Chicago Sinfonietta-A Dream Unfolds

1Chicago Sinfonietta

Sunday, January 16, 2011, 2:30 pm – Dominican UniversityMonday, January 17, 2011, 7:30 pm – Symphony Center

A Dream Unfolds

Chicago SinfoniettaPaul Freeman, Music Director and Conductor

Leslie B. Dunner, Guest Conductor

Theater Set (overture) ..................................................................................Ulysses Kay

Lyric for Strings ........................................................................................ George Walker

Concerto for a Genius .................................................................. Reginald Robinson, arr. Orbert Davis 1. Mr. Murphy’s Blues 2. Janet 3. Ansaar 4. The 19th Galaxy

Reginald Robinson, piano

Intermission

Porgy and Bess: Concert Version ............................................... George Gershwin, arr. Robert Russell Bennett

Lisa Daltirus, SopranoChauncey Packer, Tenor

Donnie Ray Albert, BaritoneChicago Community Chorus led by Dr. Keith Hampton, Artistic Director

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Please hold your applause for a brief silence after each work.This will help everyone to enjoy every note.

2 Chicago Sinfonietta

THE M AESTRO’S F INAL SEASON

These 2010-2011 season-opening performances mark the beginning of a season of transition as our beloved Founder and Music Director Paul Free-man takes the podium for the final time. Throughout the year Maestro Freeman will be conducting pieces that have become personal favorites of his, many of which he probably introduced to you, our audience. We will also be sharing some of his compelling life sto-ry and reprinting some amazing photos from the Sinfonietta archive. We hope you enjoy this season-long look at Mae-stro’s career, and encourage everyone you know to join us in celebrating his many accomplishments.

Paul Douglas Freeman was born in Richmond, Virginia, on January 2, 1936. His father ran a produce shop. He grew up in modest circumstances in the American South in the middle of the twentieth century--difficult beginnings for any African American. “Growing up in segregation in Richmond...to have fulfilled my personal dreams and to have helped to found an entity [the Chicago Sinfonietta] that brings dreams to others, even I sometimes can’t believe what we’ve done,” Free-man told the Chicago Sun-Times.

The dream began with Freeman’s music-loving family. Symphony orchestra concerts on the radio and weekly broadcasts from New York’s Metropolitan Opera, the New York Philharmonic, and the NBC Orchestra were required listening for all twelve Freeman siblings as were music lessons when they grew old enough to handle them. Freeman started piano lessons at age five, and he soon took up the clarinet as well. He took clarinet lessons at Richmond’s Armstrong High School while still in elementary school and took lessons at Virginia State College in Pe-tersburg while in high school. One of the stories Paul shares is about the first time he ever heard an orchestra perform as a child in his hometown of Richmond. He and his mother were directed to sit in the colored section of the theater, or as he likes to refer to it, the “peanut gallery”.

Now, over sixty years later, Paul Freeman prepares to lead his last ever tribute con-cert to Dr. Martin Luther King, Jr., a tradition that he began not long after he founded the Sinfonietta in 1987. In a documentary produced to mark the orchestra’s 20th Anniversary Season in 2006, he talked about his personal encounter with Dr. King. “I saw him at the airport in Atlanta, Georgia at 2 in the morning, and he asked, when I spoke to him, why was I there. I said to guest conduct the Atlanta Symphony. He said, ‘The last bastion of elitism… Glory Hallelujah!’ and he walked away. Three weeks after that he was assassinated. That feeling that the symphony orchestra could become inclusive and diverse, that classical music in particular should be available to anyone and everyone regardless to race, creed, religion, gender, age.. it doesn’t matter, and this is what we strive to do with the Chicago Sinfonietta.” The entire Chicago Sinfonietta family owes a great debt to Maestro Freeman and his vision and determination. Thank you, Paul.

Paul Freeman and Eleanor Roosevelt circa 1962


PROGR A M NOTES

“The future is... black.” - James Baldwin

Trailblazer Ulysses Kay provides a perfect opening for a concert dedicated to the work and life of Martin Luther King with the overture to his Theater Set for Orchestra. The piece opens with a bang and bears all of the earmarks of Kay’s distinctive neo-classical style. While there are countless melodic lines and changing harmonies tumbling off the stage, the orchestration is always clear, clean, and razor-sharp. The overture bears some resemblance to neo-classical works of Stravinsky such as the Symphony in Three Movements, but Kay crafts his own sound filled with angular fanfares and dizzying string runs. The character of the piece can turn on a dime at any moment, from a lyrical line to a percussive outburst, but each section is carved out from the others with a fierce precision.

Kay’s musical accomplishments are even more remarkable given the racially closed world of classical music at the time he was making his way as a composer. Born in Tucson, Arizona in 1917, he was raised in a musical household. Both his mother and sister played the piano and his uncle was the famous New Orleans cornettist and bandleader Joe “King” Oliver. Because Tucson was a small western city, Kay luckily evaded much of the educational segregation in schools of the US at that time. He enrolled at the University of Arizona in 1934 where he fell in love with the music of Hungarian composer Bela Bartók. He quickly picked up speed as a composer, studying at Eastman with American composer Howard Hanson and at Tanglewood with Paul Hindemith. Both teachers were champions of the neoclassical aesthetic and their sense of form combined with the orchestral brilliance of Bartók clearly contributed greatly to the evolution of Kay’s sound.

