New PhilharmonicKirk Muspratt, Music Director and Conductor

40th Season 2016–2017

An Evening of Gershwin

With

Marta Aznavoorian, pianoKimberly E. Jones, soprano

Bill McMurray, baritone

Northwest Indiana Symphony ChorusNancy Menk, Conductor

Saturday, Oct. 22, 2016, 7:30 p.m.Sunday, Oct. 23, 2016, 3 p.m.

Belushi Performance Hall

2 3

PROGRAM PROGRAM NOTESAn American in Paris ..........................................................................................George Gershwin (1898–1937)

Rhapsody in Blue ...............................................................................................George Gershwin

Marta Aznavoorian, piano

INTERACTIVE INTERMISSION

Young People’s Competition WinnersSaturday: Alejandro Pulido, French horn; Horn Konzert #3 in Eb Major — W. Mozart

Sunday: Isabelle Ahlborn, French horn; The Hunt — James D.Ployhar

Porgy and Bess Concert of Songs ......................................................................George Gershwin Arranged by Robert Russell Bennett

Introduction Summertime A Woman Is A Sometime ThingGone, Gone, Gone OverflowMy Man’s Gone Now Promised LandI Got Plenty O’ Nuttin’ Bess You Is My Woman Now Oh I Can’t Sit Down I Ain’t Got No Shame It Ain’t Necessarily SoThere’s A Boat Dat’s Leavin’Oh Lawd, I’m On My Way

Kimberly E. Jones, sopranoBill McMurray, baritone

Northwest Indiana Symphony ChorusNancy Menk, Conductor

Immediately following the performance Maestro Kirk Muspratt, as well as members of the orchestra, cordially invite you to participate in “Cookies with Kirk” in our lobby, sponsored by Brookdale Glen Ellyn.

Media support provided by 90.9FM WDCB

GEORGE GERSHWINBorn Sept. 26, 1898, Brooklyn, NY. Died July 11, 1937, Hollywood, CA.

An American in Paris

Paris, 1928. George Gershwin arrives with the sketches for a new score in his suitcase. He has already decided to call it An American in Paris. A dyed-in-the-wool New Yorker, Gershwin is dazzled by this great cosmopolitan city; looking down from the top of the Eiffel Tower, he is positively dizzy. To Gershwin, Paris had always been a city of music. Now, in his mind, it is simply Ravel’s city. These two famous, successful composers had just met at Ravel’s 53rd birthday party the previous month in New York City. (Ravel specifically asked that Gershwin be invited.) They hit it off at once; Gershwin played the piano until 4 a.m., and Ravel stayed to the very end. (Gershwin played parts of his latest hit, Rhapsody in Blue.) Another night the two went off to hear jazz in Harlem. Like many Americans, Gershwin was a connoisseur of everything French, and so he started composing his own portrait of Paris before he even bought his steamer ticket for the overseas trip. Paris in 1928 was no longer the city of Edouard Lalo and Camille Saint-Saëns (their cello concertos were premiered there half a century earlier). But within weeks of Gershwin’s departure, Paris witnessed the premiere of a little boléro by Ravel that soon became as popular as anything Gershwin ever wrote. It was a vintage year for music in Paris. This city has cast a musical spell over composers from the romantics to the moderns—over all of us, in fact, from natives and émigrées to wide-eyed Americans.

Gershwin composed this work during the spring and summer of 1928 and it was first performed on Dec. 13 of that year in New York City. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets and bass clarinet, three saxophones, two bassoons, four horns, three trumpets, three trombones and tuba, timpani, bass drum, bells, cymbals, snare drum, taxi horns, tom-toms, triangle, wire brushes, wood block, xylophone, celesta, and strings. Performance time is approximately 19 minutes. When George Gershwin arrived in Paris in March 1928, he was as famous as any living musician. Even in Europe his best songs, such as The Man I Love, Someone to Watch Over Me, and Fascinating Rhythm were whistled on the street, and Rhapsody in Blue was the most talked-about composition in a city that has always loved music.

Gershwin’s music is still so popular that it’s easy to overlook his classical roots. His first musical memory was of an automatic piano, in a penny arcade on 125th Street, playing Anton Rubinstein’s Melody in F—one of those rare pieces that had become a popular classic, giving Gershwin the idea at an early age that serious and commercial music could be one and the same. As a teenager, Gershwin attended recitals by celebrity soloists such as Josef Lhevinne and Efrem Zimbalist. He played piano in the Beethoven Society Orchestra at Public School 63, and he studied music theory as well as piano. Even after he quit school at 15 to become “probably the youngest piano pounder ever employed in Tin Pan Alley,” he didn’t forget his greater ambitions.

In the early ’20s, while Gershwin was turning out a steady stream of hits (and making the kind of money that is unheard of in the classical music business), he was more determined than ever to write serious music that was equally popular. The historic premiere of Rhapsody in Blue, at New York’s Aeolian Theater in 1924, announced to the music world that Gershwin was a far more complex and ambitious musician than a mere songwriter. (And just to confuse matters, that same year Gershwin produced some of his finest songs, including Fascinating Rhythm.) During the mid-1920s, while he enjoyed the life of a rich celebrity, collecting modern art and moving his family out of their dreary apartment into a five-story townhouse on the Upper West Side, Gershwin began to compose a piano

Ironically, Gershwin knew nothing about Rhapsody in Blue until a few weeks before the concert, when he saw his name in the New York Tribune: “George Gershwin is at work on a jazz concerto.” When Gershwin called Whiteman to ask him what this was all about, the bandleader managed to persuade the 25-year-old composer to write something scored for piano and orchestra for his concert, even if it wasn’t a concerto in name. Shortly thereafter, with time quickly running out, he offered the services of his band arranger, Ferde Grofé, to help with the orchestration. Gershwin wrote most of the piece on an upright piano in the family apartment on West 110th Street, where Grofé dropped by, almost daily, as he later recalled, “for more pages of George’s masterpiece, which be originally composed in two-piano form.”

Despite the rushed, haphazard circumstances of its composition, Rhapsody in Blue is a more carefully designed and thematically tight work than is often claimed. The first 14 measures, from the clarinet’s opening wail to the jaunty, accented theme in the winds that shortly follows, contain the raw material for much of the piece. Nearly two-thirds of the way through, a big piano cadenza—Gershwin improvised, playing from blank pages—leads to the famous main slow theme. With a final stretch of brilliance and panache, Gershwin brings to a close what is arguably the most beloved 15 minutes in American music.

A Symphonic Picture, Porgy and BessArranged by Robert Russell Bennett

George Gershwin received his earliest musical instruction from Charles Hambitzer in New York. Gershwin testified that under this teacher, “I first became familiar with Chopin, Liszt and Debussy. He made me harmony-conscious. … I was crazy about that man. I went out, in fact, and drummed up ten pupils for him.” It should be said, however, that Hambitzer gave his pupil but little instruction in musical theory, and it was not until he had composed the Rhapsody in Blue in 1924 that Gershwin realized the necessity for technical knowledge, as that applied to musical composition. He received some lessons in harmony from Edward Kilenyi and some instruction, too, from Rubin Goldmark, but the composer of An American in Paris largely was self-taught.

In 1917 Gershwin was employed by the popular music publishing house of Remick as a “plugger,” for which he was remunerated at a wage of some 15 dollars a week. He remained at Remick’s for three years, and in the course of that period had written some songs of his own and had contrived a musical comedy, La La, Lucille. Soon Gershwin gravitated to the theater. He was engaged as a rehearsal pianist for the production Miss 1917, the music of which was by Jerome Kern and Victor Herbert. Meanwhile the young musician was making his way as a song-writer, and it was his tune, Swanee, introduced by Al Jolson into George White’s Scandals of 1922, that caused Gershwin to discover that his destiny had led him into the company of men who provided the popular field with best sellers.

