Verdi and Valkyries - Landmarks Orchestra

Verdi and Valkyries
July 27, 2016
7 pm
at the DCR’s Hatch Shell
Boston Landmarks Orchestra
VIOLIN I
Gregory Vitale, concertmaster
Christine Vitale
Pattison Story
Gerald Mordis
Tera Gorsett
Clayton Hoener
Rebecca Katsenas
Colin Davis
Natalie Favaloro
Olga Kouznetsova
VIOLIN II
Paula Oakes, principal
Heidi Braun-Hill
Maynard Goldman
Robert Curtis
Melissa Howe
Stacey Alden
Lisa Brooke
Annegret Klaua
VIOLA
Kenneth Stalberg, principal
Jean Haig
Donna Jerome
Don Krishnaswami
Noriko Futagami
Willine Thoe
CELLO
Aron Zelkowicz, principal
Melanie Dyball
Jolene Kessler
Miriam Bolkosky
Kevin Crudder
Michael Curry
BASS
Robert Lynam, principal
Barry Boettger
Kevin Green
Irving Steinberg
Anthony D’Amico
FLUTE
Lisa Hennessy, principal
Theresa Patton
Iva Milch
PICCOLO
Iva Milch
Rachel Braude
OBOE
Andrew Price, principal
Lynda Jacquin
Mary Cicconetti
Benjamin Fox
ENGLISH HORN
Benjamin Fox
CLARINET
Steven Jackson, principal
Margo McGowan
Ryan Yuré
Gary Gorczyca
BASS CLARINET
Gary Gorczyca
BASSOON
Donald Bravo, principal
Elah Grandel
Sally Merriman
Gregory Newton
HORN
Kevin Owen, principal
Jane Sebring
Whitacre Hill
Nancy Hudgins
Lee Wadenpfuhl
Vanessa Gardner
Sarah Sutherland
Iris Rosenstein
TRUMPET
Dana Oakes, principal
Jesse Levine
Greg Whitaker
Brian Diehl
BASS TRUMPET
Brian Diehl
TROMBONE
Robert Couture, principal
Don Davis
Joseph McEttrick
David Hagee
TUBA
Donald Rankin, principal
HARP
Hyunjung Choi, principal
Amanda Romano Forman
TIMPANI
Jeffrey Fischer, principal
Robert Schulz
PERCUSSION
Robert Schulz, principal
Craig McNutt
Neil Grover
Joseph DeMarco
Maynard Goldman,
Personnel Manager
Kristo Kondakci,
Assistant Conductor
North End Music and Performing Arts Center Youth Choir
Annie Huffstutler
Dinero Jelley
Walker Cox
Sarah Connolly
Grace Connolly
Vivian Dykema
Vinnie O’Byrne
Gabriela Guadagno-Kaluski
American Sign Language (ASL) Interpretation Team
Adrianna Neefus, Christopher Robinson
Verdi and Valkyries
Boston Landmarks Orchestra
Christopher Wilkins, Music Director
Boston Landmarks One City Choir
Back Bay Chorale, Scott Allen Jarrett, Music Director
North End Music and Performing Arts Center Youth Choir
Edgar
Giacomo Puccini
Prelude to Act I
(1858–1924)
Manon Lescaut
Puccini
Act I: Introduction and Brindisi
Act II: Madrigal
Act III: Intermezzo
Il trovatore
Giuseppe Verdi
Anvil Chorus
(1813–1901)
Libera me, Domine (original version of 1869) (New England premiere)
Verdi
Jane Eaglen, soprano
INTERMISSION
Das Rheingold
Richard Wagner
At the bottom of the Rhine
Dark waves gradually turn to clouds
Daybreak in the mountain heights
Journey to Nibelheim
Furious din of anvils
Donner’s hammer dispels the clouds with a thunderclap
Entry of the Gods into Valhalla
Die Walküre
(1864–1949)
Wagner
The Ride of the Valkyries
Götterdämmerung
Wagner
Siegfried’s Death and Funeral March
Immolation Scene
Jane Eaglen, soprano
Boston Landmarks One City Choir
SOPRANO
Dina Ali (Cambridge)
Laura Althoff (Cambridge)
Laura Amweg (Somerville)
Karen Baart (Brookline)*
Heather Bachelder (Allston)
Camille Bélanger (Cambridge)
Lisa Bello (Needham)
Gabriëlla Blokland (Cambridge)
Claire M. Byrne (Medford)*
