Mariinksy OrchestraValery Gergiev, Music Director and Conductor

Denis Matsuev, Piano

20th Anniversary Celebration ConcertJanuary 30, 2015

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EDUCATIONEXCITEMENT !

www.mayoarts.org

Dear Patron,

In the winter of 1994, conductor Valery Gergiev and his friend, classical pianist Alexander Slobodyanik, entered the boarded-up, run-down Community Theatre which had been closed and left to ruin. Gergiev stepped on to the dilapidated stage, snapped his fingers, listened to the acoustics and proclaimed, “The Kirov with play here!” On September 29, 1994, after a massive cleanup effort by hundreds of volunteers, Gergiev and the Kirov opened the newly created Community Theatre performance hall. It was a night to remember.

We are delighted to welcome back Valery Gergiev for the first time since that historic concert 20 years ago.

How quickly 20 years has passed. In the last two decades, the Theatre has been renovated and expanded. 1937-era restrooms have been replaced by state-of-the-art modern facilities. The stage has been ripped apart, rebuilt and enlarged. Where once stood a house now stands our administrative offices, education studios, backstage production facilities and the Starlight Room. MPAC has grown up from a local community theatre into a world class performing arts center. We’ve attracted amazing artists over the years – Ringo Starr, Ray Charles, Harry Connick, Jr., Itzhak Perlman and David Brubeck, just to name a few. Our Education program brings arts experiences to over 40,000 students. What was once only a dream in 1994 has become a reality today. MPAC has become the cultural nucleus of Northern New Jersey.

There are so many people to thank over the course of twenty years, including our Board of Trustees, past and present, for their leadership and guidance, the professional staff of the theatre, our hundreds of volunteers over the years, our thousands of donors who have sustained us and enabled us to grow, and our patrons, for returning year after year.

In 20 years, we have become a powerful economic engine for the local community, a valued education resource for children and home to the world’s greatest entertainers who make performance after performance something to remember and cherish.

Who would have thought what a snap of the fingers would have created!

Sincerely,

Joseph M. GoryebChairman, Board of Trustees

Allison LarenaPresident & CEO

Why We Exist

For 20 years, Mayo Performing Arts Center has presented a wide range of programs that entertain, enrich and

educate the diverse population of the region and enhance the vitality

of Northern New Jersey.

Through our education programs, MPAC is dedicated to providing

children and adults with meaningful experiences in the arts, helping

to unleash creativity, shape future leaders and build stronger

communities.

MPAC is where our community comes together to be inspired, entertained and uplifted by the power and the passion of the

performing and visual arts.

Photo credit: Dave Patino

The Mayo Performing Arts Centergratefully acknowledges

the following sponsors and partnersfor their generous support of the

20th Anniversary Season:

New Jersey State Council on the ArtsF.M. Kirby Foundation

The Blanche and Irving Laurie FoundationGeraldine R. Dodge Foundation

The 20th Anniversary Concerthas been generously sponsored by

Special thanks to

for their support of tonight’s events.

Media Sponsor:

THE BLANCHE AND IRVING LAURIE FOUNDATION

FM KIRBY FOUNDATION

Mariinsky OrchestraValery Gergiev, Music Director and Conductor

Denis Matsuev, PianoPROGRAM

Denis Matsuev, Piano

INTERMISSION

*PROGRAM SUBJECT TO CHANGE*VTB BANK is the Principal Partner of the Mariinsky Theatre.

SBERBANK and YOKO NAGAE CESCHINA are the Principal Sponsors.MARIINSKY FOUNDATION of AMERICA is the North American Sponsor.

Columbia Artist Management LLCTour Direction: R. Douglas Sheldon

1790 Broadway, New York, NY 10019www.cami.com

Concerto for Orchestra No. 1, Naughty Limericks Rodion Shchedrin

Piano Concerto No. 2 in G Major, Op. 44 Pyotr Il’yich Tchaikovsky

Allegro brillante Andante non troppo Allegro con fuoco

Pictures at an Exhibition (arr. Maurice Ravel) Modest Mussorgsky

Promenade Gnomus Promenade The Old Castle Promenade Tuileries (Dispute between Children at Play) Cattle Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuÿle The Market at Limoges (The Great News) The Catacombs Cum mortius in Lingua morta (With the Dead in a Dead Language) The Hut on Fowl’s Legs (Baba-Yagá) The Great Gate of Kiev

Valery GERGIEV and the MARIINSKY Orchestra record for the Mariinsky Label and also appear on Universal (Decca, Philips).

This concert is sponsored by

Maestro Gergiev and the Mariinsky Orchestra dedicate this evening’s program to the memory of friend and pianist extraordinaire, Alexander Slobodyanik, who issued the invitation for Maestro and the Orchestra to ‘re-open’ this hall in September 1994 and who performed as soloist in the Tchaikovsky piano concerto.

THE BLANCHE AND IRVING LAURIE FOUNDATION

FM KIRBY FOUNDATION

Concerto for Orchestra No. 1, Naughty Limericks [1963]

RODION SHCHEDRINBorn December 16, 1932 in Moscow, Soviet Union. Currently resides in Moscow, Russia and Munich, Germany.

