady Brent Orlesky and Ronald T. Oliver Julie Park
^Jewish Community Foundation
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Kellogg Parsons Katherine and Keira Pendergraph James and Gale Petrie Edward Phelan Robert Plimpton II Sheila and Ken Poggenburg Terri Pontzious David Ramos and Bob Kubie Janet and Bill Raschke Patricia and John Ravits Joseph and Sara Reisman Cindy and Daniel Reynolds Patrick Ritto James Kirkpatrick Robbins Steve and Cheryl Rockwood Richard Rojeck Alice Rosenblatt Ronnie and Stuart Rosenwasser ^ Sheryl Rowling Norman and Barbara Rozansky Joel Schaller David and Martha Schwartz Dr. Sharron Seal and Larry Seal Lu and Georgina Sham Richard Shaughnessy Shelton Family Fund Dr. Bruce Shirer Martha Shively Hano and Charlotte Siegel David Skinner Linda Small Holland M. Smith II Marilyn and Brian Smith James and Phyllis Speer Gregory Stanton Valerie Stewart Helga and Sam Strong Derek Stults Nancy and Michael Sturdivan Kay and Cliff Sweet Donald and Linda Swortwood William Tappen Thomas Templeton and Mary Erlenborn Paul and Mary Anne Trause Edward Underwood Orlando S. Uribe Allen Voigt + VOSA Student Symphony Ticket Fund John Walsh Karen Walter Rex and Kathy Warburton Alexandra and Stephen Waterman J. Susan Watson Cynthia Weiler and E. Blake Moore Evette and Nathan Weiss Mike and Janet Westling Mindy Wilcox Symphorosa Williams Stephen Wilson Peter and Terry Yang Naima and Mike Yelda Tanya Young and Michael McManus Maria and Randy Zack + Sandra and Peter Zarcades Bart Ziegler FRIENDS OF THE SYMPHONY: UNDER $500 Fern Steiner Maxwell Gregory Paley Patsy Bouzan
°Rancho Santa Fe Foundation
MEMORIAL GIFTS In memory of Warren Batts Mary and Gary Coughlan Don Duda Earl Frederick Nancy and Philip Hablutzel Helen and Edward Hintz Gerald Lanz and Lisa Kearns Lanz Linda Newman Thomas O’Neill and Mary Ann Kennedy Barry Parker Marti and Leo Parrish Diane Root Shelton Family Fund Sharon Sweet Amy and Anthony Volpe Barbara and Lawrence Wilson In memory of John Cochran Sue Lasbury In memory of Jim Dawe Mary Dawe In memory of my husband Roland DeFields Ann DeFields In memory of Bob Doede: In support of The Rady Shell at Jacobs Park In support of The Rady Shell at Jacobs Park Marianne Augustine Marilynn and Roger Boesky Drs. Edward A. and Martha G. Dennis Karen Dow Mary and Jon Epsten Susan and Michael Gursky Kenneth Jensen Ms. Catherine Mackey The McKay Family Elspeth and James Myer Colette Carson Royston and Ivor Royston Iris and Matthew* Strauss Cynthia Weiler and E. Blake Moore For San Diego Symphony’s wonderful contribution to Anne Evan’s tribute and in honor of her love of music Grace Evans Cherashore In memory of Michael Gay Bob and Marie Garson Karen Wahler In memory of James Jessop Hervey Linda Hervey In loving memory of Michael Howes Mary Michele Wilmer In memory of my dear mother, Liz Jackson Jennie Jackson Werner In memory of Joan Jacobs Eliza Lee Andrea and Lawrence Oster
+San Diego Foundation
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*Deceased
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In memory of Ruby and Vernon Langlinais Anonymous
In honor of Dr. Dianne Moores Ralph Hull
In memory of Gilbert and Miriam Lapid Sharon Lapid
In honor of Dr. Richard Perlman and Marge Katleman Sandra and Mark James
In memory of Gladys McCrann Margaret Carroll In memory of Jane Micheri Dario Micheri In memory of Aunt Ree Rice Cecile and Robert Holmes Lois Richmond (of blessed memory) Jewish Community Foundation In memory of Ursula Stroebel Emily Renee Strobel In memory of Hari Schuman Linda Platt In memory of Kenrick G. Wirtz Tracy Ferguson and Gloria Shepard