Anjman Chowdhury (Sharon)
Lilian Dayan Cimadoro (Waltham)
Casey DeMarsico (Somerville)
Mary Louise Dill (Cambridge)
Meredith Dill (Waltham)*
Patricia Driscoll (Roslindale)
Sara Epstein (Concord)
Roselyn Frank (Back Bay)
Kelly Horan Galante (Somerville)
Diane Garner (Cambridge)
Kristin Griffin (Cambridge)
Melissa Glenn Haber (Somerville)*
Susan Halling (Wenham)
Sophia Halling (Wenham)
Cynde Hartman (Dedham)*
Alison Hickey (Cambridge)*
Sarah Holmes (Back Bay)
Layla Hormozi (Cambridge)
Priscilla Hunt (Amherst)
Mimi Huntington (Cambridge)
Kristina Jackson (Newton)
Susan Jackson (Brookline)
Sally Jenkins (Marshfield)*
Kate Judd (Cambridge)
Faye Kalmbach (Millis)
Liya Kang (Watertown)
Kelsey Kinney (Glendale, KY)
Carol Kountz (Jamaica Plain)
Rosie Latto (Acton)
Yi-Hsin Lin (Cambridge)
Ashley Mac (Dorchester)
Jean MacGowan (Northampton)
Barbara McGovern (Needham)*
Kelly McMullin (West Roxbury)*
Eleanor Meegoda (Cambridge)
Judith Melin (Brookline)
Andrea Mercado (Somerville)
Lisa Micali (Beacon Hill)
Sarah Milt (Winchester)*
Shannon Moran (East Boston)
Brenda Mosetich (Walpole)
Tammy Ngai (Brookline)
Anne Noonan (Concord)
Barbara Papesch (Back Bay)
Sarah Peterson (Brookline)
Dottie Pitt (Dorchester)*
Frances Marie Price (Jamaica Plain)*
Anne Rennie (Fayville)
Sara Rhuda (Danvers)
Debbie Roaquin (Allston)
Christine Rutledge (Franklin)
Renee Saindon (Somerville)
Margaret Salinger (North End)
Peg Schadelbauer (Waltham)
Mary-Margaret Segraves (Cambridge)*
Lynn Shane (Georgetown)
Kendrick Smaellie (Brighton)
Erin Smith (Springfield)
Linda Steiff (Brighton)
Emma Stickgold (Cambridge)
Diane Stickles (Chelsea)*
Sheryl Stockless (Framingham)
Lily Tseng (Brighton)
Kathryn Wang (Cambridge)
Elizabeth Wharff (South End)
Eloise Wheeler (Beverly)
Rachel Yurman (Cambridge)
ALTO
Laurie J. Arnone (Roslindale)
Debbie Benador (Jamaica Plain)
Karen Burns (Newton)
Margaret K. Burt (Harvard)
Mary Collins (Brookline)
Louisa Connaughton (Cambridge)
Deborah Devine (Cambridge)
Jane Dreskin (Cambridge)
Stephanie Engel (Cambridge)
Cathryn Fassbender (Brighton)
Heather Fernald (Acton)
Sylvia Ferrell-Jones (Belmont)
Lisa M. Fitzgerald-McKeon (Walpole)
Linda Frayling (South End)
Adrienne Fuller (Watertown)
Alicia Garza (Malden)
Valerie Gordeski (Cambridge)
Nadja B. Gould (Watertown)
Kellie Gutman (West Roxbury)
Deborah Haber (Cambridge)
Catherine Haines (Somerville)
Karen Hawthorne (Medford)
Laura Hicks (Belchertown)
Janet Hobbs (Cambridge)
Jin Hong (Ayer)
Sonya Huang (Somerville)
Marie Huhta (South End)
Erika Hutchinson (Melrose)*
Mary Saudek Jaffee (South End)
Jacqueline Kann (Brookline)
Julia Krol (Brighton)
Sara D. Kunz (South End)*
Aino Laine (Cambridge)
Joanne LaPlant (Allston)
Susan Maxwell (Needham)
Hope Medoff (Stoughton)
Susan Meurling (North End)
Kathleen M. O'Donnell (Milton)
Lucia Papile (Cambridge)
Anupama Pattabiraman (Cambridge)
Patricia Pepper (Watertown)
Jeannie M. Plugis (Natick)
Joan Regan (West Roxbury)*
Kathleen Reine (Cambridge)
Shirley Riga (Millis)
Paige Rowse (Stoughton)
Sandy Sachs (Jamaica Plain)
Tammy Sadok (Needham)
Mariflor Salas (Newton)
Molly Schen (Roslindale)
Helen Shedden (Everett)
Jennifer St. Pierre (Medford)