The composer now began his lengthy connection with the musical comedy stage and revues. He wrote songs for many of the Broadway successes, beginning with the annual Scandals of George White, and continuing through such productions as Our Nell, Sweet Little Devil, Lady Be Good, etc., of the ’20s, and culminating in Of Thee I Sing in 1931. But Gershwin was preparing for higher flights. Paul Whiteman had projected a concert at Aeolian Hall, New York, at which he proposed to introduce with his famous band a higher type of jazz—symphonic jazz. He asked Gershwin to compose a suitable piece, and the Rhapsody in Blue, for piano and orchestra was the result. The concert was given Feb. 12, 1924, and Gershwin found himself a celebrity.

concerto, three piano preludes, and this tone poem—a love song to Paris—while still maintaining his roles as pianist, tunesmith and conductor.

In January 1928 Gershwin accepted an invitation to visit friends in Paris. Recognizing the need for a change from the frenetic New York scene—he currently had two hit shows, Funny Face and Rosalie, running simultaneously—Gershwin immediately started thinking about a “rhapsodic ballet,” which he quickly titled An American in Paris. By the time he and his brother Ira boarded a steamer for Europe on March 9, George had already sketched the piece in versions for one and two pianos. Once in Paris, he continued to work on the score and he spent one entire afternoon shopping the auto supply stores on the Grande Armée in search of the ideal car horns for the traffic scene he had in mind. (He took four horns home with him for the New York premiere.)

At the time, Gershwin told a reporter that An American in Paris was “written very freely and is the most modern music I’ve yet attempted.” It’s certainly Gershwin’s most accomplished and ambitious orchestral work to date. For the first time, Gershwin’s trademark jazzy rhythms, bluesy harmonies, and unforgettable melodies are all woven into a big, sophisticated work of symphonic dimensions. By 1928 Gershwin had developed a fine ear for orchestral color and a sense of cinematic panorama. Despite his claim that he hadn’t written program music (the play-by-play scenario printed in the score and often quoted is by Deems Taylor, not Gershwin), the work is unforgettably descriptive, from its opening walking music (think Gene Kelly, Hollywood, 1951) to the car-honking traffic jam. Gershwin did identify the American’s “spasm of homesickness” after too many drinks in a street café, but neither he nor Taylor managed to explain the hot Caribbean rhythm midway through. An American in Paris was a hit at its New York premiere, just months after Gershwin came home, and, inevitably, it was soon loved in Paris, too.

~Program note courtesy of Phillip Huscher, Chicago Symphony Orchestra

Rhapsody in Blue

Gershwin composed Rhapsody in Blue in three weeks in early 1924. Originally written for two pianos, it was orchestrated for jazz ensemble by Ferde Grofé and first performed, with the composer as soloist, by Paul Whiteman and his orchestra in New York’s Aeolian Hall on Feb. 12 of that year. It was later revised and re-orchestrated for symphony orchestra. The first orchestration calls for solo piano and an orchestra consisting of oboe, clarinets in B-flat and E-flat, bass clarinet, saxophones (soprano, alto, tenor, and bass), two horns, two trumpets, two trombones and tuba, timpani, bells, gong, snare drum, cymbals, triangle, piano, celesta, guitar, banjo, violins, and double basses. Performance time is approximately 15 minutes.

This was the 22nd of 23 pieces on a Sunday afternoon program misleadingly titled An Experiment in Modern Music, and it followed The Livery Stable Blues (with barn yard sound effects), a “semi-symphonic” arrangement of Irving Berlin tunes, and a Suite of Serenades by Victor Herbert. “Then stepped upon the stage, sheepishly, a lank and dark young man—George Gershwin,” the New York Times reported. And, launched by the spectacular clarinet cadenza that Gershwin had jotted down in his sketchbooks scarcely a month before, Rhapsody in Blue made history.

Organized by bandleader Paul Whiteman, the concert proposed to trace the evolution of jazz, although the comments printed in the program, boasting about “the tremendous strides which have been made in popular music from the day of discordant jazz, which sprang into existence about ten years ago from nowhere in particular” are hardly promising. Rhapsody in Blue alone justified Whiteman’s dubious “experiment” by single-handedly opening a new chapter in the history of jazz.

4

PROGRAM NOTES PROGRAM NOTES

5

The composer now took up seriously the study of musical theory and orchestration—the orchestral part of the Rhapsody in Blue had been made by Ferde Grofé—and the results of it were to be perceived in the Piano Concerto in F (1925), An American in Paris (1928), Second Rhapsody (1932) and the opera, Porgy and Bess (1935). Gershwin enlarged his field in the closing years of his life by writing music for motion pictures. He was engaged in that work at Hollywood, California, when in 1937 he was taken ill with symptoms that pointed to a brain tumor. An operation was attempted, but was unsuccessful, and Gershwin died that summer.

Porgy and Bess, Gershwin’s one contribution to serious opera, was based on the play Porgy, by DeBose and Dorothy Heyward, first performed by the New York Theater Guild at the Alwin Theater, New York, in 1935, and revived, in a slightly modified form, in 1942. The operatic adaption of the play was made by Mr. Heyward, and the first production of the opera took place at the Colonial Theater, Boston, Sept. 30, 1935. The orchestra was conducted by Alexander Smallens and the production was directed by Rouben Mamoulian. The cast was as follows: Porgy, Todd Duncan; Bess, Anne Wiggins Brown; Clara, Abbie Mitchell; Serena, Ruby Elzy; Crown, Warren Coleman; Sportin’ Life, John W. Bubbles. All the artists just mentioned were Negroes. Smaller roles for white artists were taken by Messrs. Campbell, Woolf, McEvilly and Carleton.

In a press interview Gershwin said of his opera: “The whole thing came naturally to me. The only research I did was to take a house at Charleston and live there five weeks. I also went to some Negro church services. I had problems in the opera that never had come up previously in my career. I’d never written for trained voices—mostly for dancers’ voices, and there was a treatment of the choir which I had never done before.”

“A Symphonic Picture” was made by Robert Russell Bennett at the instance of Fritz Reiner, conductor of the Pittsburgh Symphony Orchestra, and the work was performed for the first time by that organization at Pittsburgh, Feb. 5, 1943. Robert Russell Bennett said of his transcription of Gershwin’s music:

“Dr. Reiner selected the portions of the opera that he wanted to play and also set the sequence of the excerpts. He expressed his ideas as to instrumentation, wishing to make generous use of saxophones and banjo, and to dispense with Gershwin’s pet instrument, the piano.

“I proceeded not only to follow Dr. Reiner’s ideas faithfully, but also to remain completely loyal to George’s harmonic and orchestral intentions. In other words, although carrying out Dr. Reiner’s approach, I have been careful to do what I knew—after many years of association with Gershwin—Gershwin would like as a symphonic version of his music.”

The orchestral transcription contains the following excerpts from the opera: (I) Scene in Carfish Row (with peddlers’ calls); (II) Opening Act III; (III) Opening Act I; (IV) “Summertime”; (V) “I Got Plenty o’ Nuttin’”; (VI) Storm Music; (VII) “Bess, You Is My Woman Now; (VIII) The Picnic Party; (IX) “There’s a Steamboat That’s Leavin’ Soon for New York”; (X) “It Ain’t Necessarily So”; (XI) Finale, “Oh, Lawd, I’m on My Way.”

~Program note courtesy of Phillip Huscher, Chicago Symphony Orchestra

Program notes from the Chicago Symphony Orchestra provided

as a service of the Illinois Council of Orchestras.

PROGRAM NOTES

JAZZ • BLUES • NEWSFOR A COMPLIMENTARY PROGRAM SCHEDULE, CALL (630) 942-4200.

and much, much more!