Honoring the dedication to the Symphony of my dear friends Linda Platt, Sherron Schuster and Gloria Stone Andrea Oster In honor of Linda Shohet’s birthday Linda and Scott Cole In honor of Jeff and Marlyse Thayer Terri Bryson In honor of Carol Vassiliadis for her birthday Patricia Moises In honor of Leslie and Joseph D. Waters Judith Call
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HONORARIA GIFTS In recognition of Steve Bjorg’s inspiration Russ and Diena Mann In honor of Don Cohn Linda and Shearn* Platt In honor of Jan and Kevin Curtis Claudia Levin In honor of Mick Farrell Debra Feinberg In honor of Elaine Galinson’s birthday Anonymous In honor of Martha Gilmer Bart Ziegler In honor of the retirement of Doug Hall Eileen Wingard In honor of Irwin Jacobs on his 92nd birthday Drs. Edward A. and Martha G. Dennis In honor of Irwin Jacobs’s birthday Barbara and Stuart Brody In honor of JCF Fund Holders who are passionate about the work of the San Diego Symphony Jewish Community Foundation Fund Holders Diane and Elliot Feuerstein Recognizing Maureen Campbell Melville Wendy Reuben
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SYMPHONY SUMMER PARTNERS
The San Diego Symphony is sincerely grateful to the following donors for their generous contributions to the Symphony Summer Partners program. This dedicated group of civic-minded music lovers are committed to enriching our community through poviding free music education and community engagement programs. The following listing reflects pledges and gifts entered as of November 3, 2025.
$50,000 Brooke and Dan* Koehler Les J. Silver and Andrea Rothschild-Silver
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$25,000 Shirley Estes $15,000 Laurie Sefton Henson Anonymous Linda and Tom Lang Gisele Bonitz Lynn and Sue Miller The Boros Family Cohn Restaurant Group/ Pamela and Stephen Quinn Dr. Vivian Reznik and David Cohn Dr. Andrew Ries Anne and Steve Furgal Cathy Robinson Georgia Griffiths and Chris and Kris Seeger Colleen Kendall
Gayle and Philip Tauber Tim and Jean Valentine K. Nikki Waters Margarita and Philip Wilkinson The Willink Family Lisa and Michael Witz
*Deceased
BECOME A SYMPHONY SUMMER PARTNER! Becoming a Summer Partner of the San Diego Symphony affords you a unique opportunity to enhance your concert-going experience and support the inclusive and diverse programming that The Rady Shell at Jacobs Park has become known for. Your support as a Summer Partner is a commitment to the betterment of San Diego and the cultural excellence of our region. For more information, or to join, please contact Vice President of Institutional Advancement, Sheri Broedlow at (619) 615-3910 or sbroedlow@sandiegosymphony.org.
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GUEST ARTIST SPONSORS
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We gratefully acknowledge our Guest Artist Sponsors. Please call (619) 615-3910 to participate! The following listing reflects pledges and gifts entered as of November 1, 2025.
Anonymous (2) Alan Benaroya David Bialis The Bjorg Family Gordon Brodfuehrer Lehn and Richard Goetz
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Dorothea Laub Marshall J. Littman, M.D. Edward and Elizabeth McIntyre Sylvia Steding and Roger Thieme* The Miller Fund Vail Memorial Fund, Meredith Brown, Trustee
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SAN
MUSIC FOR FAMILIES with the San Diego Symphony
FAMILY CONCERT SERIES
SATURDAYS AT 11AM | AGES 6–12
1-hour concerts featuring the full San Diego Symphony Orchestra FEBRUARY 7
PETER AND THE WOLF
San Diego Symphony Orchestra Embark on a musical journey celebrating the animal kingdom — Flight of the Bumblebee, Peter and the Wolf, and the world premiere of Right Whale, Wrong Letter.