Cynthia Sung (Cambridge)
Susan Turner (Cambridge)
Pooja Usgaonkar (Cambridge)
Barbara Wallraff (North End)
Jeanne Walsh (Brighton)
Cynthia Welch-Moriarty (Amherst)
Mary M. Wendell (Milton)
Deborah Wheeler (Beverly)
Jessica Wilson (Somerville)
Vivian Yu (Jamaica Plain)
TENOR
George Batcgelir (Newton)
Wendy Brown (Burlington)
Donald Di Salvo (Jamaica Plain)*
Susan Dobbie (Harvard)
Mary Jane Dohert (Back Bay)
Pepper Greene (Somerville)
Michael Harnett (Belmont)*
Talib Hussain (Arlington)
Max Klein (Lincoln)
John E. Meurling (North End)
Justin Mazzola Paluska (Cambridge)
Stephen Pepper (Jamaica Plain)
Paul Rabin (Jamaica Plain)*
Joseph Reid (Winchester)*
Jennifer Rochow (Cambridge)
Lucas Sanders (Cambridge)
Andrey Shubin (Brookline)
Peter Smith (Roslindale)*
Kathryn Soderholm (Brighton)
William Tuttle (West Roxbury)*
Robert Tuttle (Fitchburg)
BASS
David Ames (Newton)*
Michael Baum (Brookline)*
Stephen R. Baum (Needham)
Gordon A. Bellemer (Hyannis)
RaShaun D. Campbell (Jamaica Plain)
David Clough (Arlington)
Richard Cobbe (Malden)
Michael Edson (Sharon)
John Elder (Brookline)*
Greg Fernandes (Brockton)
John Fox (Greenfield)
Mark Franklin (Cambridge)
Bob Goldsmith (Carlisle)
Mike Halling (Wenham)
David Hammond (Malden)*
Cam Huff (Winchendon)
Chip Huhta (South End)
Dan Huse (Sharon)
Mark Iredale (Cambridge)
Geary A. Jarrett (Tampa, FL)
Jim Lawton (Brookline)
Daniel Malis (Cambridge)
Paul McLean (Cambridge)
Jonathan Mott (Somerville)*
Tobias Otto (Watertown)
David J. Pogue (Dorchester)
Nathaniel Pulsifer (Ipswich)
Henry Rea (Beacon Hill)
Thomas R. Rowen (Peabody)
David Shane (Georgetown)
Neil St. Clair (Fenway)
Terry R. Watson (Hyde Park)
Crispin Weinberg (Brookline)
Sam Wheeler (Beverly)
*Back Bay Chorale members
The BOSTON LANDMARKS ORCHESTRA performs free outdoor
concerts in the City of Boston throughout the summer, delighting
thousands on a weekly basis. The Orchestra—made up of some of
Boston’s most accomplished professional musicians—uses great
symphonic music as a means of gathering together people of all
backgrounds and ages in joyful collaboration. The Orchestra regularly
collaborates with a range of cultural and social service organizations to
ensure participation across ethnic, economic, and cultural divides.
BREAKING DOWN BARRIERS The Boston Landmarks Orchestra is
committed to removing barriers to access for people with disabilities.
It offers braille and large-print programs, assisted listening devices, and
ambassadors to greet and assist people at a handicap drop-off point. The
Orchestra works with American Sign Language (ASL) interpreters as
performers at select concerts. In 2014, in recognition of its efforts to
embrace inclusiveness as core to its mission, the Orchestra was named
an “UP organization” by the Massachusetts Cultural Council.
CHRISTOPHER WILKINS was appointed Music Director of the Boston
Landmarks Orchestra in the spring of 2011. Since then he has reaffirmed
founder Charles Ansbacher’s vision of making great music accessible to
the whole community, emphasizing inclusive programming and
collaborative work. Mr. Wilkins also serves as Music Director of the Akron
Symphony.