W D C

B90.9 FMP UB L I C R A D I O

www.WDCB.org

76

Soprano Kimberly E. Jones is an alum from Lyric Opera’s Ryan Opera Center. With Lyric she performed roles in the center, such as Despina in Cosi fan tutte, Zerlina in Don Giovanni, Adele in Die Fledermaus, Laetitia in Old Maid and the Thief. She premiered The

Song of Majnun by Bright Sheng. Roles learned at Lyric include Musetta in Boheme, Ilia in Idomeneo, and she debuted in the world premiere in Anthony Davis’ Amistad, which is on World Records. She portrayed Xenia to Sam Ramey’s Boris Gudunov and Olga to Mirella Freni’s Fedora. Jones has traveled the world, participating in the chorus at Spoleto Festival, in Spoleto, Italy. With Westminster Symphonic Choir she worked with conductors such as Muti, Abbado, Slatkin and Bernstein, with performances at Carnegie Hall, Philadelphia Academy of Music and Avery Fisher Hall. And as a soloist she has performed in several venues, such as the Bunkamura in Tokyo, Japan; Stuttgart Symphony in Ludwigsburg, Germany; the Gewandhaus in Leipzig, Germany; and Danish Radio Symphony in Copenhagen. At Alice Tully hall she performed Vivaldi works with Little Orchestra Society. She was Clara in Houston Grand Opera’s production of Porgy and Bess, which appeared at La Scala in Milan, Italy, the Bastille in Paris, and American companies such as San Francisco, Seattle, Houston, Dallas, Cleveland, Minneapolis, San Diego and Costa Mesa. One of her favorite pastimes is singing the national anthem for the Bulls. Jones currently is on voice staff at Merit School of Music, DePaul University, and Sherwood School of Music, Columbia College, and although she mostly sings locally, she looks forward to traveling the world again singing!

With more than 30 operatic roles to his credit, baritone Bill McMurray has been described as, “a baritone with warm, rich tones and superb stage presence” by the Durham Herald Sun. Such roles include “Figaro” in

Il baribiere di Sivigila, “Count Almaviva” in Le nozze di Figaro, “Marcello” in La Boheme and “Escamillo” in Carmen. McMurray sang the lead role of “Prospero” in Lee Hoiby’s The Tempest with Longleaf Opera in North Carolina, while the composer himself was in attendance and received outstanding reviews for his performance. He has sung with noted companies like Florida Grand Opera, Opera North, Knoxville Opera, The Opera Company of NC, Mobile Opera, Opera Carolina, Central City Opera, Chicago Opera Theater, and Opera on the James and Elgin Opera. McMurray has also performed several times with the Lyric Opera of Chicago’s “Opera in the Neighborhoods.” In 2013 he sang the lead role in the Chicago premiere of Der Kaisser von Atlantis at the Jay Pritzker Pavilion with the New Millennium Orchestra. As a concert soloist, McMurray has found success in oratorio works such as The Messiah, which he recently recorded on CD, Elijah and the Mozart Requiem. He recently made debuts with the Chicago Civic Orchestra, where he performed a set of Aaron Copland’s Old American Songs, and the Northwest Indiana Symphony in a concert version of Porgy and Bess. Additionally, he has been a first-place winner in the National Association Teachers of Singing competition, received an Encouragement Award from the Metropolitan National Council Auditions and, in 2008, was one of eight singers selected to the Winners Circle of The Classical Music Vocal Competition, which was held in Chicago. McMurray was also a featured soloist at St. Peter’s Basilica in Rome with the

PROFILESMarta Aznavoorian has performed to critical acclaim throughout the world as orchestral soloist, recitalist and chamber musician. A Chicago native, she has performed in her hometown’s most prestigious venues and tours extensively

throughout the world. She made her professional debut at the age of 13 performing Mozart Piano Concerto No. 24 in C minor K.491 with the Chicago Symphony Orchestra at Symphony Center in four concerts of their series. She has won over audiences appearing as soloist with orchestras internationally including the Sydney Symphony Orchestra, the Sydney Conservatory Orchestra, Chicago Symphony, Chicago Civic Orchestra, Aspen Festival Orchestra, San Angelo Symphony, San Diego Symphony, Northwest Indiana Symphony, and the New World Symphony, which resulted from a personal invitation from Michael Tilson Thomas, who also was her conductor.

Aznavoorian has worked with such renowned conductors such as the late Sir George Solti, Michael Tilson Thomas, Lukas Foss, Henry Mazer, Francesco Milioto, and Kirk Muspratt, among others. She has won numerous awards throughout her life, including top prize in the Stravinsky International Competition where she was also lauded the special prize for best interpretation for the commissioned contemporary work. As a recipient of the 1990 Level 1 award in the National Foundation for the Arts Recognition and Talent search, Aznavoorian became a Presidential Scholar and was invited to the White House and to perform as soloist at the Kennedy Center in Washington, DC.

Aznavoorian is founding member of the Lincoln Trio, which Fanfare Magazine has labeled as “one of the hottest young trios in the business.” The Grammy-nominated trio tours regularly throughout the world, and just celebrated their most recent

Cedille Records release of all the chamber works of Spanish composer Joachim Turina.

In strong demand as a chamber musician, Aznavoorian has worked with such artists as the Pacifica Quartet, Julian Rachlin and friends, Ilya Kaler, Colin Carr, Roberto Diaz, Miriam Fried and many others. She has performed as soloist and collaborator in many festivals including Tanglewood Festival, Aspen Festival, Caramoor Festival, Hornby Island, Green Lake Music Festival, and she will be making her eighth straight season appearance at the Ravinia Festival in 2016.

A champion and lover of new music, Aznavoorian has worked with the world’s leading composers including William Bolcom, Osvaldo Golijov, Jennifer Higdon, Shulamit Ran, Augusta Read Thomas, Joan Tower, Lera Auerbach, Pierre Jalbert, Stacy Garrop, Laura Schwendinger and Marta Ptaszynska, and continues to collaborate with several of the most innovative composers of our time.

Aznavoorian records for Artec Label and extensively for Cedille Records and has multiple recordings with her trio including the 2013 NAXOS release of Annelies, based on the Diary of Anne Frank.

A student of the renowned teacher Menahem Pressler, Aznavoorian received her bachelor’s degree at Indiana University, where she was also awarded the prestigious Artist Diploma. Other influential teachers include Lev Vlassenko, Evelyn Brancart, Patricia Zander and Carolyn McCracken.

She continued on to get her Master’s degree from New England Conservatory, where she studied with the late Patricia Zander. A passionate teacher, Aznavoorian has given master classes at several schools and universities throughout the United States and abroad, and is on faculty at the Music Institute of Chicago and Artist in Residence at the Merit School of Music in Chicago, and is on adjunct faculty at the DePaul University School of Music.

PROFILES

98

Kirk Muspratt (Music Director and Conductor) was recently named a “Chicagoan of the Year” by music critic John von Rhein and the writing staff of the Chicago Tribune. In honoring Muspratt, von Rhein said, “Ask the delighted adults and kids who

flocked to his concerts...with the Northwest Indiana Symphony Orchestra...They will tell you he made concert going an interactive experience that was both enlightening and—are you ready?—fun.” Recognized as one of the outstanding figures in the new generation of conductors, Muspratt has garnered international critical acclaim and was hailed as a “born opera conductor” (Rheinische Post) and “a knowledgeable musician who delivers superbly controlled, gorgeously shaped readings” (St. Louis Post-Dispatch). The Los Angeles Times declared “Watch him!”

Muspratt begins his 17th highly acclaimed season as music director of the Northwest Indiana Symphony Orchestra. In his first 16 seasons, he has instituted several highly commended programs that include a popular Solo Competition for Children that results in a child performing at almost every Northwest Indiana Symphony concert. He has also implemented an Orchestral Fellowship Program with Valparaiso University and his vision was instrumental in founding the South Shore Summer Music Festival.

One of his most highly praised new projects at NISO has been the innovative collaborations with the Lyric Opera Center for American Artists. Together they have presented La Traviata, Die Fledermaus, Carmen and La Boheme.

In order to involve the community to the maximum, he has created “Just Ask Kirk™” cards for audience members’ questions, “Interactive Intermissions” and “Cookies with

Kirk” for patrons and musicians of the orchestra, chorus and youth orchestra to meet, and a “Kirkature™” cartoon to help advocate the credo: “Symphonic music is for everyone.” He also writes monthly columns in two local newspapers during the concert season.

In July 2004, Muspratt was named both music director of New Philharmonic and artistic director/music director of DuPage Opera Theatre. In 2011, New Philharmonic was awarded “Professional Orchestra of the Year” by the Illinois Council of Orchestras. In his first nine seasons, productions at the DuPage Opera Theater featured repertoire including Faust, Otello, Tosca, Turandot, and Carmen. Repertoire at the New Philharmonic was equally adventurous, including the world premieres of the Stybr Variations for Contrabassoon and Orchestra, Taylor Firefly Orrery and Lofstrom Oboe and Harp Concertinos.