APRIL 11
SPACE JUNK
WindSync, wind quintet San Diego Symphony Orchestra Blast off for a cosmic adventure through music, with the triumphant Sunrise Fanfare, Beethoven’s dramatic Fifth Symphony and the iconic Star Wars theme.
SYMPHONY KIDS SERIES
SATURDAYS AT 10AM & 1130AM | AGES 0–5 30-minute interactive sensory-friendly concerts
Learn more:
FEBRUARY 14 MEET THE PERCUSSION: CLAPPING MUSIC MARCH 28 MEET THE STRINGS: FERDINAND THE BULL
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Symphony Kids Series is generously sponsored by PER FOR M A N C ES M AG A Z IN E
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SAN DIEGO SYMPHONY ADMINISTRATION EXECUTIVE Martha A. Gilmer President and Chief Executive Officer Elizabeth Larsen Director, Executive Office and Board Relations Maritza Aragón Executive Assistant to the President and CEO Karen Jordan Interim Chief Financial Officer ARTISTIC Lea Slusher Vice President, Artistic Planning and Rentals Theodora Bellinger Director of Artistic Operations Liam McBane Manager, Artistic Operations and Assistant to the Music and Artistic Director Jeffrey Jordan Director of Rentals Seasonal Artistic Assistants: Kristen Garabedian, Michael Hull, Melyssa Mason, Abigail Meehan, Jennifer Paz, Sade Rains, Evelyn Zuniga Angela Chilcott Managing Director, Orchestra Operations
Abigail Kliebenstein Director of Marketing, The Rady Shell at Jacobs Park John Velasco Communications Manager Ashley Smith, Brie Witko Graphic & Production Designers Maria Kusior Digital Media Specialist
Roberto Castro Director of Guest Experience
TICKETING AND PATRON SERVICES Casey Patterson Director of Ticketing Services, Partnerships and Premium Seating Kym Pappas Manager of Ticketing and Subscriptions Anastasia Franco Manager of Ticket Operations and Training Cheri LaZarus Ticket Service Associate - Lead Subscriptions
Sheri Broedlow Vice President of Institutional Advancement Jennifer Nicolai Director of Individual Giving & Campaign Ida Sandico-Whitaker Director, Donor Programs and Special Events
Ashley Madigan Controller
Bob Morris Major Gifts Officer Celina Maggi Major Gifts Officer, Planned Giving Theresa Jones Major Gifts Officer, Corporate Relations
Veridiana Reeder Staff Accountant
Sydney Wilkins Associate Director of Advancement Operations
Susan Cochran Payroll Manager
Kirby Lynn Tankersley Associate Director of Special Events
Kimberly Vargas Director of Human Resources
Eden Llodrá Donor Services and Stewardship Manager
Amanda Gminski Human Resources Manager
Citli Mejía Advancement Operations & Special Events Manager
MARKETING AND COMMUNICATIONS
Katelyn Rodrigue Annual Fund Manager
Craig Hall Vice President of Marketing and Communications Cathy Strauss Director of Communications, Content & Digital Strategy Elizabeth Holub Director of Marketing J.D. Smith Director of Marketing and Sales Technology
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Paige Satter Director, Venue Operations Administration
Sabina Spilkin Digital Systems Analyst
FINANCE AND ADMINISTRATION
Whitney Hall Revenue Accountant
Rob Arnold Managing Director, Venue Operations
Devin Burns Event Operations Manager
INSTITUTIONAL ADVANCEMENT
Jeanette Bunch Assistant Controller
Sha Pro Jaco
Noëlle Borrelli-Boudreau Marketing Coordinator
Diego Plata Orchestra Operations Manager
Gerard McBurney Creative Consultant
Travis Wininger Vice President of Venue Operations
Diane Littlejohn Associate Director, Venue Operations Administration
Ticket Services Associates: Clelia Cabezas, Angel Cruz, Katherine Ely, Levan Korganashvili, Ben McLaren
Rachel Fields Librarian
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Savanna Hunter-Reeves Marketing Specialist