Rodion Shchedrin was one of the major musi cal figures of the Soviet Union in its final decades, and he has continued to lead Russian music past the Cold War. His father, a composer, nurtured Shchedrin’s early interest in music; after World War II, he studied at the Moscow Choir School and Moscow Conservatory. He cemented his reputation as a composer with theater works, including the ballets The Little Hump-backed Horse (1955) and Carmen Suite (1967), as well as through his concert music, notably the piano concertos that he also performed as soloist. He succeeded Shostakovich as the Chairman of the Union of Composers, and won numerous official prizes, including the USSR State Prize in 1972.Part of Shchedrin’s great success, both politi-cally and artistically, was his ability to avoid the traps of orthodoxy. He once wrote, “I still today continue to be convinced that the decisive fac-tor for each composition is intuition. As soon as composers relinquish their trust in this intuition and rely in its place on musical ‘religions’ such as serialism, aleatoric composition, minimalism or other methods, things become problematic.” One of the earliest pieces to showcase Shche-drin’s flexible style was Ozornïye chastushki, or Naughty Limericks, his first concerto for orches-tra. The title refers to the chastushka, a simple form of Russian poetry that usually features bawdy humor, functioning somewhat like a lim-erick in the English language. Large groups often sing the short, square verses of the chastushka to simple tunes, creating a collective rowdiness that Shchedrin transported into the orchestra for this breakthrough work. It was one of his first compositions to receive wide acclaim in the West, following performances in 1967 in Wash-ington, DC and New York.The one-movement concerto struts at a fast clip, with a walking bass line and steady percus-sion creating a jazzy platform for diverse layers of melodic material. True to the “concerto for orchestra” format, there are moments of indi-vidual bravado and collective virtuosity. It may be a work of satire, but Naughty Limericks is still a

powerhouse score full of daring techniques and sophisticated orchestrations.

Piano Concert No. 2 in G Major, Op. 44 [1880]

PYOTR IL’YICH TCHAIKOVSKYBorn May 7, 1840 in Kamsko-Votkinsk, RussiaDied November 6, 1893 in St. Petersburg, Russia

When Tchaikovsky completed his Second Piano Concerto in 1880, he dedicated it to Nikolay Rubinstein, the esteemed conductor and pia-nist who directed the Moscow Conservatory. The two had quarreled six years earlier over the First Piano Concerto—Tchaikovsky had asked for feedback on the work-in-progress, and Ru-binstein’s comments were derisive to say the least—but a plan to have Rubinstein debut the new concerto indicated that they had settled their differences. Unfortunately Rubinstein died before the premiere could take place, and the Piano Concerto No. 2 first reached the public in New York instead, echoing the trajectory of the First Piano Concerto, which debuted in Boston after Rubinstein’s dismissal of it.It was an all-too-common pattern for Tchai-kovsky to have another musician try to bully him into making changes in his scores. The Second Piano Concerto did win Rubinstein’s approval before he died, but when the younger pianist Alexander Siloti later took up the score, he lob-bied hard for Tchaikovsky to make significant changes. Siloti objected, for example, to the placement of the main cadenza in the substan-tial first movement, and he preferred not to share the spotlight with a solo violin and cello in the slow movement. Tchaikovsky held firm in this case, only accepting some minor changes. (It was a better outcome than his tussle with the cellist Wilhelm Fitzenhagen, who demanded and won much steeper concessions in the “Rococo” Variations.) Despite Tchaikovsky’s protests, Siloti had his way anyway, when he oversaw a posthu-mous edition in 1897 that enforced his draco-nian cuts. That was the version most familiar to the public until Tchaikovsky’s original came back into print in 1955. This performance honors the composer’s wishes, and presents a version of the work that may be less tidy but is infinitely more expressive.The concerto’s first movement has a heroic de-meanor to it, with echoes of Beethoven, espe-cially in the robust first theme. Tchaikovsky’s gift

NOTES ON THE PROGRAMby Aaron Grad

for tuneful, sentimental melodies comes to the fore in the contrasting key area, where a wist-ful exchange with a solo flute caps an especially beautiful and serene statement by the piano.The slow movement at the center of the Second Piano Concerto is the emotional core of the work, and yet the pianist sits silently through some of the most poignant passages. Here Beethoven again looms in the background, specifically his Triple Concerto for piano, violin and cello. The same trio shares the solo duties in Tchaikovsky’s movement, creating a wealth of chamber music textures within the larger palette of the orches-tra.The concerto’s finale lightens the mood with playful themes and bouncing rhythms. Not sur-prisingly, Siloti had the least to complain about in this fast-paced, virtuosic showpiece for the soloist.

Pictures at an Exhibition [1874]

MODEST MUSSORGSKYBorn September 9, 1839 in Karevo, RussiaDied March 16, 1881 in St. Petersburg, Russia

Modest Mussorgsky was a military cadet with a knack for the piano when, at age 19, he dedi-cated himself to composition and took his first serious lessons. Even with his late start as a com-poser and his alcohol-fueled death at 42, he left a rich body of music, most of which underwent posthumous rewrites and “corrections” from well-meaning editors, including his friend Rim-sky-Korsakov. For generations after his death, many regarded Mussorgsky as an intuitive sa-vant with an ear for good tunes but substandard craftsmanship. Now it is clear that the coarse ir-regularities that offended his learned colleagues often reflected folk music traditions and even the distinctive cadence of Russian speech. In this regard, Mussorgsky was the purest of the Na-tionalist composers known as “The Russian Five,” in the sense that his musical language owed the most to its homeland.The highpoint of Mussorgsky’s career came in 1874, with the successful premiere of his opera Boris Godunov. That same year, a memorial ret-rospective of paintings by Viktor Hartmann, who had recently died from an aneurysm at age 39, inspired his good friend Mussorgsky to com-pose Pictures at an Exhibition. The suite for solo piano adopted a novel form in which a recurring promenade represents the composer strolling through the exhibit, linking the movements in-spired by specific images. Rimsky-Korsakov pre-