As a guest conductor, he has appeared with many of the leading
orchestras of the United States, including those of Chicago, Cincinnati,
Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles,
Pittsburgh, and San Francisco. Previously he served as Music Director of
the San Antonio Symphony and the Colorado Springs Symphony. He also
served as Resident Conductor of the Youth Orchestra of the Americas,
assisting in the formation of the orchestra in its inaugural season, and
leading it on tours throughout the Americas. Born in Boston, Mr. Wilkins
earned his bachelor's degree from Harvard College in 1978 and his
master’s from the Yale School of Music in 1981. As an oboist, he
performed with many ensembles in the Boston area including the
Tanglewood Music Center and the Boston Philharmonic under Benjamin
Zander.
JANE EAGLEN has enjoyed one of the most formidable reputations in
opera for the past two decades. Her performances of roles such as Isolde
in Tristan und Isolde, the title roles in Puccini’s Turandot, Bellini’s Norma,
and Strauss’s Ariadne auf Naxos, Brünnhilde in Wagner’s Der Ring des
Nibelungen have earned her acclaim on stages of the leading opera
houses of the world, including the Metropolitan Opera, Lyric Opera of
Chicago, San Francisco Opera, Royal Opera House, Covent Garden,
Teatro alla Scala, Vienna State Opera, and l’Opera National de Paris.
Other notable roles in her repertoire include the title roles of Tosca (English
National Opera as well as in Argentina, Australia, and Japan), La Gioconda
(English National Opera and Lyric Opera of Chicago), and Donna Anna in
Don Giovanni (Bavarian State Opera, English National Opera, Los Angeles
Opera, Metropolitan Opera, Vienna State Opera, Teatro Comunale di
Bologna, etc.), Amelia in Un Ballo in Maschera (Paris and Bologna).
She has appeared with many of the world’s leading orchestras, including
the New York Philharmonic conducted by Zubin Mehta (“Immolation”
Scene from Die Götterdämmerung and the final scene from Strauss’s
Salome), Chicago Symphony conducted by Daniel Barenboim (Strauss’s
Four Last Songs), Boston Symphony Orchestra conducted by Bernard
Haitink (“Immolation” Scene from Die Götterdämmerung), Orchestra of
Santa Cecilia conducted by Daniele Gatti (Verdi Requiem), Mahler’s
Symphony No. 8 conducted by Klaus Tennstedt, Schoenberg’s GurreLieder conducted by Claudio Abbado for the Salzburg and Edinburgh
Festivals, plus concert performances of Die Walküre and Die
Götterdämmerung with the Gurzenich Orchestra of Cologne conducted by
James Conlon.
The BACK BAY CHORALE is a 120-member auditioned chorus drawing
experienced singers from the Greater Boston area. From its inception, the
Chorale has committed to sharing music in the community with repertoire
that ranges from Renaissance to contemporary. Musician, minister, and
social activist Larry Hill founded the Chorale in 1973 at Boston’s Church of
the Covenant to create a musical ministry that would bring meaning to both
singers and their audience. In the years since Hill’s death in 1989, the
Chorale has continued to grow in stature and is now regarded as one of
Boston’s premier nonprofessional choruses. www.backbaychorale.org
SCOTT ALLEN JARRETT is one of North America’s most exciting and
versatile musicians, sought after as a conductor, keyboard artist, and
teacher of conducting. He serves as Director of Choruses and Assistant
Conductor of the Charlotte Symphony (NC), Music Director of Back Bay
Chorale, Director of Music at Boston University’s Marsh Chapel, and Acting
Director of Choral Activities in the BU School of Music. He is a frequent
guest conductor at Trinity Wall Street.
The NORTH END MUSIC & PERFORMING ARTS CENTER (NEMPAC)
is a 501(c)(3) non-profit arts organization with a mission to enrich Boston’s
North End Waterfront and surrounding neighborhoods through the
inspirational power of the arts. NEMPAC fosters creativity and elevates
social culture in our community through quality programming and
education accessible to all. Founded in 2001 and celebrating their 15th
Year Anniversary this Season, NEMPAC has grown to serve thousands
in our community through its quality, educational music programs and
performing arts events including their Summer and Winter Concert Series
and annual Opera Project at Faneuil Hall, The Great Hall. NEMPAC is
pleased to partner with the Boston Landmarks Orchestra for their second
year in row at the Hatch Shell! The NEMPAC Youth Choir is a group of
children ages 10 through 15 who are participating in this special choral
workshop over the summer. NEMPAC looks forward to collaborating with
the Boston Landmarks One City Choir again in December for its 2nd
Annual presentation of Handel's "Messiah". www.nempacboston.org
ADRIANNA KATHRYN NEEFUS has interpreted for Wheelock Family
Theatre's productions of Pinocchio, It's a Wonderful Life, and Pippi
Longstockings, Central Square Theater’s The Edge of Peace, Boston
University Theater's The Cripple of Inishmaan, and Broadway in Boston's
productions of Pippin, Flashdance the Musical, Once and War Horse. She
has also worked with the Landmarks Orchestra, Boston Lyric Opera,
Commonwealth Shakespeare Company, and Outside the Box. Adrianna
has a degree in Sign Language Interpreting from the University of New
Hampshire in Manchester and professional credentials in both MA and NH.