Adam Norton Orchestra Personnel Manager
Courtney Cohen Principal Librarian
VENUE OPERATIONS
LEARNING & COMMUNITY ENGAGEMENT Laura Reynolds Vice President of Impact and Innovation Stephen Salts Director of Learning and Youth Programs Lauren Rausch Social Impact & Leadership Programs Manager
Jaso Aud Jaco
Mic Car Jaco
Brid Elec Jaco
Drew Gomes Director, Event Operations and Security
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Danielle Litrenta Manager, Guest Experience Front of House Managers: Ken Cooke, Christine Harmon, Kay Roesler, Karen Tomlinson Front of House Staff: Corinne Bagnol, Judy Bentovim, Sue Carberry, Julio Cedillo, Kerry Freshman, Sharon Karniss, Laurel Nielsen, Paula Rivera, Linda Thornhill, Marilyn Weiss Event Operations Leads: Mateo Alvarez, Kinsey Claudino, Gabriel Carlo De Guzman, Slaine Miller, Katie Reinholtsen, Tom Rufino
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Event Operations Staff: Joshua Albertson, Kayla Aponte, Lindsey Balsley, Tyler Bao Buu, Wilson Blumenthal, Jason Boucher, Lily Castillo, Jafet Chavez, Brandon Croft, Stephen De La Cruz, Jessica Dau,Jesus Delgado, Ryan Fargo, Chelsea Hall, Mark Herrera, Brook Hill, Jocelyn Jenkins, Ben Kelly, Edward Manzo, Logan McKerring, Cyrille Morales, Valerie Navarrete, Taryn O’Halloran, Brennan Owen, Gabriela Perez, Chance Pettit, James Renk, Dylan Renk, Mario Ruiz, Jack Schweighardt, Mia Sevilla, Elias Valdivia, Gavin Wilkinson, Connor Wilson, Yadira Zuniga Facilities Staff: Dan Weaver Facilities Manager Robert Saucedo Senior Technician Peter Perez Lead Facilities Technician Arturo Ardilla, Garrett Lockwood Facilities Technicians IT Staff: Sean Kennedy Director of Information Technology Shane Cutchall, German Luna IT Specialists Production Staff:
Connor Schloop Director of Production Pete Seaney Director of Stage Operations, Presentations and Rentals Santiago Venegas II Technical Director Krysta Cihi Production Manager, Orchestra Joel Watts Audio Director William Zauscher Video Director S A N D IEGO SY MPH ON Y JA N UA RY 2 02 6
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SAN DIEGO SYMPHONY ADMINISTRATION Adam Day Carpentry Department Head, The Rady Shell at Jacobs Park
Stage Personnel: Shafeeq Sabir Property Department Head, Jacobs Music Center
RJ Givens Audio Department Head, The Rady Shell at Jacobs Park
Jason Chaney Audio Department Head, Jacobs Music Center Michael Moglia Carpentry Department Head, Jacobs Music Center Bridget Zeiger Electrics Department Head, Jacobs Music Center
Hunter Stockwell Video Department Head, The Rady Shell at Jacobs Park Jonnel Domilos Piano Technician
Riley Strothers Video Department Head, Jacobs Music Center
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OUR MISSION: CHANGING LIVES THROUGH MUSIC The San Diego Symphony, through unquestionable commitment to the highest levels of artistic achievement, seeks to elevate human potential by providing a shared sense of pride and belonging to something bigger than any of us can achieve alone. We offer audiences the wonder of live music and transformative learning experiences that develop an understanding and passion for the arts. To ensure we are an enduring force in the region we commit to fiscal responsibility. We serve and shape the culture of the region, by being for all and with all, the musical heart of San Diego. Strive: Always the Best Learn: Creative, Expressive, Curious Reach: Music for Everyone Ignite: Spark Passion
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OFFICIAL PIANO OF THE SAN DIEGO SYMPHONY Scan for more info
San Diego Symphony is pleased to have Sycuan Casino Resort as the lead sponsor of the Music Connects Community Concerts!