In his first months at the New Philharmonic, he instituted a Side-by-Side program for local high school students and an Interactive Intermission Project involving both the musicians of the orchestra, opera and the patrons.

From 1991 through 1996, Muspratt served as resident conductor to Lorin Maazel at the Pittsburgh Symphony Orchestra. Prior to that, he was appointed as associate conductor to Joseph Silverstein at the Utah Symphony Orchestra (1990–1992). From 1987 through 1990, he served as assistant conductor to Leonard Slatkin at the St. Louis Symphony Orchestra as well as music director of the St. Louis Symphony Youth Orchestra. He was music director of the Alberta Ballet from 1997 through 1999. At the New York Philharmonic, Muspratt has served as a cover conductor.

In addition to his work in Pittsburgh, Utah and St. Louis, he has guest conducted the orchestras of Los Angeles, Montreal, London, Korean Broadcast Symphony, Detroit, Rochester, National Arts Center, Vancouver, Knoxville, Puerto Rico, Rhode Island, Winnipeg, Calgary, Edmonton,

PROFILEScombined choirs of St. John Cantius Church and St. Joseph College. Other engagements include Jake in Skylight Opera Theater’s Porgy and Bess, the role of Dr. Dulcamara in l’elisir d’amore with Summer Garden Opera in Virginia, and solo performances with the Ravinia Festival and Skokie Valley Symphony. He also sings regularly with the Grammy-award winning Chicago Symphony Orchestra and Chorus, where he has been a featured soloist. For the 2015–16 season he debuted with the Waukegan Symphony as the bass soloist in Handel’s Messiah and then returns to Skokie Valley Symphony as the bass soloist in the Fauré Requiem.

Nancy Menk holds the Mary Lou and Judd Leighton Chair in Music at Saint Mary’s College in Notre Dame, IN, where she is professor of Music, director of Choral Activities, and chair of the Music Department. She also teaches graduate

conducting at the University of Notre Dame. At Saint Mary’s College, Dr. Menk conducts the Women’s Choir and the Collegiate Choir, teaches conducting, and prepares the Madrigal Singers for the annual Christmas Madrigal Dinners. Under her direction, the Women’s Choir has performed on tour throughout the United States and it regularly commissions, performs and records new works for women’s voices for their series on the ProOrgano label. In February 2005 they performed for the ACDA National Convention in Los Angeles, and in June 2012 they performed for the ACDA National Symposium on American Choral Music in Washington, DC. They made their first international tour visiting China in March 2011, and were named second-place winners of The American Prize in Choral Performance for 2012.

She is founder and conductor of the South Bend Chamber Singers, an ensemble of 32 select singers from the Michiana area. In 2000, the Singers were one of five finalists for the prestigious Margaret Hillis Award for Choral Excellence, given annually by Chorus America, and in 2004 they won the ASCAP/Chorus America Award for Adventurous Programming. They were invited to perform for the American Choral Directors Association Central Division Conference in Fort Wayne, IN, in March 2012. Both the Saint Mary’s Women’s Choir and the South Bend Chamber Singers regularly commission, perform and record new works. Menk is also conductor of the 120-voice Northwest Indiana Symphony Chorus.

Menk has been a conducting participant in the National Conductor’s Symposium with the Vancouver Chamber Choir and the Oregon Bach Festival. She is editor of the Saint Mary’s College Choral Series, a distinctive series of select music for women’s voices published by Earthsongs of Corvallis, OR. Along with Dr. James Laster of Shenandoah Conservatory, she has prepared an annotated bibliography of women’s choir resources, which has been published by the American Choral Foundation. Menk serves regularly as a guest conductor and choral adjudicator throughout the United States. She has conducted All-State Choirs in Colorado, Delaware, Indiana, Kentucky, North Dakota and Pennsylvania. In August 2011, she served as guest conductor for the Hong Kong Youth Music Camp Chorus. She has conducted six Carnegie Hall concerts, including the Carnegie Hall premiere of American composer Carol Barnett’s The World Beloved: A Bluegrass Mass. She returned to New York City in November 2014 to conduct a concert of music by American composer Gwyneth Walker at Lincoln Center’s Alice Tully Hall.

She holds B.S. and the M.A. degrees in Music Education from Indiana University of Pennsylvania, and the M.M. and D.M.A. degrees in Choral Conducting from the University of Cincinnati College-Conservatory of Music.

PROFILES

1110

Benjamin Nadel is a conductor, vocal coach, and pianist based out of Chicago. Currently he is the assistant conductor and orchestra librarian for the New Philharmonic and Northwest Indiana Symphony. In the

past he has also conducted, coached and played piano for summer opera programs at Northwestern University and the Midwest Institute of Opera, where he worked with Joshua Greene from the Metropolitan Opera. Nadel recently completed his MA in Orchestral Conducting at the University of Iowa, where he studied with Dr. William LaRue Jones. Before that he attended Illinois State University, where he studied with Dr. Glenn Block.

PROFILESHamilton, Victoria, New Orleans, Stamford, Binghamton, South Bend, Lafayette, Puchon, Annapolis, Wisconsin Chamber Orchestra and Baltimore Chamber Symphony.

Summer debuts have included the Tanglewood, Chautauqua and Sewanee Music Festivals. He has also conducted at the Banff Center for Performing Arts.

In Europe, Muspratt was assistant conductor in the opera houses of Monchengladbach/Krefeld, Germany, from 1985 to 1987. His American opera conducting debut came with the Utah Opera in 1991. He returned there to premiere Mascagni’s L’Amico Fritz. Maestro Muspratt has conducted Die Fledermaus for the Calgary Opera, Faust and Merry Widow for the Utah Opera, Of Mice and Men, Il Barbiere di Siviglia for the Arizona Opera and Amahl and The Night Visitors at the Opera Illinois, all to stunning critical acclaim.

In 1983 and 1984, he was invited to be a scholarship student at the Chautauqua Institute and in 1986 was selected as a Conducting Fellow at the Aspen Music Festival. A year later, he was invited into the Conducting Program at the Tanglewood Festival. In 1988, he was chosen to be one of three Conducting Fellows for the Los Angeles Philharmonic Institute at the Hollywood Bowl.

As a teacher, Muspratt has taught at the Conductors’ Institute of the University of South Carolina, the Conductors’ Guild National Workshops, Association of Canadian Orchestras National Conference in Toronto, the Conductors’ Studio at Illinois State University and at Westminster Choir College in Princeton. During the summer, he has taught graduate conducting classes at VanderCook College of Music, at the Northwestern University seminar for singers, and most recently at the SAI National Convention in St. Louis. Muspratt recently completed six-year tenure on the board of directors of the Conductors’ Guild.

Having always enjoyed working with young people, he has conducted the Pennsylvania Regional Orchestra and the Pennsylvania All-State Orchestra. He has conducted the Boston University Tanglewood Orchestra at the Tanglewood Festival.

Muspratt has been the recipient of numerous awards, among them grants from the Canada Council and the Presser Foundation. In 1983 and again in 1984, he was winner of the Strauss Conducting Prize while a conducting student at the Vienna Conservatory. During his tenure in Utah, he received the first Utah Up’n Comers Award ever given to a classical musician for his work and involvement in the Utah Arts Community. In 1987, he was named winner of the prestigious Exxon/Affiliate Artists Award. Muspratt was named a “Professional to Watch” by the Times of Northwest Indiana in 2013.

In 2006, he was initiated as a National Arts Associate with the Lake County Alumnae Chapter of Sigma Alpha Iota International Music Fraternity. He is the first such Distinguished Member in Northwest Indiana. A National Arts Associate is a man or woman who is nationally recognized for distinguished contribution to the arts. He joins the likes of other SAI National Arts Associates such as Van Cliburn, Keith Lockhart, Henry Mancini and Wynton Marsalis.

He is a native of Crows Nest Pass, Alberta, Canada. His early training was as a pianist. After leaving Alberta, he studied in St. Louis and New York with Harold Zabrack. Muspratt continued in both a bachelor’s and master’s performance program at Temple University with Adele Marcus and Alexander Fiorillo. Subsequent to that he went on to study conducting at the Vienna Conservatory of Music. He became a citizen of the United States in November 2010. This season he will make his debut conducting appearance with The Joffrey Ballet.