pared the posthumous first edition in 1886, and soon thereafter one of his students made the first symphonic adaptation.The French composer and master orchestrator Maurice Ravel (1875-1937) created his own ar-rangement in 1922, spurred by a commission from the Russian expatriate conductor Serge Koussevitzky. Ravel had an uncanny gift for ex-panding music originally written for the piano, the process he followed in many of his own works, including Pavane pour une infante dé-funte, Ma mère l’oye and Le Tombeau de Couperin. Too often, hearing Mussorgsky’s music through the filter of another composer dilutes its true essence; with Ravel’s orchestration, the effect is less that of a filter and more the action of a prism, splitting the sparkling piano score into a rainbow of colors.The iconic Promenade struts to an irregular gait, grouped into five- and six-beat segments. This theme represents the ambling composer, and the slightly imbalanced heft of the music seems a good match for the outsized Mussorgsky. The next movement, Gnomus, celebrates Hartmann’s design for a gnome-shamed nutcracker, depict-ed with halting phrases and brittle ensemble effects. A gentle restatement of the promenade prepares The Old Castle, evoking an image of a troubadour singing before a medieval castle, represented by the dreamy buzz of a solo alto saxophone. Another fragment of promenade ushers in Tuileries (Dispute between Children at Play), based on Hartmann’s painting of children in the Tuileries Garden in Paris. The recurring motive of a descending minor third captures the universal musical gesture with which children tease and call each other.Cattle recalls a painting of an ox-drawn cart, cast-ing the tuba’s sullen melody over plodding ac-companiment. An interlude of promenade ma-terial links into the Ballet of the Unhatched Chicks, inspired by Hartmann’s sketch for a costume in which only the dancer’s head, arms and legs emerge from an eggshell. The music uses flitting grace notes and bright treble instruments to maximize the chirping playfulness. Samuel Gold-enberg and Schmuÿle represents two separate portraits of Jewish men, one rich and one poor. The first theme in octaves rings with Semitic in-tervals and inflections, while a second chorale-like passage, peppered with muted trumpet, offsets the initial incantation.The Market at Limoges (The Great News) trans-ports the animated chatter of female shoppers engaged in frenetic crosstalk. At the climax, it breaks off into the deep, slow resonance of The

Catacombs, drawn from a self-portrait of Hart-mann in the depths of Paris. The next section, With the Dead in a Dead Language, brings the composer into the picture through a spectral recollection of the promenade theme. As Mus-sorgsky wrote in the margin of his score, “The creative spirit of the dead Hartmann leads me to-wards the skulls, invokes them; the skulls begin to glow softly from within.”From that most hallowed place, the exhibition proceeds to the most outlandish movement, The Hut on Fowl’s Legs (Baba-Yagá). Hartmann’s design for a clock modeled after bird-legged house of the witch Baba-Yagá inspired Mussorg-sky to depict another component of the folk tale, where the witch flies around in the mortar she uses to grind up the human bones she eats. That whirlwind music pivots in an instant to the most grand and majestic passage in the piece, The Great Gate of Kiev, capturing Hartmann’s winning design for a ceremonial gate for the Ukrainian capital. The theme has the same regal flavor of the promenade, but with the irregular rhythms smoothed out, bringing the eventful tour to rest.Program Notes © 2014 Aaron Grad.

Valery Gergiev -- ConductorValery Gergiev is Artistic and General Director of the Mariinsky Theatre, Principal Conductor of the London Symphony Orchestra, Principal Conduc-tor of the World Orchestra for Peace, Chair of the Organizational Committee of the International Tchaikovsky Competition, Honorary President of the Edinburgh International Festival and Dean of the Faculty of Arts at the St. Petersburg State University.Maestro Gergiev graduated from the Leningrad State Rimsky-Korsakov Conservatoire in sym-phonic conducting under Professor Ilya Musin. While still a student at the Conservatoire, he won the Herbert von Karajan Conducting Com-petition in Berlin and the All-Union Conducting Competition in Moscow and was invited to join the Kirov Theatre (now the Mariinsky). At the age of thirty-five in 1988, Valery Gergiev was appoint-ed Musical Director of the Mariinsky Theatre, and since 1996 he has been Artistic and General Di-rector of the Mariinsky Theatre (Mariinsky Ballet, Opera and Orchestra ensembles). In 2006, the Concert Hall opened on the site of workshops that had burnt down. The new Mariinsky Theatre (Mariinsky II) opened in May 2013 alongside the historical Mariinsky Theatre. Gergiev has established and directs such interna-tional festivals as the ‘Stars of the White Nights’ festival (St. Petersburg), the ‘Moscow Easter Fes-

tival’ and the ‘Gergiev Festival’ (the Netherlands). He has led numerous composer cycles including Hector Berlioz (1803-1869), Johannes Brahms (1833-1897), Henri Dutilleux (b. 1916), Gustav Mahler (1860-1911), Sergei Prokofiev (1891-1953), Dmitri Shostakovich (1906-1975), Igor Stravinsky (1882-1971), Pyotr Ilyich Tchaikovsky (1840-1893) in New York, London, Paris and other international cities and he has introduced audiences around the world to several rarely per-formed Russian operas.Maestro Gergiev staged a production of Richard Wagner’s tetralogy Der Ring des Nibelungen in the original German language, the first such production in Russian history, and led that pro-duction in St. Petersburg, Moscow, Seoul, Tokyo, New York, and London. Gergiev also champions contemporary Russian composers such as Rodi-on Shchedrin (b. 1932), Boris Tishchenko (1939-2010), Sofia Gubaidulina (b. 1931), Alexander Raskatov (b. 1953), Pavel Smelkov.At the Concert Hall of the Mariinsky Theatre, there are not only performances of operas and symphonic programs, but also recordings of works for the Mariinsky label, established in 2009. Recent releases this past summer and this fall include Prokofiev The Gambler (DVD), Wag-ner Das Rheingold, Shostakovich Symphony No. 8 and R. Strauss Die Frau ohne Schatten (DVD). His 2014 releases include Tchaikovsky Piano Concertos Nos. 1 & 2 with Denis Matsuev and Prokofiev Piano Concerto No.3 (Matsuev) with Prokofiev Symphony No. 5. Earlier recordings are Wagner Die Walküre and Parsifal, Verdi Attila, Shostakovich Symphony No. 7, and Shchedrin’s The Enchanted Wanderer to name a few. Principal Conductor of the London Symphony Orchestra since 2007, Valery Gergiev performs with the LSO at the Barbican, the Proms and the ‘Edinburgh Festival’, as well as on extensive tours of Europe, North America and Asia. He also col-laborates with the Metropolitan Opera, the Vien-na Philharmonic, the orchestras of La Scala, New York, Munich and Rotterdam.In July 2013 he led the debut international tour of the National Youth Orchestra of the United States of America, an orchestra founded by Carnegie Hall’s Weill Music Institute, and in 2016 assumes the post of principal conductor of the Münchner Philharmoniker. He is also founder and artistic director of the Stars of the White Nights Festival and New Horizons Festival in St. Petersburg, Moscow Easter Festival, Rotterdam Philharmonic Gergiev Festival, Mikkeli Music Fes-tival, and the Red Sea Classical Music Festival in Eilat, Israel.