Bird Singers from the Sycuan Band of the Kumeyaay Nation performing at the opening of a San Diego Symphony Community Concert on stage at Live & Up Close | Sycuan Casino Resort.
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TE ER
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Matsutake (mushrooms with pine) at LUCIEN
JANUARY GEMS KIMBERLY MOTOS
From Fine Dining in La Jolla to Oaxacan Mole in Barrio Logan by SARAH DAOUST
LA JOLLA WELCOMES an elegant fine-dining destination, LUCIEN, by chef Elijah Arizmendi—a NorCal native who spent years in Michelin-starred kitchens from NYC to Las Vegas. The 30-seat tasting menu restaurant—nestled on the top floor of La Plaza La Jolla—offers a guided 12-course dinner experience that begins in its quaint courtyard with canapés
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beneath a calamansi tree, flanked by an indoor/outdoor bar. The restaurant’s low-lit interior is literally cave-like (reminiscent of La Jolla’s sea caves), with cozy leather booths and an open kitchen—leading out to a windowed private dining room with ocean views. The menu—sourced from local ranchers, farmers and fishermen—changes often and spotlights coastal California. Think: Santa Barbara spot prawns and Masami Ranch wagyu ribeye; plus desserts by pastry chef Bella Alicea; and optional drink pairings from Japanese lagers to
bubbly to Bordeaux wines. 7863 Girard Ave., Suite 308, La Jolla, 619.786.3082, luciensd.com If you haven’t visited Hotel del Coronado before or lately, the historical resort (established in 1888) has undergone a hefty restoration and revitalization to the tune of $550 million, complete with exceptional new dining options. Its newest superstar: Nobu Del Coronado. Yes, it’s that Nobu—the world-renowned Japanese restaurant empire by chef Nobu Matsuhisa and actor Robert De Niro. Dine on Nobu’s signature
dishes, including the Black Cod Miso, Rock Shrimp Tempura and Yellowtail Jalapeño; while taking in panoramic views of the Pacific from the “Zen chic” restaurant’s oceanfront patio. A dedicated sushi bar churns out sashimi and maki creations; while the kitchen delivers hot plates such as ribeye with truffle butter, wagyu dumplings and umami chicken. A pagoda bar delivers specialties like the Lychee Martini and Mia Margarita. Save room for the Yuzu White Chocolate Cheesecake for dessert. 1500 Orange Ave., Coronado, 619.435.6611,
hoteldel.com/dine/nobu Another brand-new dining destination awaits at Hotel del Coronado. Grab a bite at Veranda, the Del’s breezy restaurant that lives up to its name— with seating indoors, a covered dining porch, and an ample umbrella-shaded patio that looks out to the property’s Windsor Lawn and Coronado Beach just beyond—brightened by patterned pops of green and white. Offering a daily breakfast buffet and dinner service, Veranda serves American fare heightened by local seasonal produce, a California-centric wine
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FROM LEFT: KIMBERLY MOTOS; COURTESY OF NOBU DEL CORONADO
From left: ocean-view private dining at LUCIEN; Nobu Del Coronado.