PROFILES

1312

#AtTheMAC

Share your MAC Memories with us!

Kirk Muspratt, Music Director and ConductorChair sponsored by Jeanette and Renee Giragos, in memory of Dr. Henry G. Giragos

1st Violin Michele Lekas, Concertmaster

Chair sponsored by Susan & Richard Lamb

Kristen WiersumDebra Ponko

Gretchen SherrellMiki SantibanezPascal Innocenti

Whun Kim Paula Johannesen

Lauren Lai

2nd Violin Mara Gallagher, Principal

Kristen LeJeuneChikako Miyata

Isabelle RozendaalMelissa StriedlDiana SalazarBrian Ostrega

ViolaRyan Rump, Principal

Sarah TompkinsBill Kronenberg

Jennifer SilkJenwei YuBruno Silva

Karen Dickelman

CelloClaire Langenberg, Principal

Chair sponsored by Nancy & John Rutledge

Melissa Bach Chair sponsored by

Nancy & John Rutledge Anne Monson

Chair sponsored by Nancy & John Rutledge

Nancy MooreRichard Yeo

Francisco Malespin

BassMichael Meehan, Principal

Chair sponsored by Barbara & Lowell Anderson

Weldon AndersonJulian Romane

John TuckJessica Wolfe

Flute

Carolyn MayIrene Claude

OboeJeffrey Padgett, Principal

Chair sponsored by Susan & Richard Lamb

Melinda Getz

ClarinetMary Payne, Principal

Lacy GarberDavid Tuttle

Bassoon Dianne Ryan, Principal

Lynette Pralle

Horn Phil Stanley, Principal

Chair sponsored by Dr. Donald G. Westlake

Lisa TaylorBeth Mazur-Johnson

Kelly Suthers

TrumpetWesley Skidgel, Principal

Chair sponsored by Margaret & Michael McCoy

Kyle UptonPaul Semanic

Trombone Tom Stark, Principal

Serdar CizmeciBen Zisook

Tuba

Joshu Wirt

TimpaniJames Bond-Harris

PercussionAndrew Cierny, Principal

David VictorKent Barnhart

KeyboardNyela Basney

Orchestra ManagerPaula Cebula

Assistant Conductor and Librarian

Benjamin Nadel

Personnel ManagerKaren Dickelman

Stage Music Assistant to Ms. Aznavoorian

Margaret McCoy

NEW PHILHARMONIC PERSONNEL2016–2017THANK YOU NEW PHILHARMONIC

CHAIR SPONSORSBarbara and Lowell Anderson

Jeanette N. and Renee Giragos, In memory of Dr. Henry G. Giragos

Mr. and Mrs. Richard Lamb andSusan and Richard Lamb Charitable

Fund of The DuPage Foundation

Margaret and Michael McCoy

Nancy and John Rutledge

Dr. Donald G. Westlake

What is a Chair Sponsorship?Chair sponsorship deepens the connection to the orchestra by

directing support to a specifi c instrument or position in the orchestra, thereby establishing a relationship between musicians and donors.

For information or to make a gift: (630) 942-2466 | foundation@cod.edu

1514

Nancy Menk, Conductor

Soprano ICrystal ChandlerShirley ComerRhonda Crouch

Sarah-Kate DavidsonAnjali DziarskiBetty Duwer

Jessica GonzalezMelissa Goodwin

Mary HenrichKathi R. JonesLinda KennedyDonna Krumm

Karen Lounsbury+Joy Masson

Cindy McCraw*Kathleen OrgelCourtney PalaszDiane NeedlesLinda PancheriBrenda PollalisJennifer RauseiStephanie SepiolLinnetta Taylor

Cristin Zilz

Soprano IIJoy BrownJill Cooke

Sally DuboisSarah EmeryGayle Faga

Maureen HuizengaKathy JohnsonDiana Kovach*Nicole Kovach

Janet LeathermanKrystal Levi

Kathy MadgiakDiana Murray

Kathy PacholskiPhyllis PalmquistMaggie Reister

Sheree RichardsonLynn Slegel

Lovetta Tindal Marisa Valdez

Dana Zurbriggen

Alto IElizabeth BessetteMelissa Burgess+

Christina DoughertyJan Hosna

Prudence LeslieTracie MartinBeth MorenoSherry Peters

Geraldine Rainey*Joan Sporny

Pat UrbanJenna Vasaitis

Kathleen WahlmanJane WalkerMary Wells

Beth Zagrocki

Alto IIMaris Beswick

Lauren EricksonMary Fox

Roberta GadomskiKate Hutton

Natalie LukichPatrice Martin*Karen O’BrienTina Ostrom

Deborah Bleeke SanjourJoann Wleklinski

Sheila WoodJanet Yehnert

Tenor I Jack Chavez

Paul HuizengaJim Kreger

Richard Lynch*Thomas Olsen+Mike Spurlock

Richard Yehnert

Tenor IIJames GazdickCharles Gierse

Richard HagelbergBarry HalgrimsonDean LeensvaartDaniel Nieman#Doug Wiseman

Bass IDoug Amber

Lee Amstutz+Scott Enloe*Roy Hamilton

Mark KurowskiKirk McQuiston

Richard PacholskiEd Palmisano

Theodore RosdilJonathan Sanford

Ken TazelaarDavid VanDerMolen

Mark Webster

Bass IITim DuncanTom JenkinsRon Jongsma

Clement LessnerEd Lindquist

Glen RichardsonDavid Schoon*Bill Westerhof

AccompanistPatricia Lee

Chorus Manager/Office LiaisonMary Henrich

LibrariansKathy and Rich Pacholski

Secretary/TreasurerJan Hosna

E-Mail List ManagerMelissa Goodwin

Wardrobe ManagersSally Dubois and Doug Wiseman

Facebook ManagerJoan Sporny

+ Section Leader* Section Manager

# On Leave

NORTHWEST INDIANA SYMPHONLY CHORUS

16 17

18

Make a gift to New Philharmonic to support:•Distinctive guest artists•Young People’s Competition performances•MAC Chats•A professional orchestra in your community

A generous gift ensures a continuing musical tradition for DuPage County.

DONATE TODAY! (630) 942-2462foundation.cod.edu/donatefoundation@cod.edu

Thank you and enjoy the performance!

YOUR ORCHESTRAYOUR MUSICFOR 40 YEARS

19

The More the Merrier at The MAC!SAVE WITH A GROUPOF 10 OR MORE!

GROUPS

We o�er a variety of customized entertainment

packages to help create a memorable and unique

experience. Along with reduced ticket prices, we can

help plan and execute additional private events

around the performance you attend, such as pre- or

post-show receptions, cocktail hours, full banquet

catering, meet- and-greets with the artists, backstage

tours, or lectures and Q&A sessions.

World class cultural experiences are meant to be shared. With a group of 10 or more, your friends, family, co-workers or clients can enjoy savings up to 20%!

GROUPS of 10–29

10% OFF!GROUPS of 30–49

15% OFF!GROUPS of 50+

20% OFF!

Let us help create a package for your group. Call our friendly, professional and knowledgeable sales team today at 630.942.3026 or emailMelissa Mercado, meisch-mercadom@cod.edu.

20 21

downtown style & sophistication with suburban convenience...

• Beautifully Appointed Guestrooms & Suites

• Elegant Meeting & Banquet Rooms

• Allgauer’s Restaurant Award Winning Service & Cuisine

• 24 Hour Business Center

• Beautiful Indoor Pool, Whirlpool Spa & Fitness Center

Whether you join us for a spectacular weekend get-away, exquisite dining experience or a once-in-a-lifetime special occasion banquet, rest assured our staff and

accommodations will exceed your expectations.

3003 Corporate West Drive, Lisle, IL 60532630.505.0900 | hiltonlislenaperville.com

Hilton Lisle/Naperville & Allgauer’s Restaurant

22

The Friends of the MAC is a family of people who have decided that a world-class performing and visual arts center should reside in their community. Ticket sales only provide 42 percent of our $3 million operating budget. It is through the support of College of DuPage and through the generous gifts from patrons and local businesses that we can keep art in our gallery and on our stages.