The FREE FOR ALL CONCERT FUND, an independent grant-making
public charity, ensures that everyone from the Boston region (children,
adults, families) will have regular and permanent access to the rich world
of classical, orchestral music and related cultural events. With 20 grantees
presenting free concerts throughout Boston’s neighborhoods, the Fund is
guaranteeing that classical music will remain free for all, forever.
PODIUM NOTE:
For six years, the One City Choir has symbolized the Landmarks
Orchestra’s desire to bring people together from every neighborhood of
Boston in joyful and meaningful collaboration. This year a record number
of choristers have signed up—so many that we have had to place them
both behind and in front of the stage. It’s just the kind of complication we
love.
A ‘symphony’ is a ‘concord of sweet sounds,’ to borrow a phrase. The
Greek roots of the word—‘syn-’ (together) + ‘phone’ (voice or sound)—
signify harmoniousness and community. In ad campaigns, leadership
seminars, and business schools, orchestras are held up as models of
cooperation. From the beginning, “sounding together” has been a
foundational principle of the Boston Landmarks Orchestra.
Choruses are also good at creating unity out of diversity. Membership in
our One City Choir spans a range of ages, backgrounds, zip codes, and
experience levels. At the heart of their sound is our principal collaborating
organization, the illustrious Back Bay Chorale. Music Director Scott
Allen Jarrett leads the combined ensembles with heart and skill,
representing everything I wish this concert to be: good-natured, inspired,
and a great learning experience for all.
We also welcome the very young voices of the North End Music and
Performing Arts Center Youth Choir, whose youngest member is eight
years old. NEMPAC’s Executive Director Sherri Snow has ably guided
this partnership over the past two years. Alexandra Dietrich has trained
the choir, with cheerful assistance from Landmarks Orchestra’s Assistant
Conductor, Kristo Kondakci.
It is breathtaking to have on our stage people who are just beginning their
lives in music, singing alongside one of the most admired and renowned
singers of our time, Jane Eaglen. Jane has been a joy to work with,
assisting the Landmarks Orchestra in numerous ways as performer,
presenter, and advisor. Her biography speaks for itself. She has sung on
the most prestigious concert and operatic stages in the world, and has
worked with a legendary list of great conductors. However it was here, at
the Hatch Memorial Shell, that she made her US debut in 1992 with the
Boston Pops Esplanade Orchestra. Welcome back, Jane!
Edgar was Puccini’s second opera, commissioned by the publisher
Ricordi after a favorable reception of his first opera, Le Villi. Edgar was
never a success, despite Puccini’s repeated attempts to improve it. By the
time he was done revising it, the Prelude to Act I had been entirely
eliminated. The music is influenced by Wagner, Bizet, and Massenet, but
the colorful scoring and intense lyricism of the opera’s original Prelude are
pure Puccini.
Three excerpts from Puccini’s Manon Lescaut set a tone of celebration.
We begin with the opening of the opera and the first chorus. Townspeople
and students of Amiens stroll through the town square, celebrating a
beautiful evening with dancing and toasts. We continue with the madrigal
singers of Act II, who entertain Manon with a kind of formal singing that is
worlds apart from her more passionate style of expression. Our short suite
concludes with the well-known Intermezzo, which describes Manon’s
journey from Paris to the prison at Le Havre. Its tone of urgency and
longing reflect the love between Manon and her lover, Des Grieux.
There is not much music more recognizable than the Anvil Chorus from
Verdi’s Il trovatore. This grandly realized ‘work song’ gives us the
opportunity to thank our dedicated and diligent MLK Scholars for their
essential contributions. Funded by John Hancock, and joyfully led by our
sterling stage manager Emerson Kington, they carry out essential tasks
at every rehearsal and concert. They are always the first to come and the
last to go. Tonight they are also front and center, playing the anvils of
Verdi’s hardworking gypsies.