FROM LEFT: KIMBERLY MOTOS; COURTESY OF NOBU DEL CORONADO
list and classic cocktails. Breakfast includes eggs Benedict, chilaquiles, steel-cut oatmeal, and libations like the Honeybee Bellini. Return for dinner and try the baked Oysters Rockefeller, rosemary-lemon roasted chicken, California Halibut Veracruz, blackened Pacific swordfish, and the double-cut Heritage pork chop. For dessert, “An Icon’s Chilled Souffle” is a must, ordered daily by Marilyn Monroe while filming Some Like It Hot in 1958. 1500 Orange Ave., Coronado, 619.435.6611, hoteldel.com/dine/veranda With locations in Sedona, Newport Beach and Palm Desert, Shorebird Restaurant has opened its first San Diego location
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along the bayfront downtown. The two-story coastal kitchen serves American cuisine centered on seafood, steak, and wood-fired and rotisserie dishes. Choose from a full raw bar and dinner delights such as “overstuffed bacon and eggs,” butter-basted Hokkaido scallops, fish ‘n’ chips, and almond-wood-fired Snake River Farms ribeye. Return for brunch and try the Crab Eggs Benedict and decadent lemon-ricotta soufflé hotcakes. 885
W. Harbor Drive, Seaport Village, 619.819.5055, shorebirdrestaurant.com Founded by Gerry Torres (City Tacos, Tour de Tapas), Fonda del Barrio is a hacienda-inspired, indoor/outdoor restaurant serving ancestral Mexican cuisine—incorporating fresh seafood, handmade masa, and regional flavors from Mayan achiote rubs to Oaxacan moles. The menu, overseen by executive chef Eduardo Baeza, includes Gulf Crab meat tostadas, Yucatan-
style rockfish filet, and sauteed chicken breast with 27-ingredient Guava Mole; plus Mexican beers, wines and tequila cocktails; and the signature Café de Olla brewed in a clay pot. Fonda del Barrio also recently launched a weekend brunch service, with offerings such as Huevos Motuleños (eggs with green peas, sweet potatoes and ham in a toasted guajillo-pepper sauce); and Gordita con Chilorio (a Sinaloa-style corn masa pocket filled
with chili sauce, pulled pork and crema fresca). 2234 Logan Ave., Barrio Logan, 619.230.5240, fondadelbarrio.com Known for its spectacular bay views, Garibaldi is new again—debuting a reimagined menu, a renovated terrace and a new private dining room. Expanding its focus from the Southern Italian Islands to the entire Mediterranean coastline, executive chef Franck Tasic’s menu offers dishes like grilled Iberico Pork Presa, bluefin tuna
FROM LEFT: CHRIS COSTA; COURTESY IMAGES (2)
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COMPAGNIE HERVÉ KOUBI: SOL INVICTUS
FRIDAY, JANUARY 30 • 7:30 PM BALBOA THEATRE
FROM LEFT: CHRIS COSTA; COURTESY IMAGES (2)
Clockwise from left: dinner at Garibaldi; oceanview dining at Veranda; Coctel de Camarones at Fonda del Barrio.
tartare, Dalmatia black risotto with calamari, and Swordfish au Poivre; plus an exceptional Mediterranean wine selection. Enjoy all on the terrace, featuring new seating, firepits and a new fullservice bar. InterContinental San Diego Hotel, 901 Bayfront Court, Suite 1, downtown, 619.436.1081, garibaldisd.com
DIRECT FROM FRANCE! Witness Sol Invictus, a high-energy dance performance that celebrates light and movement created by award-winning choreographer Hervé Koubi. This thrilling production combines urban dance, capoeira, and martial arts with powerful imagery for a theatrical performance not to be missed!
“
“They fly. They spin. They change how you see the amazing!” — The New York Times
Great seats are available at TheConrad.org | 858.459.3728
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32,000 works spanning various periods and regions, boasting notable collections of European Old Masters—particularly Spanish art—South Asian miniature paintings, East Asian art, American art, and modern and contemporary works. The museum’s standing is further solidified by consistently hosting major traveling exhibitions and its recent strategic merger with the Museum of Photographic Arts (MOPA@SDMA). “When I was invited to take over SDMA in 2010, I was surprised by the array of the collections and the quality of the pieces,” says the Maruja Baldwin Executive Director and CEO Roxana Velásquez. “I had been working for
20 years in the art world and was not aware of the incredible relevance of the place. Today, I don’t think there is anybody who now does not know the relevance of this institution. We have done exhibitions in Asia, Europe, Mexico and Latin America—most of the most important places in the U.S. We have not stopped showcasing our own collection in important and major projects. We’ve published catalogs in multiple languages. Focusing on sharing our museum locally, nationally, and internationally started 10 years ago and has not stopped. It was a beautiful secret; now it is not any longer.” The 2026 centennial features a full, continuous year of special events and
exhibitions designed to engage every segment of the community. The celebration kicks off in earnest on the museum’s actual birthday, Feb. 28, 2026. The day is packed with activities, beginning with a Birthday Fest offering
free admission, interactive activities, performances, and family-oriented art events throughout the day. In the afternoon, a communal Cake Party takes place in the sculpture garden, featuring live music and celebratory
SDMA’s planned terrace gallery; San Diego Ballet collaborates with SDMA in 2026.