Your gift to the MAC • Brings nationally and internationally renowned artists to our community • Supports our SchoolStage program that annually offers affordable arts experiences to thousands of school children • Provides students and community members the opportunity to interact with artists • Enhances the quality of life in our community

Without the generous support of the Friends of the MAC we would not be the cultural hub of DuPage County. We gratefully thank our friends and we invite others to join them.

For complete details, visit the MAC Ticket Office or call the MAC at (630) 942-2263 or the College of DuPage Foundation at (630) 942-2466.

Arts Center and MAC-tastic Treat Seats EndowmentsDonors may choose to direct gifts to the Arts Center Endowment or the newly established MAC-tastic Treat Seats — Tickets for Kids & Families Endowment. Donations made to these MAC Endowments, our “savings accounts,” go into principal secured, invested accounts that will provide ongoing support for arts programs and arts accessibility for years to come.

The McAninch Arts Center and the College of DuPage Foundation can also provide you with information on Planned Giving opportunities.

For more information, please contact the MAC at (630) 942-2263, the College of DuPage Foundation at (630) 942-2466 or visit foundation.cod.edu.

Friends of the MAC

23

McAninch Arts Center acknowledges and gives grateful thanks to those donors who have contributed in support of the MAC mission and vision. This list of donors reflects contributions made from Dec. 1, 2014 through Aug. 28, 2016. While we carefully prepared this list we recognize that errors may have occurred. Please accept our apology if you are not properly represented on this list and contact the College of DuPage Foundation at (630) 942-2462 so we may correct our records.

FRIENDS OF THE MAC

Encore Circle ($2,500 and up)Anonymous (3)Lowell and Barbara AndersonAurora Civic Center AuthorityBMO Harris BankMrs. Clark G. CarpenterJames and Marie Drasal

and Drasal Family Fund of Fidelity Charitable Gift Fund

DuPage FoundationFollett Higher Education GroupKen and Debbie FulksJeanette N. and Renee Giragos,

in memory of Dr. Henry G. Giragos

JCS Fund of DuPage FoundationJeffrey Jens and Ann BoisclairDr. Jean V. KartjeKenmare Catering & EventsMr. and Mrs. Richard Lamb

and Susan and Richard Lamb Charitable Fund of The DuPage Foundation

Legat Architects, Inc.David and Carolyn MayDr. and Mrs. Harold D. McAninchMargaret and Michael McCoyBill and Nancy MooreMs. Kimberly MorrisDr. and Mrs. Joseph S. MorrisseyKirk MusprattDrs. Donald E. and

Mary Ellen NewsomJane OldfieldMr. and Mrs. William PodgorskiJeffrey and Debora PonkoRoland and Kelly RaffelMr. Chuck RobertsNancy and John RutledgeCharles SchlauJerry and Susan Schurmeier

Smith Financial Advisors, Inc.Mark and Nancy SmithSullivan Taylor & Gumina, PCTerrence J. Taylor and

Maureen Sullivan TaylorTrust Company of IllinoisU.S. BankBjarne R. UllsvikDr. Donald G. Westlake Scott and Kristen WiersumMr. Keith C. YearmanZacuto

Director’s Circle ($1,000–$2,499)

Anonymous (2)Mr. and Mrs. Robert F. AndersonMilton and Heide BentleyCatherine M. BrodRonald and Hope BucherVerda and Paul BufkinMs. Carla BurkhartMs. Hannah CliftonStephen and Sunday CumminsDon and Anna Mae DaviaCharlene Kornoski-Du Vall

and James Du VallMs. Emily EllsworthGeorge and Kathryn FairbairnJoan and Ken FrankG. Carl Ball Family FoundationMr. and Mrs. Craig GiblinMr. and Mrs. George GilbertMr. and Mrs. Linsley GrayGinni and ChrisMr. and Mrs. Robert G. HartmanDon and Jackie HegebarthLance HerningJorge and Beatriz IorgulescuAnne and Ira J. KreftKaren and Gene KuhnMr. and Mrs. Martin Kuttesch

Gil and Lola LehmanDr. Daniel E. LloydMs. Diana L. MartinezJohn and Lynette McCortneyTerrance and Linda McGovernJ. C. MorganRebecca NicholsonNorthwest Community

Healthcare Wellness CenterJudith May O’DellBob and Joan OlachHelen PachaySarah PackardJack and Marilyn PearsonMr. and Mrs. Alan E. PetersonMeri PhillipsMr. Daniel B. PorterRichard and

Elizabeth QuaintanceA. F. and Cecile RobinsonThe Rev. Dr. Curtis and

Leanne RolfeJudy RonaldsonNancy L. RubyTheodore M. UtchenJames and Patricia VaryMs. Kathy WesselBonnie M. WheatonWight & CompanyMark Wight and

Eszter BorvendegJo Anne Zipperer

Ambassador ($500–$999)Anonymous (4)Anthony and Gwen AchillesYoung AhnNancy AlluredKatherine BalekJoseph and Betsy BallekRichard and Grace BauerMs. Eunice Becker

24

Dr. Craig M. BergerRay BillettMr. Paul BradleyMs. Nella BrylskiCabernet & CompanyBill CharisChef by Request CateringGreg and Janet ChejfecChicagoland Habitat

for HumanityMs. Cynthia CliftonMr. and Mrs. Paul J. CliftonDr. and Mrs. Joseph E. CollinsMr. Brett A. CoupGeorge W. and Ann DervisMr. Gene DicolaThe Drake HotelEdwin A. and Gerry DulikJoanne EastECOLAB Inc.El Segundo Record ClubJoseph and Frances EraciMarcela FanningKristine and Ken FayFinances by Design Inc.Elinor FlaniganDick and Marge GieserJacquelyn L. GillMarilyn GivenMs. Jean D. GorisUrs Geiser and Mary HobeinStephen and Michelle HujarMr. Fred Greenwood and

Ms. Dianne A. McGuireMr. and Mrs. William S. KensholMr. Peter KlassenJacqueline Vernot and

Raymond KotzMary Anne LambertEileen and Eliot LandauMs. Susan Lang BerryIda LeeMs. Alixe LischettAlice LoganMr. and Mrs. James LongMr. and Mrs. L. Alan LowryEdward J. Mally

Aurelia and Ronald MaslanaLTC and Mrs. James MilobowskiMadeleine PachayDonald E. McGowan and

Mary Leah PrazakEllen and Daniel McGowanDr. and Mrs. John MessittMrs. Dorothy I. O’ReillyJim and Lorraine PaulissenMr. and Mrs. Mark A. PetersonGinny and Don RathsDonald and Mary RerickaMr. and Mrs. Stephen RochlisMs. Theresa M. SakHelen and Beth SchellMs. Johanna J. Stevens and Ms. Elizabeth E. SchellWilliam and Nancy SchiererMs. Dianne M. Skeet*Skeet and Laura SkeetMr. and Mrs. Roger SistermanMs. Gerie SmrcinaMarilyn SmrcinaCherry StoddardTwo Brothers Brewing CompanyDr. and Mrs. E. Jay Van Cura

and The E Jay Van Cura MD Charitable Fund of the Vanguard Charitable Endowment Program

Robert and Kay WahlgrenJoan and Raymond WielgosMs. Alice M. WilburKen and Viviane WilcuttsMr. and Mrs. Robert J. WojcikMr. Brian Worrall

Performer ($250–$499)Anonymous (13)Sue AdamsMr. and Mrs. Bruce AndersonIrene D. AntoniouMr. and Mrs. Donald L. ArendsAspire VenturesMary Ellen and Jack BarryHarold and Karen BauerBiff Behr and Lynne Richman

Ken and Annabel BergmanJudith L. BittikofferWalter B. McIntyre and

Arlene BonetProf. and Mrs. Charles E. BooneMr. and Mrs. William BulgerMs. Ramona Jean BurnsEd and Kay BurtonKenneth and Karen BusseMs. Amy CavanessMr. Carles Clement and Ms. Jami L. ArndtCommunity Foundation of

Will CountyDiane CooperMs. Tamara CroweMs. Pamela DalbyBarbara and George DiGuidoMark and Kim DornMs. Marilyn R. Drury-KatilloEakins PropertiesDaniel Edelman and Fran KravitzCamille and Joe EstermanEnertherm CorporationEric and Marilyn ForsMrs. Carol L. Fox Girovich and Mr. Howard GirovichMr. Lawrence A. FramburgMr. and Ms. Charles F. GaulMr. Richard GlymanRobin L. GrahamBill and Alyce GrantGwen and Chet HenryJohn A. HerndonMr. and Mrs. David HightMr. and Mrs. Calvin L. HimelStephanie IglehartMs. Jennifer IngramMrs. Jo Ann JacobsonMr. Randle Jennings and Ms.