Valery Gergiev’s many awards include the title of People’s Artist of Russia, the Dmitri Shostakov-ich Award, the Polar Music Prize, Netherland’s Knight of the Order of the Dutch Lion, Japan’s Order of the Rising Sun and the French Order of the Legion of Honor.

Denis Matsuev -- PianoDenis Matsuev has become a fast-rising star on the international concert stage since his trium-phant victory at the 11th International Tchai-kovsky Competition in Moscow in 1998, and has quickly established himself as one of the most sought-after pianists of his generation.Mr. Matsuev collaborates with the world’s best known orchestras, such as the New York, Lon-don, Berlin, Rotterdam, Israel, and Helsinki Philharmonics, Chicago, London, NHK, Cincin-nati and Pittsburgh symphonies, Bavarian, BBC, Frankfurt and Netherlands Radio Symphony Or-chestra, Gewandhaus and National Symphony Orchestra, WDR of Cologne, Verbier, Lucerne and Budapest Festival Orchestras, Filarmonica della Scala, Orchestre de la Swiss Romande, Zurich Opera House Orchestra, Orchestre National de France as well as the Orchestre Philharmonique de Radio France. He is continually re-engaged with the legendary Russian orchestras such as the St. Petersburg Philharmonic, the Mariinsky Orchestra and the Russian National Orchestra.The 2014/15 season includes performances with the London Symphony Orchestra, engagements at the Koninklijk Concertgebouwork in Amster-dam and a recital at the Van Cliburn Foundation. Highlights of past seasons include appearances with Israel Philharmonic and Zubin Mehta in Russia, a tour in Israel under Yuri Temirkanov, Royal Philharmonic with Charles Dutoit, tours with London Symphony and Mariinsky Orchestra under Valery Gergiev in the U.S., Europe and Ja-pan; the Los Angeles Philharmonic with Krzysz-tof Urbanski, Philadelphia Orchestra under Gia-nandrea Noseda, a U.S. tour with the Pittsburgh Symphony under Manfred Honeck, in Europe with the Oslo Philharmonic and Jukka-Pekka Saraste, Accademia Nazionale di Santa Cecilia with Yuri Temirkanov and a South American tour with the Concertgebouw under Mariss Jansons.Denis Matsuev appears regularly with the most prominent conductors on the stage today, in-cluding Lorin Maazel, Valery Gergiev, Zubin Mehta, Mariss Jansons, Yuri Temirkanov, Kurt Ma-sur, Paavo Jarvi, Leonard Slatkin, Myung-Whun Chung, Antonio Pappano, Semyon Bychkov, Iván Fischer, Adam Fisher, Gianandrea Noseda, Jukka-Pekka Saraste, James Conlon, Vladimir Spivakov,

Mikhail Pletnev, Vladimir Fedoseyev, Yury Bash-met, Yury Simonov and others.Mr. Matsuev’s recital performances have brought him to Carnegie Hall and also the Concertge-bouw in Amsterdam, Salle Pleyel in Paris, Konzer-thaus in Vienna, and Great Hall of Moscow Con-servatoire, among others. Mr. Matsuev is a frequent guest of world famous music festivals such as Ravinia and the Holly-wood Bowl in the U.S., BBC Proms and Edinburgh International Festival in Great Britain, Schleswig-Holstein, Rheingau, Festspielhaus Baden-Baden in Germany, Chopin Festival in Poland, Maggio Musicale Fiorentino and Mito Festival in Italy, Les Chorégies d’Orange and Festival de la Rogue d’Anthéron in France, Verbier and Montreux Fes-tivals in Switzerland, Enescu Festival in Romania, Budapest Spring Festival in Hungary, Athens and Epidaurus Festival in Greece and Stars of the White Nights Festival in Russia.In 2010 the New York Philharmonic gave the orchestra’s 15,000th concert – a number un-matched by any other orchestra. This unprec-edented milestone concert in Avery Fisher Hall took place with Denis Matsuev as soloist, con-ducted by Maestro Valery Gergiev, was praised highly by music critics. Mr. Matsuev was also chosen by the Sergei Rachmaninov Foundation to perform and record unknown pieces by the composer on his own piano at the Rachmaninov house “Villa Senar” in Lucerne. Since 2004 Denis Matsuev has organized “Stars on Baikal” in Irkutsk, Siberia (in 2009 he was awarded the title of Honorary Citizen of Ir-kutsk), and since 2005 he has been the artistic director of the music festival “Crescendo” (a se-ries of events held in international cities such as Moscow, St. Petersburg, Yekaterinburg, Tel Aviv, Kaliningrad, Paris and New York). In 2010 he became the Artistic Director of Annecy Mu-sic Festival in Annecy, France, with the goal of demonstrating the convergence of Russian and French music cultures. Denis Matsuev became the Artistic Director of the First International Astana Piano Passion Festival and Competition. Additionally, Mr. Matsuev is the president of the charitable Russian foundation “New Names” that supports youth music education in regions of his native Russia.Mariinsky Label releases include Rachmaninov’s Concerto No. 3, Shostakovich Concertos Nos. 1 and 2 and Shchedrin’s Fifth with Valery Gergiev and the Mariinsky Orchestra in the famed Mari-insky Concert Hall. Among the many awards he has received is the Five Star rating of BBC Music Magazine.

Awards include The Presidential Council for Cul-ture and Art’s Honored Artist of Russia, the titles “People’s Artist of Republic of North Ossetia-Alania” and “People’s Artist of Republic of Ady-gea.” Denis Matsuev is a laureate of prestigious “Shostakovich’s Prize” in Music and State Prize of Russian Federation in Literature and Arts, is a “People’s Artist of Russia.” Denis Matsuev is also Honorary Professor of Moscow State University and became the head of The Public Council un-der The Ministry of Culture of the Russian Fed-eration.