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FEATURE
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FROM TOP: COURTESY OF THE SAN DIEGO MUSEUM OF ART; COURTESY OF SAN DIEGO BALLET
confections. A community program in the evening— On the Steps at SDMA: Centennial Celebration— will include music, performances by the San Diego Ballet, and appearances by special guests. The centennial year will feature four major exhibitions running throughout 2026. From Jan. 24 through July 26, the museum will present “SDMA 100 Years,” an exploration of the institution’s rich history told through various media, incorporating community submissions. Running concurrently during the same timeframe is “Local Visions: Reimagining the Façade,” which will display works by 10 local artists offering contemporary interpretations of the museum’s iconic exterior. Starting in the spring, art lovers can immerse themselves in “Cafés and Cabarets: The Spectacular Art of Toulouse-Lautrec,” running from April 4 through Sept. 20. This exhibition showcases around 35 rare works by the acclaimed French artist drawn entirely from the museum’s own collection. Finally, from May 16 through Sept. 7, “Forging a Legacy: 15 Years of Landmark Acquisitions” will highlight significant gifts and purchases made over the past decade and a half, featuring master-
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works by artists such as Monet, Picasso and Zurbarán. “This exhibit will showcase the acquisitions of the last 15 years, which coincides with my tenure here,” says Velásquez. “Thousands of works of art have been acquired, but it is not only the number that will impress, but also the quality of the paintings and pieces. They represent a whole century. Our curators have designed this show; each one has proposed what pieces should be exhibited, so that we have a balanced gallery or presence. “People will be excited because all these collections and pieces tell a story of art and a story of community of the past 100 years, inspiring San Diegans to want to help us acquire works by purchase or exchange. This exhibition will allow you to see the results of one of the direct goals I had for the museum since I arrived.” The centennial spirit extends beyond specific dates and exhibitions. A strong partnership with the San Diego Ballet, in residence with SDMA this season, will see dancers performing works inspired by pieces within the museum’s collection. The popular annual fundraiser, Art Alive 2026, will draw its creative inspiration from the vibrant world of Toulouse-Lautrec’s Paris.
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In the fight for freedom, we all play a role.
F E AT U R E
YOU’RE HERE. Congrats, You’ve Picked a Great Performance!
Check out the interactive version of this theater program magazine and enjoy even more insight into the performers, creative talent and theater activities that are behind it all.
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Roxana Velásquez
Furthermore, an ongoing exhibition titled A New Vision for the Next Century continues to unveil plans for the future: a transformative west wing redesign by the internationally renowned architecture firm Foster + Partners, aiming to significantly increase gallery space and accessibility for the public. “We started growing the Museum and by doing that we have attracted new audiences,” says Velásquez. “It’s our mission—to preserve, conserve and exhibit works of art, igniting curiosity and teaching through art. Our audience has grown by a factor of five in the last 10 years. We now welcome 550,000 visitors every year. The facility was not growing at the same pace, whether you’re looking at exhibition space, bathrooms, or places for people to sit and enjoy the art. It was also important to fill the needs of the neurodivergent and those with different abilities, growing our outreach and community department
LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS MULTI - MEDIA PRESENTATIONS ABOUT THE PERFORMANCE. UNDERSTUDY UPDATES THEATER SUPPORT OPPORTUNITIES UPCOMING SHOWS AND CONCERTS AROUND TOWN INSIDER SCOOPS FROM THEATER AND MUSIC PROFESSIONALS
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MENDELSSOHN
Cla ics
March 22, 2026 | 4 p.m.