Jennine S. MoormanEdward and Susan JeszkaMr. Dennis R. JohnsonMr. and Mrs. George G. KepnickVirginia and Charles KlingspornMs. Durema F. KohlMarcia A. Koppenhoefer

FRIENDS OF THE MAC

25

FRIENDS OF THE MACMichael F. KozlowskiMadeleine and Ralph MarbachMr. and Mrs. Chris MarlerSarah Hutchison MartinoPaul McCurnin and

Evelyn McNeillJames and Kimberley McDonnellMarty and Marian McGowanEvelyn McNeill and

Paul McCurninMr. and Mrs. Francis MiesMr. and Mrs. Marvin MinarichMr. and Mrs. David W. MortonBud and Pat MotzCharles and Kay MylerMr. Sherman L. NealNorth American Roller

Products, IncNorthern TrustMr. and Mrs. Bernard NusinowByrd and Alice ParmeleeRuth J. Pozesky*Gary and Mary RashJack E. Riddle, IIS. E. RossMr. and Mrs. Michael K. RoycroftMs. Jacqueline RyanJaney SartherMs. Lisa Savegnago and

Mr. Ronald A. JohnsonFred and Lorraine SchullerDr. Thomas R. ScottKristin and Peter ShulmanLloyd SmithRichard and Janice StickaCarolyn and Joe StoffelAnthony and Mona TaylorVirginia and Jerry ThompsonPaul and Katherine ThompsonMr. Grayson Van CampDr. and Mrs. E. VeleckisCarol C. Wallace FamilyLyn and Debbie WhistonDr. and Mrs. K. M. WilcoxMr. and Mrs. Robert WulffenMs. Kathleen Yosko

Friend ($50–$249)Anonymous (15)Mr. and Mrs. Gary R. AchepohlAdelle’sAnju AgarwalMr. and Mrs. Thomas K. AhernPeggy AldworthMrs. John AndersenMr. Patrick G. Anderson, Jr.AT&TAuditorium TheatreBARBAKOA Tacos & TequilaDarlene BargerMr. Daniel A. BarnettAlyce BarnicleDebbie Barrett and

Barry ZelinskiMichael and Gail BaruchPatricia and Bruce BeckMs. R. Lorraine BehrendMs. Margaret BeileMr. and Mrs. Ronald N. BenMr. and Mrs. Martin P. BenderMr. and Mrs. James R. BentéMs. Bonnie BenziesMr. and Mrs. William E. BermannPeggy BickhamMr. George BigenwaldDaniel and Yolanda BindertMs. Virginia A. BlackwellMr. and Mrs. James BorusMr. and Mrs. Joseph H. BorylaMr. and Mrs. James BovesMr. Franklin E. BowesMrs. Aleene L. Henninger-BoydenMs. Joan BradfordKay BraulikBroadway in ChicagoMr. George BruceMr. and Mrs. Charles A. BuettnerMr. Robert E. ByrneMr. Kenneth L. CarlsonKevin and Lori CarlsonMr. Joseph Cassidy and Mrs. Tatiana SifriMr. Ken Casterline

Mr. Steve CatlinMr. Robert B. ChasteenMs. Susan W. S. ChemlerRobert and Barbara CieskoAndrea and Dwight ClossCarolyn B. CollinsMr. and Mrs. Terrence P. CollinsMr. and Mrs. Edward J. ComanDr. and Mrs. Duane W. CondiffMr. Dennis Anderson and

Ms. Christine E. ConnellyMr. and Mrs. Robert S. ConradMr. Dan CorrentiJeanne E. DavikDorothy DeenMr. and Mrs. Franciso DeHoyosMs. Lynn F. Dempsey-Musker

and Mr. Brian MuskerMs. Victoria L. DepaJanet DerberJoy and Ron DetmerMs. Jean A. DeYoungDr. Julia M. DiLibertiMr. and Mrs. David DoemlandMs. Patricia DoerflerWilliam DonnellyMs. Alice E. DoughertyWilliam and Kathleen DrennanMr. and Mrs. James E. DunlapJohn T. Earley, Jr.Mr. and Mrs. Sherwood EdwardsMr. William EnrightDarlys EwoltRobert and Linda FairbairnWilliam and

Sally Newton FairbankGeraldine FeketeJack and Janet FeldmanShirley FishwickMr. Douglas FitzgeraldMr. and Mrs. David M. FollmannDavid and Helen FraserMr. and Mrs. Ronald C. GabelJanet R. GahalaAnnette GamboSandra M. Ganakos

26

FRIENDS OF THE MACMs. Mary Gardner BurrelleMr. Keith GarlandMr. and Mrs. Curt GazdziakMr. Christopher A. GekasMr. and Mrs. Andrew W. GlowatyMs. Michelle GordonMs. Judith I. GradyMs. Mary Ann GremeerMiss Nell GriffinRoy and Priscilla GrundyDr. and Mrs. Richard D. GuerraSusan and Robert HaaMs. Anne O. HackerJudy HallMs. Robin HallettDr. Eugene G. Hallongren

and Dianne J. HallongrenMr. and Mrs. Michael HanesRebekah and Rodney HarrisMr. and Mrs. Richard HartopDavid and Karen HaugenMr. and Mrs. Brad A. HausermanAleene L. Henninger-BoydenMs. Susan HerveyDr. Franklin D. HesterHilton Lisle/NapervilleAllan Hins and Marilyn WilgockiPaul and Jessica HollerMr. and Mrs. Bruce HoskinsMs. Carole HoyemMr. and Mrs. John HubbellMs. Joyce N. HutchinsonIBMMs. Andrea ImesMs. Veatrice J. JehanginMrs. Patricia JohansenMr. and Mrs. Anthony M. JohnsonBob JohnsonMr. and Mrs. Terry R. JohnsonDiane JostesMr. John R. Wolff and Mrs.

Shirley Justin-WolffMs. Darlene J. KaempenMr. Michael R. KahlfeldtMr. Karl KarnatzSenator Doris Karpiel (Ret.)

Mr. James KarpusMary Jane KeefeMr. and Mrs. Rick KehoeMr. Charles A. KeiserMs. Candis E. KingAnne V. KleckaMr. and Mrs. Leroy KlimekMr. and Mrs. David KnappMr. James H. Knippen, IIWayne H. KoepkeUlrike KonchanMs. Mary KonieMr. and Mrs. Joseph KovacicMs. Linda A. KozonMr. and Mrs. Steven E. KrenekMs. Anne KrzyskoMr. John L. Ladle, Jr.Mr. and Mrs. Norbert V. LambertMr. Larry C. LarsonMr. Paul F. LaudicinaMs. Patricia LeahyDr. and Mrs. Ernest R. LeDucGintautas Leonavicius and Ryte LeonavicieneMr. and Mrs. Jerry LibbyElaine LiboviczBill and Jan LindnerMs. Belle W. LippmanDrs. David and Joanna LivengoodMr. Sam LomanacoNancy LouckAnn LougeeMr. and Mrs. Russell

E. LundstromTed and Martha MaasMr. and Mrs. Robert

A. MacDougallMs. Norma MacKayMr. and Mrs. Atis MakstenieksMr. Robert MarksMs. Helga MathewsRichard and Mary Ellen MatthiesMs. Diane M. MaurerGordon and Marjorie MaxsonJeffrey MayAnthony McAleenan

Mr. and Mrs. Tipton H. McCawley, Jr.