The Mariinsky OrchestraThe Orchestra of the Mariinsky Theatre enjoys a long and distinguished history as one of the oldest musical institutions in Russia. Founded in the 18th century during the reign of Peter the Great and housed in St. Petersburg’s famed Mariinsky Theatre since 1860, the Orchestra en-tered its “golden age” in the second half of the 19th century under the musical direction of Edu-ard Napravnik, whose leadership for more than a half century (1863-1916) secured its reputation as one of the finest in Europe.Numerous internationally famed musicians have conducted the Orchestra, among them Hans von Bülow, Felix Mottl, Felix Weingartner, Alexander von Zemlinsky, Otto Nikisch, Willem Mengelberg, Otto Klemperer, Bruno Walter, Er-ich Kleiber, Hector Berlioz, Richard Wagner, Gus-tav Mahler and Arnold Schoenberg.Renamed the “Kirov” during the Soviet era, the Orchestra continued to maintain its high artis-tic standards under the leadership of Yevgeny Mravinsky and Yuri Temirkanov. The leadership of Valery Gergiev has enabled the Theatre to forge important relationships for the Ballet and Opera to appear in the world’s greatest opera houses and theatres, among them the Metropol-itan Opera, the Kennedy Center, the Royal Op-era House in Covent Garden, the San Francisco

Opera, the Théâtre du Châtelet in Paris, the Salz-burg Festival and La Scala in Milan. The success of the Orchestra’s frequent tours has created the reputation of what one journalist referred to as “the world’s first global orchestra.” Since its US debut in 1992 the orchestra has made 17 tours of North America, including a 2006 celebration of the complete Shostakovich symphonies, a Cycle of Stage Works of Prokofiev in 2008, major works of Hector Berlioz in February/March 2010, a Centennial Mahler Cycle in Carnegie Hall in Oc-tober 2010, and in October 2011, the Mariinsky Orchestra opened Carnegie Hall’s 120th season with a cycle of Tchaikovsky Symphonies which was also performed throughout the US and in Canada. Maestro Gergiev and the Mariinsky Or-chestra celebrated the maestro’s 60th birthday in North America in October 2013 with works by Stravinsky, Rachmaninoff and Shostakovich.Maestro Gergiev established the Mariinsky Label in 2009 and has since released 20 CDs including Shostakovich Piano Concerto Nos. 1&2, Sympho-nies Nos. 1&15, Nos. 2&11, Nos. 3&10, No. 7, No. 8 and “The Nose,” Rachmaninoff Piano Concerto No. 3 & “Rhapsody on a Theme of Paganini” with Denis Matsuev, Tchaikovsky Piano Concerto No 1 with Daniil Trifonov and 1812 Overture, Shche-drin “The Enchanted Wanderer”, Massenet’s “Don Quichotte”, Stravinsky “Oedipus Rex” & “Les No-ces,” Wagner’s “Parsifal,” “Die Walkure” and “Das Rheingold”, Donizetti “Lucia di Lammermoor,” and 6 DVD/Blu-ray products, including Tchai-kovsky Symphonies Nos. 4, 5, 6, Balanchine’s bal-let “Jewels,” Verdi’s “Attila,” Strauss “Die Frau ohne Schatten” and Prokofiev’s “The Gambler”. His Mariinsky Label releases in 2014 include Shosta-kovich Symphonies Nos 4, 5 & 6, Tchaikovsky Piano Concertos Nos 1 & 2 as well as Prokofiev Piano Concerto No 3 and Symphony No 5, both with Denis Matsuev and Prokofiev’s Romeo & Ju-liet on Double Play Blu-ray and DVD.

Our MissionMayo Performing Arts Center, a 501(c)(3) nonprofit organization, presents a wide range of programs that entertain, enrich, and educate the diverse population of the region and enhance the economic vitality of Northern New Jersey. The 2014-2015 season is made possible, in part, by a grant from the  New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, as well as support received from the Geraldine R. Dodge Foundation, F.M. Kirby Foundation and other numerous foundations, corporations and individuals.

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FIRST VIOLINStanislav IzmaylovPrincipalAlexei LukirskyLeonid VekslerAnton Kozmin Mikhail Rikhter Khristian ArtamonovDina Zikeyeva Kristina MinosianViktoria BoezhovaDanara UrgadulovaVsevolod VasilievAndrei TyanTatiana Moroz

SECOND VIOLINZumrad IlievaPrincipalElena LuferovaViktoria ShchukinaAnastasia LukirskayaAndrei PokatovInna Demchenko Natalia PolevayaAlexei Krasheninnikov Elena ShirokovaMikhail ZagorodnyukOlga TimofeyevaSvetlana Petrova

VIOLAYuri AfonkinPrincipalDinara MuratovaLina GolovinaAlexander ShelkovnikovYevgeny BarsovRoman IvanovMikhail AnikeyevIlya VasilievAndrei Petushkov Andrei Lyzo

CELLOOleg SendetskyPrincipal Anton GakkelDmitry GanenkoViktor KustovYekaterina LarinaOmar BairamovDaniil BryskinVladimir YunovichOxana MorozAnton Valner

DOUBLE BASSKirill KarikovPrincipalVladimir ShostakVladislav RyabokonDenis Kashin Yevgeny RyzhkovSergey AkopovBoris MarkelovSergei Trafimovich

FLUTENikolai Mokhov Sofia VilandTatiana KhvatovaAlexander MarineskuMikhail Pobedinskiy Aglaya Shuplyakova

OBOEPavel Kundyanok Alexander LevinAlexei FyodorovIlya Ilin

CLARINETViktor Kulyk Ivan Stolbov Nikita VaganovVitaly Papyrin Dmitry KharitonovYuri Zyuryaev

BASSOONRodion TolmachevYuri RadzevichRuslan MamedovAlexander Sharykin

HORNStanislav TsesDmitry VorontsovAlexander AfanasievAlexei PozinVladislav Kuznetsov Yuri Akimkin Pyotr Rodin Dmitry Lezhnin