The first music Verdi wrote for his Requiem was the Libera me. That
movement was composed in 1869, four years before the rest of the work.
The occasion was the death of Rossini, whose memory Verdi wished to
honor by organizing a collaborative Requiem Mass for the Dead. He
enlisted a team of Italian composers to write a single movement each.
Verdi’s Libera me was to be the final movement. Although the work was
completed, it was never performed. Various obstacles could not be
surmounted, including conflicts of scheduling and of egos.
The “Libera me” text is an urgent personal plea for mercy. Verdi’s dramatic
setting is for soprano, chorus and orchestra, with the soloist standing for
all of humankind. The text is retrospective, referring back to two earlier
passages in the text: the very first lines of the Requiem Mass, “Requiem
aeternam” (Grant them eternal rest), and the beginning of the “Dies irae”
(Day of Wrath). In 1873, Verdi wrote the remaining movements to create
his own Requiem, borrowing some passages from his earlier Libera me to
create music for additional movements. He also altered the original Libera
me, mostly in order to quote directly from the newly composed
movements. Tonight we perform the original version. It is thrilling to know
that this is the first performance in New England of an important late work
of Verdi.
The second half of tonight’s concert is music from Wagner’s epic cycle of
four operas, The Ring of the Niebulung. It is not a condensed version of
the cycle, nor is it a “Ring Without Words.” All the excerpts are taken in
order, and we begin and end as the cycle does. The first opera, Das
Rheingold (The Rhine Gold) sets the epic in motion. Primordial sounds
of nature are heard as gradually, through the mists, we see the flowing
Rhine River and the Rhine Maidens who swim merrily in it, protecting the
river’s gold. Scene II takes us to the mountain abode of Wotan, ruler of
the gods, and his wife Fricka. In the transition to Scene III, we travel down
a sulfur chute to Nibelheim, deep beneath the Rhine. It is the domain of
Alberich, who has stolen the gold from the Rhine Maidens. He has
enslaved the other dwarfs, the Nibelungs, commanding them to fashion
from the gold a ring, which will give him absolute dominion over the world.
As Wotan and Loge, god of fire, pass the workshop, they hear the “furious
pounding” of anvils. Wagner specifies three different sizes of anvil in the
score: small, large, and very large. Scene IV takes us back to the gods’
mountaintop, where Donner, god of thunder, creates a rainbow bridge
across which the gods enter their new home, Valhalla.
In the opening of Act II of Die Walküre (The Valkyrie), Brünnhilde and the
other warrior maidens fly on their horses as they prepare to deliver heroes
who have fallen on the battlefield to Valhalla. This exceptionally
energetic—and familiar—music is assembled from heroic gestures,
galloping rhythms, leaping intervals, and the characteristic battle cry of the
Valkyries, “Hojotoho!”
Our excerpts from Gotterdämmerung (The Twilight of the Gods) are from
the third and final act. We hear first the signature horn call of the hero,
Siegfried, sounding from afar. It is answered by the “cow horn” of the
Gibichungs, a rival clan to Siegfried’s Volsungs. In our performance, this
music is followed by the killing of Siegfried by Hagen, son of the dwarf
Alberich. The great Funeral March that follows weaves together many of
the primary musical motives of The Ring, including Siegfried’s horn call
slowed down to create a broad and heroic tribute. The ring, which
Siegfried is still wearing, bears a curse Alberich had placed on it. To begin
the Immolation Scene, which closes the opera, Brünnhilde, Siegfried’s
wife, takes the ring off his finger and places it on her own, then rides into
the flames of the funeral pyre, erected to cremate Siegfried’s body. The
Rhine River overflows its banks. The Rhine Maidens swim toward
Brünnhilde to reclaim the ring. After one final attempt by Hagen to snatch
the ring, they pull him under, and he drowns. As the waters recede and
clouds disperse, Valhalla is visible at the back of the stage. It catches fire
and crumbles, bringing down the gods and the loveless world they have
created. A new age is born, as proclaimed by Brünnhilde in her final
moments: “Siegfried! Joyously your wife greets you!” It is the theme of
Redemption through Love.
-
Christopher Wilkins
Celebrate 15 years of great music with a gift
to the Boston Landmarks Orchestra!