Mr. and Mrs. Robert McClowMs. Candace D. McCrearyDiane Meiborg and Roger ZacekMrs. Melissa Meisch-MercadoMr. and Mrs. Wayne J. MicekMs. Mary C. MichnaMs. Sherri MifflinMr. and Mrs. Ralph H. MillerMr. and Mrs. Gary L. MitchellMr. and Mrs. Matt MooreMs. Jane E. MooreMr. Jerold A. MorganMr. Paul MorowczynskiMr. and Mrs. Patrick MorrisonMs. Irene MorrisroePaulette MoulosMr. and Mrs. Ted MoulosJoan MuellerMr. Benjamin MuleDr. Michael T. MurphyMr. Thomas MurrayHolly MyersErnest and Joanne NassosSusan NeustromMichael and Judith NigroBetty and John NorthMr. John L. NortonMs. Tamara NowakowskiMr. Gerard Nussbaum and

Dr. Linda Veleckis NussbaumEileene NystromJean and Joanne OliphantMr. and Mrs. Gary L. OliverMs. Shirley H. OrloppMr. and Mrs. Hugh PalmerMr. John R. PalterMr. Vincent A. PanzoneMr. C. Alan ParksMs. Paula PartipiloMr. Peter PattisonGreg and Sue PawlowiczMr. and Mrs. Scott PectorRobert PendleburyGeorge Pepper, M.D.

27

Judith and Robert PetersMs. Barbara PetersenDr. R. Dean PetersonEileen PetittoRohan and Merlyn PhillipsMr. and Mrs. Edward PillarMr. Charles PittelkowMr. and Mrs. Charles PolitoAnna Marie PollJohn and Mandy RakowMs. Alice J. RamsayMs. Diane G. RathMr. and Mrs. Marion J. ReisDonna RekauJean RhoadesMr. Peter RickertMs. Elizabeth RobertsonMr. and Mrs. Neil M. RoseEdward RosiarMr. and Mrs. Gus A. RousonelosMs. Margaret RyanLynn SapytaMr. and Ms. David D. SartherMs. Kim SavageMr. and Mrs. William G. ScanlanDoris and David SchertzMs. Susan S. SchoenbergBob SchollKen and Trish ScottMr. George Sisson, Jr.Mary K. SmithMr. and Mrs. Robert F. SobieMr. Jim SotirakosMs. Carol SpencerDr. Dorothy SquitieriMr. and Mrs. Arnold R. StenvogEllen and Grier StephensonMs. Deborah StillmanMelissa StriedlDr. and Mrs. William F. StronerEarl Stubbe and Kathleen FrankMr. and Mrs. Thomas J. SuhrburMrs. Gloria P. SullivanDr. Nancy SvobodaGrace and Len SwansonMs. Carol F. Szynal

Ms. Virginia B. TaylorJanet ThornberyMr. and Mrs. Charles ThurstonTom and Teri TraceyColleen and Paul TrinkoMr. and Mrs. Neil TrinkoMr. and Mrs. Jerome L. UlaneMr. John UrbanskiMs. Patricia Van LeeuwenOlga Vilella-Janeiro, Ph.D. and

Henry Valdez, Esq.Marilee ViolaLucy and George VorickPenelope WainwrightMs. Janine WallinEileen and Thomas WardMr. and Mrs. Edward WarmowskiMr. Mark WarrenDr. Nancy WebbMr. Roland WeberJudy WebsterPatricia and Richard WeichleAnne and Jim WengerdMr. and Mrs. Ronald WielgosKathy and Rich WildersMary Lou WilkeMr. and Mrs. Charles A. WilliamsMs. Gloria WilliamsMr. and Mrs. John B. WilsonMs. Jane Wine and

Mr. Jerry HinrichsMr. Justin WitteMs. Jo Ann WolfCarol WoodsMr. Joseph C. WozniakMr. Fredric YoungMr. Albert G. ZamskyHelene S. ZarconeLori and Gary ZemanMr. and Ms. Robert P. ZielinskiMs. Hazel ZimnerMargot C. & Arthur Zwierlein

*deceased

Corporate and Community Sponsors

Arts MidwestBrookdale Glen EllynCabernet & CompanyCarlucci College of DuPage FoundationDuPage FoundationFollettGlen PrairieHilton Hotels-Lisle/NapervilleHoulihan’sI Have a BeanIllinois Arts Council JCS Fund of the

DuPage FoundationNational Endowment for

the ArtsParamount TheatreParkers’ Restaurant and BarSmith Financial Advisors Inc.Sullivan Taylor & Gumina PC90.9FM WDCBWBEZ 91.598.7 WFMT

FRIENDS OF THE MAC

28

MAC Administrative StaffDirector of the McAninch Arts Center ............................................................................. Diana MartinezMarketing and Donor Relations Coordinator ......................................................................Roland RaffelBusiness Manager .........................................................................................................Ellen McGowanCleve Carney Art Gallery Curator ......................................................................................... Justin WitteEducation and Community Engagement Coordinator ........................................................ Janey SartherDirector of Development for Cultural Arts ......................................................................... Janie OldfieldGroup and Rental Sales Coordinator ............................................................................ Melissa MercadoAdministrative Assistant ...................................................................................................Mandy RakowClerical Assistants ......................................................................................Molly Junokas, Erin Posavec

MAC Box Office and Front of House StaffBox Office Manager ..............................................................................................................Julie ElgesAssistant Box Office Manager .....................................................................................Mary Ellen ReedyBox Office Assistants ................................................ Jimmy Gosling, Rachel Krusec, Gretchen WoodleyPatron Service Manager ...................................................................................................... Tom MurrayPatron Services Assistant .................................................................................................... Rob Nardini

MAC Resident Professional EnsembleBuffalo Theatre Ensemble, Artistic Director .......................................................Connie Canaday HowardBuffalo Theatre Ensemble, Associate Artistic Director ...................................................... Amelia BarrettFounding Artistic Director Emeritus .................................................................................... Craig Berger New Philharmonic, Conductor and Music Director .............................................................Kirk MusprattNew Philharmonic Manager .............................................................................................. Paula CebulaConductor Emeritus .......................................................................................................... Herald Bauer

MAC Design and Technical StaffTechnical Production Coordinator ............................................................................................Jon GanttTechnical Director ....................................................................................................... Michael W. MoonCostume and Make-up Design Coordinator ............................................................... Kimberly G. MorrisProduction Manager............................................................................................................ Joe HopperAssistant Production Managers ..........................................Ben Johnson, Elias Morales, Sabrina ZeidlerSound and Equipment Manager ..............................................................................................Bob Murr Stage Hands ......................................................................................... Bobby Bryan, Amanda Hantson

HOUSE NOTES• Mailing List: If this is your first visit to the McAninch

Arts Center, please stop by our Box Office to add your name to our mailing list or register your email at www.AtTheMAC.org.

• Cameras and recording devices are not allowed in the theater and are prohibited by our contracts with the artists.

• Smoking is not permitted in the theater or on campus.• For your comfort and security, all backpacks and

large bags must be checked.• Electronic pagers and patrons’ seat locations should

be given to the House Manager, who will notify you in the event of a call. Patrons wearing wristwatch alarms or carrying cellular phones are respectfully requested to turn them off while in the theater.

• Emergency phone number at College of DuPage Police Department for after-hour calls is (630) 942-2000.

• Latecomers seated at discretion of the House Manager.

• Groups of 10 or more may contact Melissa Mercado at (630) 942-3026 or meisch-mercadom@cod.edu to arrange for group discounts.

• If you notice a spill in the theater, please notify an usher.• McAninch Arts Center volunteers are people

who assist the house staff in areas of ticket taking, ushering and general management during performances. To get involved, call (630) 942-4000.

• For Americans With Disabilities Act accommodations, call (630) 942-2141 (voice) or (630) 858-9692 (TDD).

• Infrared Assistive Listening Devices: For audience members who desire audio amplification of performances, headsets with individual volume controls are now available. You may check out the headsets at the Ticket Office with a credit card or driver’s license. Underwritten by a generous gift from The Knowles Foundation.