Poway Center for the Performing Arts Symphony No. 5 (“Reformatiо”) Violin Concerto
YuEun Ge a Kim, soloist
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Discounts for seniors, students and children. Free parking
to be really inclusive in the broader sense of the word. The museum had not been renovated since 1966. It was time to grow. “In 2020, the board launched a capital campaign and we held an international architectural contest, inviting and reviewing proposals from 61 firms. It was not an easy task, but it was wonderful. We selected five firms of architects, and the unanimous vote was for Norman Foster—one of the best living architects around the world, who has experience dealing with art museums and adequating new expansions to old buildings as well as historical sites.” Velásquez is excited about the plans from Foster + Partners, whose design will replace the existing west wing with a new building. Shaded loggias will wrap around the two-story exterior, with two additional stories of gallery and archive space below ground—doubling the museum’s exhibition space. Several planned restaurants will also increase dining options. “Norman Foster thinks about context and about history,” says Velásquez. “We will be providing much better space to include more works of art from our collection, creating sustainable spaces and energy efficiencies. But it’s not just about a
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COURTESY OF THE SAN DIEGO MUSEUM OF ART ARCHIVES
F E AT U R E
HERE’S TO YOU
COURTESY OF THE SAN DIEGO MUSEUM OF ART ARCHIVES
Queen Elizabeth visits the Museum, 1983
building or a great architect—it is about giving to the community what the community needs, being on par with the audiences we have created and providing the beauty, harmony and aesthetics of great architecture.” Naming the popular jazz concert series at Panama 66—the bar and restaurant currently operating in the museum’s sculpture garden— Velásquez asserts it will continue in the new space. “The need is there; we have grown from within,” she says. “We are not creating a new building to bring in more people; they are already here.” The San Diego Museum of Art’s centennial is not just a look back at its history; it is a celebration that reinforces the museum’s dedication to art, education and community engagement—setting a vibrant trajectory for the next 100 years. The San Diego Museum of Art is located at 1450 El Prado, Balboa Park. For more info, visit sdmart.org
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PARTIN G TH O U G H T
REPROGRAMMED!
Performances Magazine unveils a digital program platform for shows and concerts
DROP DOWN MENU Table of app contents.
SEARCH Find whatever it is you want to know—easily.
REGISTER Stay arts-engaged, access past programs.
SIGN IN Link to your performing-arts companies and venues.
THE ESSENTIALS Acts, scenes, synopses, repertory and notes.
THE PLAYERS Bios and background for cast, crew and creators.
CONTRIBUTORS Donors and sponsors who make it all possible—you!
other arts-centric features. Audiences receive a link and a code word that instantly activate the app; QR codes are posted, too. Screens go dark when curtains go up and return when house lights come back on. Updates—such as repertory changes, understudy substitutions and significant new donations —can be made right up to showtime, no inserts necessary. Other plusses include video and audio streams, translations and expanded biographies.
For those who consider printed programs to be keepsakes, a limited number, as well as commemorative issues for special events, continue to be produced. Collectibles! Meanwhile, there is less deforestation, consumption of petroleum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation. The digital Performances is but one more reason for audience excitement. Activate your link and enjoy the shows. —CALEB WACHS
COURTESY OF THE OLD GLOBE
NO RUSTLING PAGES, no killing trees . . . the digital Performances program platform has proved to be one of the more enduring recent theater innovations. The touchless platform provides the programs for 20 Southern California performing-arts organizations, from the Los Angeles Philharmonic and Ahmanson Theatre to San Diego Opera, where the app made its debut. Among a variety of features, it provides cast and player bios, donor and season updates, and numerous
WHAT’S ON What’s coming at a glance and ticket information.
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