The Boston Landmarks Orchestra is a 501(c)(3) nonprofit
organization funded through the generosity of foundations,
corporations, and individuals. The Orchestra was founded in 2001
by conductor and community advocate Charles Ansbacher to bring
free classical music to the people of Greater Boston. Since 2007, it
has presented its main concert series at the DCR’s Hatch Shell
every Wednesday from mid-July to late August, carrying on the
tradition of free concerts on the Esplanade started by Arthur
Fiedler in 1929. In addition, the Orchestra offers free family
concerts and educational programs throughout Boston’s
neighborhoods.
We believe that Boston−like every great city−deserves a summer
series of free orchestral performances. Though the concerts are
free to the public, they are not free to produce!
Please consider a suggested contribution of $15 to the
Boston Landmarks Orchestra to help us march forward with
confidence into the next 15 years of our history, adding
immeasurably to the quality of life in Boston.
You may return the enclosed reply envelope and your
contribution to one of our volunteers in blue t-shirts or
drop it off at our Information Tent.
Visit www.landmarksorchestra.org/donate
to donate securely online.
Contributions may also be mailed to:
Boston Landmarks Orchestra
214 Lincoln Street, Suite 331
Boston, MA 02134
THANK YOU FOR YOUR SUPPORT!
2016 DONORS (11/1/15 – 7/22/16)
CORPORATE, FOUNDATION, & GOVERNMENT SUPPORT
Anonymous
Bloomberg Philanthropies
Boston Cultural Council
The Boston Foundation
Cabot Family Charitable Trust
Edmund & Betsy Cabot
Charitable Foundation
Cogan Family Foundation
Fiduciary Trust Company
Free for All Concert Fund
Highland Street Foundation
Hunt Alternatives
John Hancock Financial Services
Massachusetts Cultural Council
Bessie Pappas Charitable Foundation
Adelard A. Roy & Valeda Lea Roy Foundation
Yawkey Foundation
MUSIC DIRECTOR’S SOCIETY
MUSIC DIRECTOR SILVER
MUSIC DIRECTOR PLATINUM
Appy & Susan Chandler
Stephen & Alicia Symchych
MUSIC DIRECTOR GOLD
Jack & Eileen Connors
Richard & Rebecca Hawkins
Guy & Renée Pipitone
Michael & Karen Rotenberg
Allison Ryder & David Jones
Epp Sonin
BENEFACTORS
Anonymous
Richard & Nonnie Burnes
Kerry Murphy Healey
Barbara Lee
Anne Linn
Kyra & Coco Montagu/
Alchemy Foundation
Cynthia & Oliver Curme/The Lost & Foundation
Laura Connors & Brian O’Connell
Gene & Lloyd Dahmen
Peter & Dieuwke Fiedler
Jeff D. Makholm & Roberta Parks
Kitty & Tony Pell
Stephanie & Jonathan Warburg
MUSIC DIRECTOR BRONZE
David Mugar
Debra & Mark Stevens
David & Marie Louise Scudder
Eileen Shapiro & Reuben Eaves/
Albert Shapiro Fund
John Shields & Christiane Delessert
Joel & Elinor Siner
Scott Squillace & Christopher Gayton
Deborah Thaxter & Bob Adkins
Christopher Wilkins
SUPPORTERS
Ben & Caroline Ansbacher
Ted Ansbacher & Barbara Nash
Anne Colleton & Bill Davison
Zoltan & Cristina Csimma
Michael & Kitty Dukakis
Patricia Freysinger
Howard Gardner & Ellen Winner
David & Anne Gergen
Judith Goldberg
Jonathan Hecht & Lora Sabin
Frederic Johnson
Elizabeth & Paul Kastner
Charles & Susan Longfield
Mark & Kimberly Luiggi
Bill Nigreen & Kathy McDermott
Jack & Michiko Plimpton
Lia & William Poorvu
Suzanne Priebatsch
Kathy Ripin & Leonard Sayles
Abby & Donald Rosenfeld
Maureen & Michael Ruettgers
Wendy Shattuck & Sam Plimpton
Henry D. Tiffany III / Control Concepts, Inc.