TRUMPETTimur MartynovSergei KryuchkovVitaly ZaitsevYuri Fokin

TROMBONEAndrei Smirnov

Alexei LobikovAlexander DzhurriMikhail Seliverstov

TUBANikolai SlepnevBoris Dzhioev

PERCUSSIONAndrei KhotinArseny ShuplyakovDmitry GabbasovYuri AlexeyevYevgeny ZhikalovMikhail VedunkinVladislav Ivanov

HARPSofia KiprskayaMaria Krushevskaya

KEYBOARDOlga Okhromenko

ORCHESTRA MANAGERVladimir Ivanov

STAGE HANDSVictor BelyashinNikolai Prozherov

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MARIINSKY ORCHESTRAValery Gergiev, Music Director and Conductor

History of Leadership

1994 Morris International Festival of the Arts Festival Committee*

Alexander Slobodyanik, Artistic DirectorLaryssa Krupa, Executive Director

John B. Dangler, Esq., Project ManagerVictor Czartorysky

Elizabeth A. DanglerPatricia M. Dangler

Jeffery DavisLynn Finkel

Ulrich HartungWilliam H. Needham II

Theresa Battista NeedhamJames SharshanDon Jay Smith

Linda SmithIrene Van DeusenMatthew Williams

South Street Theatre Company, IncBoard of Trustees (Spring 1995)**

Thomas C. Wajnert, ChairmanDon Jay Smith, President

John B. Dangler, Vice PresidentLinda Kiger Smith, Secretary

Bud Mayo, TreasurerThomas P. Geyer

Laryssa KrupaWilliam Needham

James F. QuinnJohn Walsh

Chairmen of the Board of Trustees Thomas Wajnert 1994 -1998 Donald J. Smith 1998 - 2004 Bud Mayo 2004 - 2008 Robert Mulholland 2008 - 2012 Joseph M. Goryeb 2012 to present

*As printed in the Sept. 29, 1994 program**As printed in Spring 1995 materials

Mayo Performing Arts CenterBoard of Trustees – January 2015

Joseph M. Goryeb, ChairmanRobert Mulholland, Vice Chairman

Anita J. Siegel, Esq., Secretary & Legal CounselMatthew Finlay, Treasurer

Allison Larena, President & CEORev. Janet Broderick

Sally EpsteinEdward A. Gramigna, Jr., Esq.

Gregory J. HeherLinda Hellstrom

John P. Hyland, CFPUnjeria C. Jackson, MD

Jefferson W. KirbyJoseph M. Longo

Marylyn McLaughlinJames F. QuinnHarry J. Riskin

Mary Jane RobertsonThomas J. Ross, Jr.

Douglas SiegGregory J. Supron

Chairman EmeritusBud Mayo

Trustee EmeritusLeonard Sichel

Honorary Board of TrusteesThe Honorable Brendan T. Byrne

The Honorable Timothy P. Dougherty The Honorable Thomas H. Kean, Sr.

Joe PiscopoJohn Pizzarelli

Founders, Builders and VisionariesMayo Performing Arts Center honors our Major Capital Campaign

Contributors for gifts of $50,000+ for theatre renovations 1998 - 2014

Listing includes cumulative contributions to the following campaigns:Theatre Builders 1998-2001Setting the Stage 2006-2010

Main Lobby Building Project 2011-2014

We are deeply grateful to all of our supporters!

$1,000,000+Geraldine R. Dodge Foundation

F.M. Kirby FoundationSudy and Bud Mayo

The MCJ Amelior Foundation

$500,000-$999,999The Kresge Foundation

The John and Margaret Post FoundationWarner-Lambert Company

$250,000-$499,999A.P. Kirby, Jr. Foundation, Inc.

The Gagnon FamilyThe Hyde and Watson Foundation

Paula and William MarinoNovartis Pharmaceuticals

State of New Jersey

Allied SignalPatti and David Aresty

The Blanche and Irving Laurie FoundationGarwood N. BurwellElliott Averett Family

Joseph and Jeanne GoryebGPU, Inc.

Linda and Jay HellstromHoneywell

Anita Hotchkiss and Christopher MartinJockey Hollow Foundation

Lawrence Schacht FoundationMorristown Partnership

Nabisco

Eileen and N. Larry Paragano Sr.Jane Rehmke and Leland Schubert

Mr. and Mrs. Nelson SchaenenWilliam E. Simon FoundationMr. and Mrs. Stephen B. Wiley

Wendy and Jim ArestyAT&T Foundation

Joseph and Gail BarryThe Bedminster Fund

Andrew BoszhardtChip Carver and Anne DeLaney

Richard P. CaseyThe Conger Family Foundation

Chris and Bob CoxThe Culbertson Family

John J. Curley and Patricia A. JenningsFrancie and John Downing

Anne and John DuffyThe Ellis Family

Sally EpsteinJill and Dave Farris

Bonnie and Harry GardnerMarguerite and Joseph Goryeb, Sr.

Sheridan and John GreeniausThe Hampshire FoundationJeffrey and Sarah Hanson

Mr. and Mrs. Gregory HeherJacobs Levy Equity Management

Mr. and Mrs. James P. KenneyGail and Ben Lobel

Pamela and Joseph LongoCindy and Bob McCann

Marylyn and Tom McLaughlin

Mr. and Mrs. Kenneth MillerColette and Jim Mongey

Carol and Robert MulhollandHelen and Grant Parr

Mary Jane Robertson and James A. ClarkBrenda and Leonard Sichel

Donna and Bill StackWendy and Gregory Supron

Villa Enterprises Managment and Scotto Properties

Kim and Finn WentworthJeanne and David Zenker

$100,000-$249,999

$50,000-$99,999

The Miracle on South StreetCelebrating 20 years!

The 2014-2015 season marks the 20th anniversary of the Mayo Performing Arts Center. Originally built as Morristown’s premier movie theater in 1937 and called The Community Theatre, MPAC (renamed in 2009) was saved from the wrecking ball in 1994 by a group of community volunteers who envisioned the value a vibrant arts center could have on a town.

