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 ChoirAnnie 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

(1864–1949)

Die Walküre 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 Gurre-Lieder 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 SUPPORTAnonymous 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 SOCIETYMUSIC 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

MUSIC DIRECTOR SILVER

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

BENEFACTORS Anonymous Richard & Nonnie Burnes Kerry Murphy Healey Barbara Lee Anne Linn Kyra & Coco Montagu/ Alchemy Foundation

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.

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.

#landmarks2016