David Szabo / MFS Investment Management
Suzanne Tompkins
Clara Wainwright
Herbert & Angela Wilkins
CONTRIBUTORS
Diane Austin & Aaron Nurick
Smoki Bacon & Dick Concannon
Edward & Elizabeth Brainard
Alvin & Victoria Davis
Catharine-Mary Donovan
Maurice & Muriel Finegold
Stanley & Kathy Levinson
Bruce Metzler & Carol Simpson
Pamela Pacelli & Robert Cooper
Peter Rabinowitz & Judith Gelber
Joan & Bernard Sudikoff
Craig & Catherine Weston
Sally Withington
Joyce Yaffee
Boston Landmarks Orchestra
TRUSTEES
Jeff D. Makholm, Chair
Laura Connors
Peter Fiedler
Richard Hawkins
B. J. Krintzman
Katharine M. Pell
J. Brian Potts
Michael Rotenberg
Stephen Spinetto
Stephen Symchych
David Szabo
Edwin Tiffany
Milton L. Wright Jr.
Alfred D. Chandler III,
Trustee Emeritus
OVERSEERS
Stephen Spinetto, Chair
Smoki Bacon
Kathryn Beaumont
Richard M. Burnes
Marian “Hannah” Carlson
Richard Concannon
Conrad Crawford
Julie Crockford
Gene D. Dahmen
Katherine DeMarco
Priscilla H. Douglas
Newell Flather
Howard Gardner
David Gergen
Sean Hennessey
Mary J. Kakas
Paul Kowal
Robert M. Krim
Fernando Leon
Steven Levitsky
Anne Linn
Bill Nigreen
Jeryl Oristaglio
Susan Putnam
Diana Rowan Rockefeller
Anthony Rudel
Maureen Ruettgers
Allison Ryder
Penelope McGee Savitz
Andrea Schein
Eileen Shapiro
John Shields
Epp Sonin
Donna Storer
Suzanne Tompkins
William Walczak
Arthur Winn
Charles Ansbacher, Founder
STAFF
Jo Frances Meyer, Executive Director
Arthur Rishi, Artistic Administrator
Michelle Major, Chief Financial Officer
Jim Murray, Manager of Development & Communications
Joanne Barrett/JBPR, Public Relations
William Higgins, Nicholas Quigley, Freddy Reish, Interns
PRODUCTION
Emerson Kington, Technical Director
Audrey Dunne, Production Manager & Librarian
Steve Colby, Sound Design & Audio Mix
MJ Audio, Audio Production
Mackenzie Skeens, Nassim Zamor, Stage Crew
Brian Gomez, Francisco Perdomo,
Zakai Taylor-Kelley, Amari Vickers,
MLK Summer Scholars
Michael Dwyer, Photography
Jesse Ciarmataro, Graphic Design
VERY SPECIAL THANKS
Boston Cares
Boston Globe
Boston University Office of Disability Services
JCDecaux
One Brick Boston
Program notes will
be tweeted live
during portions of
tonight's concert!
Instructions are
available at the
Information Tent.
WEDNESDAYS AT 7PM
GREAT MUSIC FOR FREE
AT THE DCR’s HATCH SHELL
August 3 - Film Screening: ON THE TOWN
If it is raining the film screening will be cancelled.
August 10 - LANDMARKS LOLLAPALOOZA
If it is raining on the 10th, the concert will be postponed to the 11th at the
Hatch Shell. If it is also raining on the 11th, the concert will be moved to
Emmanuel Church (15 Newbury Street, Boston 02116) on the 11th.
August 17 - FOOTLOOSE AND FANCY FREE
If it is raining on the 17th, the concert will be moved to a location TBA on
the 17th. Please note that this performance will NOT be postponed to
Thursday.
August 24 - LONGWOOD SYMPHONY ORCHESTRA
If it is raining on the 24th, the concert will be cancelled.
August 31 - Rodgers and Hart’s
THE BOYS FROM SYRACUSE
with Commonwealth Shakespeare Company
If it is raining on the 31st, the concert will be postponed to September 1st at
the Hatch Shell. If it is also raining September 1st, the concert will be
moved to a location TBA on the 1st.
If inclement weather is in the forecast on the day of a concert, please
check www.landmarksorchestra.org or call 617-987-2000 after 4 PM for
any changes to the concert’s date or venue. Download our updated
mobile app to receive weather alerts, notifications, and special offers.
#landmarks2016
214 Lincoln Street, Suite 331 Boston, MA 02134
617-987-2000 www.landmarksorchestra.org
These programs are supported in part by grants from the Massachusetts Cultural
Council and the Boston Cultural Council, a local agency which is funded by the
Massachusetts Cultural Council and administered by the Mayor’s Office of Arts +
Culture for the City of Boston.