On September 29, 1994, a Gala Concert by the Kirov Orchestra of St. Petersburg, conducted by Valery Gergiev, with soloists bass Jerome Hines and pianist Alexander Slobodyanik, marked a new era for Morristown’s Community Theatre.

Morris County’s “event of the decade” was the triumphant culmination of a heroic community effort, guided by the vision and determination of Morristown resident, concert pianist Alexander Slobodyanik and his wife, Laryssa.

When he was first introduced to the silent and neglected theatre in early 1993, Mr Slobodyanik

was impressed by its parameters and acoustics, but dismayed by the skepticism and unsuccessful efforts to revitalize the theatre. He believed that an unconventional approach, of artistic support and performances of the highest artistic caliber, would prove the theatre’s potential and “give it new life.” For this mission he gathered the support of his friends and colleagues, artists of international prominence, and created the Morris International Festival of the Arts.

In February 1994 he invited his friend, maestro Valery Gergiev to see the theatre with the hope that he would commit to the opening concert. Inside the frigid and icicle clad hall Mr Gergiev announced, “The Kirov will play here.”

Lobby 1994 Opening Night Program 1994

2000 Renovations

Cast of Hairspray

2014 Front of House RenovationsLiza Minnelli christens new stage

When the lease for use of the Theatre was finally signed in July 1994, the magic began. Inspired by the promise of an extraordinary event, a unique opportunity to save their beloved theatre, hundreds of volunteers came forth to be a part of the massive rehabilitation and preparations for the September 29 concert.

Much has changed since then. Today, Morristown’s community theater has blossomed into a world class performing arts center, undergoing four major renovations since 1994. In 2007, the stage house was expanded by 24,000 square feet to accommodate a larger stage, dressing rooms, updated production amenities, an orchestra pit and administrative offices. The most recent front of house renovations included a digital marquee, a new box office, an elevator, renovated lobby and expanded and updated restroom facilities.

MPAC remains Morristown’s crown jewel, and has evolved into a world renowned performing arts center, with over 200 events on our stage every year, attracting over 200,000 patrons, with ticket sales in excess of $8 million, and with an economic impact over $14 million on the area. Tony Bennett, Ringo Starr, Jerry Seinfeld, Jackson Browne, and many more of the world’s best known performers have graced the stage. It is the Morris County home to the New Jersey Symphony and New Jersey Ballet, and over the years, has provided space for many other New Jersey based arts organizations.

Beyond our concerts is the growth of MPAC’s education and outreach programs that bring the arts experience to children in communities throughout New Jersey, engaging the next generation of arts lovers in educational programs that instill confidence, inspire learning and encourage teamwork. From our teen Performing Arts Company to school residency programs, productions such as Hairspray to Music Students of the Month, MPAC education programs touch the lives of over 40,000 children and families annually.

“The Miracle on South Street,” as dubbed by late historian John T. Cunningham, still continues to inspire.

Milestones:September 1994

January 1995

June 1996

1996-1997

1997-2000

November 1999

The Community Theatre reopens with a sold out performance by the Kirov Orchestra of St. Petersburg conducted by Valery Gergiev.

The South Street Theatre Company, a non-profit organization, was formed to purchase and renovate the theatre.

The South Street Theater Company aka The Com-munity Theatre begins its first full year of operation with a $700,000 operating budget.

Economic impact study, conducted by firm of Zei-gler & Lanier, reported that The Community Theatre had an economic impact of $1.5 million.

Capital Campaign is undertaken to create fund-ing for a comprehensive refurbishing and upgrade of the theatre. $7.5 million dollars is raised to completely refurbish the auditorium, lobby areas, original restrooms, plaza entrance and a portion of the façade.

First Starlight Ball is held.

2000

2000-2001

2001-2002

Spring 2004

March 2005

May 2005

Winter 2006

March 2006

Theatre membership numbers 512; number of Community Theatre presentations is 67; total attendance is 42,668.

Season highlights include Lou Rawls, Maynard Ferguson, Dave Brubeck and Willie Nelson.

Season highlights include Roberta Flack, Ray Charles and Bob Newhart.

The Community Theatre opens the Art Upstairs visual arts gallery.

Theatre offers two arts education workshops as a precursor to the launch of the Performing Arts School in September 2005.

Theatre membership numbers 750; number of Community Theatre presentations is 98; total attendance is 73,733.

Economic Impact Study conducted by T.J. Spitznas & Associates during the fiscal year ending in June 2005 reported that The Community Theatre’s total economic impact on the County was approximately $6 million.

Tickets sales for Commu-nity Theatre presentations break $2 million barrier for the first time.

June 2006

September 2006

November 2006

June 2007

September 2007

Winter 2008

March 2008

A groundbreaking ceremony marks the theatre’s official beginning of the Theatre’s expansion project. Concurrently, the Theatre announces its $7 million Setting the Stage Capital Campagn to finance the project.

The audition-only teen Performing Arts Company is launched.

Using a temporary stage as construction continues, The Community Theatre opens its 2006-2007 season.

The Community Theatre announces name change to Mayo Center for the Performing Arts, after Bud Mayo, its Board Chairman, for his long-time financial support and service.

Liza Minnelli christens the newly expanded stagehouse and opens the 2007-2008 season on September 28.

The Starlight Room is introduced at a Capital Campaign Reception in January. The Administra-tive staff moves into new offices in the Pine Street Center in February.

First summer season is announced.

June 2008

June 2008

October 2008

November 2009

February 2009

July 2009

March 2010

July 2010

September 2010

Ticket sales for 2007-2008 season top $3.5 million, a million dollar increase over the previous year. Membership jumps 25% over the previous year.

Brooklyn Doo Wop Reunion Show is first ever summer concert. Theatre is now air conditioned.

The Starlight Room begins use as a reception space for sponsors and members.

Artist Green Room and ca-tering facility is completed on the second floor of the Pine Street Center.

The Performing Arts Education Studios open on the second floor of the Pine Street Center.

Performing Arts School begins summer workshops.

Starlight Series is launched with storytelling, cabaret and one-person perfor-mances in The Starlight Room.

Theatre launches Music Without Borders free summer outdoor concerts, in association with Arts Council of the Morris Area.

Upstairs Balcony Renova-tions.

December 2010

February 2011

April 2011

May 2011

May 2011

April 2012

June 2012

August 2012

Construction begins on New Jersey Ballet’s 40th Anniversary Nutcracker is performed for 10 perfor-mances.

MPAC serves as Region 4 host of New Jersey Poetry Out Loud competition.

Upstairs balcony renova-tions are completed. The new lobby space features a refurbished Art Gallery, additional restrooms and upgraded concessions

Ticket sales surpass $6 million.

According to an Economic Impact Calculator created by Americans for the Arts, MPAC’s impact on the region is $12.5 million.

Allison Larena, President and CEO of MPAC since 2002, is named Outstand-ing Arts Advocate 2012 by the Arts Council of the Morris Area.

Former Beatle Ringo Starr and His All-Starr Band perform on stage in MPAC’s season ending concert to a sold out crowd.

According to an Economic Impact Calculator created by Americans for the Arts, MPAC’s impact on the region is $14 million.

September 2012

November 2012

December 23, 2012

January 2013

May 2013

Lt. Governor Kim Guadagno visits MPAC as one of her stops on her “Arts Means Business” tour.

After Hurricane Sandy disrupts theatre operations and causes cancellation of four performances and the Starlight Ball, the Theatre reopens with a performance by former Su-pertramp lead singer Roger Hodgson. The Theatre and its patrons raise over $5000 for Sandy relief efforts throughout the month.

The Theatre celebrates the 75th anniversary of its opening, December 23, 1937. Mayor Timothy Dougherty of Morristown declares December 23, Mayo Performing Arts Center Day.

MPAC education department launches new “School Partner-ship” collaboration with the Morris Educational Foundation and the Mor-ris School District that aims to improve literacy scores and language arts skills through use of the performing arts.

Joseph and the Amazing Technicolor Dreamcoat is performed on stage for four performances, featur-ing a cast of 75 talented young artists

Summer 2013

October 2013

January 2014

Winter 2014

Renovations to the front of the Theatre begin. New electronic marquee is installed on the plaza.

The new box office opens, as well as the theatre’s expanded bathrooms.

Elevator to the upstairs lobby opens.

MPAC begins a pilot edu-cational outreach program with Paterson schools and St. Joseph’s Children’s Hospital, providing arts education to a school district that has none.

May 2014

June 2014

September 2014

Hairspray, MPAC’s second youth musical, features over 80 performers with over 3,500 spectators.

Ticket sales for 2013-2014 season top $8 million.

On the 20th anniversary of its opening, MPAC cuts ribbon on the completion of the Main Lobby Build-ing Project, a $2 million renovation that includes a digital marquee, box office, upgraded restooms, eleva-tor and more. The event features Tony-nominated composer Keith Herrmann’s song, “It Feels Like Home,” specifically written for the event and performed by MPAC’s Performing Arts Company.

MPAC StaffAllison Larena President & CEOAdministrationEd Kirchdoerffer General ManagerSasha Barish Finance ManagerAnthony Scareon Manager of Administration & Board RelationsTimothy McMurray Operations ManagerJason Fluegge Special Projects ManagerCharles Miller Programming ConsultantGreg Seamon Programming CoordinatorAdrienne Beck Programming AssistantSarah Jayne Oltz Administrative Office Receptionist

Box OfficeMarthe Lablans Ticketing ManagerCarolyn Zybura Senior Box Office AssociateLauren Antonelli Box Office AssociateEllen Avigliano Box Office AssociateKathleen O’Donnell Box Office AssociateDoreen Kirsch Box Office AssociateDena Di Rocco Box Office AssociateMarlene Rabiner Box Office AssociateAngela Scott Box Office Associate

DevelopmentMarysue DePaola Development DirectorJustin Wynn Assistant Director of DevelopmentMarcia Hunter Major & Capital Gifts ManagerLana Gusoff Membership & Special Events ManagerAlejandra Castaño Development Assistant

EducationCathy Roy Education DirectorRoxie Zeek Education/Marketing CoordinatorJustin Long Education Projects Coordinator

House ManagementErin Pach Senior House Manager & Volunteer CoordinatorMark Mattera House/ Starlight Room ManagerJohn Ricca Assistant House ManagerMichael Del Vecchio Assistant House Manager MaintenanceYevgeniy Nozik

MarketingJean Leonard Marketing DirectorMichael Dundon Audience Development ManagerLauren Soule Digital Content ManagerAmanda Franko Marketing Coordinator

ProductionJed DeFilippis Production DirectorBrian Isaacs Production ManagerLee Kaloidis Production CoordinatorKaren Kogut Catering ManagerLuke Kostuchik Technical AssistantStephan Wojtecki Audio Engineer

MPAC by the Numbers

$11 Million+ annual budget

$8.3 million in ticket sales

$14 million+ economic impact

200+ Concerts and events

37,000+ touched by community outreach efforts

300+ visual artists exhibited500+ students in the Performing Arts School

140+ volunteers and 25+ interns

40,000+ students reached through educational programs

$2.2+ million in contributed income annually

1,100+ Members and Supporters

Attendance over 200,000

Attendance from all 21 NJ counties

EDUCATION

MPAC EDUCATIONprogramS reach over

STUDENTS ANNUALLY

40,000

Performing Arts School

Afterschool ArtsEnrichment

Outreach programs

Summer CampsFree outdoor concerts

Performing Arts Company

Student Program BookCover Art Contest

School residency programs

Music Studentof the Month

Annual Spring YouthMainstage Musical

$9,000 in PASScholarships

Masterclasses

Broadway Guest Artist Series

Intern program

Poetry Out LoudRegional Host

In-Theatre Educationalperformances for schools