The most notable element of Kay’s career is his determination. Though there were many successes along the way; including performances by the New York Philharmonic and other major symphonies, a brief Fellowship in Rome and an eventual faculty position at Lehman College, he also had a three-and-a-half year assignment in the US Naval Reserves, and worked a full time job at BMI for fifteen years before securing an academic position. Through all of it he wrote more than 100 works for a variety of ensembles and several operas. This is to say nothing of his barrier-breaking accomplishments gaining academic positions as an African-American composer, which have inspired the generation of composers following him.

“No one can possibly know what is about to happen: it is happening, each time, for the first time, for the only time.” - James Baldwin

George Walker’s Lyric for Strings is a gorgeous, almost haunting, work in a single movement. In a gradual unfolding of assured and subtle musical phrases it constantly surprises the listener with cadences that take the music in unexpected directions. These quietly startling shifts in tonality cause the listener to reflect on the music just heard as well as strain with curiosity to hear what might be next. Walker’s inventive use of tonal harmony is wholly his own, and marks him as one of the most remarkable American composers.

Born in 1922, Walker studied as a pianist at Oberlin, Curtis Institute, and Eastman. He then traveled to Paris to study with the renowned Nadia Boulanger (who taught the likes of Philip Glass and Aaron Copland). Later in his academic career he headed the composition department at Rutgers University in New Jersey and in 1996 received the Pulitzer Prize for his work Lilacs, a


setting of the Walt Whitman text by the same name. Walker wrote his own notes for the Lyric, which follow:“Written in 1946, this work was premiered that year under the title Lament by the student orchestra of the Curtis Institute of Music conducted by Seymour Lipkin in a radio concert. In the following year it received its public premiere by the National Gallery Orchestra conducted by Richard Bales as part of an annual American music festival in Washington. The work, which lasts approximately six minutes, carries the dedication “To my grandmother” and was written while still a graduate student at the Curtis Institute of Music. After a brief introduction, the principal theme is stated by the first violins with imitations appearing in the other instruments. The linear nature of the material alternates with static moments of harmony. After the second of two climaxes, the work concludes with reposeful cadences that were presented earlier.”

Like Samuel Barber’s elegiac Adagio for Strings, Lyric for Strings began life as the slow movement to his first string quartet. Aside from emotional depth and expression, this is where the similarities end. Walker’s piece is unique in its style and masterful in its construction. While it may be dedicated to the loss of a loved one, it expresses far more than a state or mourning. In its closing bars it leaves little doubt as to why it has become one of Walker’s most frequently performed works.

“The purpose of art is to lay bare the questions which have been hidden by the answers.”-James Baldwin

The aptly named Concerto for a Genius, featuring 2004 MacArthur Foundation “Genius Award” recipient Reginald Robinson, is a truly collaborative affair. The four movements of the work (titled Mr. Murphy’s Blues, Janet, Ansaar, and

The 19th Galaxy) are each based on solo piano pieces of the same titles written by the pianist/composer Robinson. They have been reworked for orchestra by trumpeter and composer Orbert Davis, who mentored Robinson early on. To simply call them arrangements would dismiss Davis’s contribution to the work. Full orchestral textures, inventive new musical themes shed new light on already arresting music. Though it is not the first time that attempts have been made to fuse Ragtime, Jazz, and the classical genre of the Piano Concerto, this is one of the most inventive and successful.

From a very early age, Reginald Robinson was preoccupied with Ragtime. After hunting down whatever information he could find, he followed the lead of Ragtime great Scott Joplin and asked his mother for a piano. Mostly self taught initially, Robinson was singularly focused on learning the style of Ragtime and creating his own music. Orbert Davis first met Robinson when he was a 7th grade music student at Emmet Elementary School on the west side of Chicago. Davis has gone on to become one of the most sought after musicians in Chicago as a jazz trumpeter, band leader, and arranger. His reunion with Robinson on the Concerto for a Genius is clearly a happy one.

“Not everything that is faced can be changed, but nothing can be changed until it is faced.” - James Baldwin

Before beginning work on Porgy and Bess Gershwin observed: “It’s going to be a labor of love, and I expect quite a few labor pains with it.” He couldn’t have said it better. Long before tackling the operatic world, Gershwin had crossed over just about every boundary in music possible. With his brother Ira he created some of the most enduring popular songs, he wrote for classical ensembles and

PROGR A M NOTES (c o n t.)

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PROGR A M NOTES (c o n t.)

orchestras, and several hit Broadway musicals. To the outside world it seemed he could do anything, but when Gershwin first read Heyward’s popular novel Porgy and Bess in 1926, it took him six years to act on his operatic ambitions. Gershwin had always been insecure about his training and technique.

His career in music began in his teens as a “song plugger” earning 15 dollars a week turning out tunes on Tin Pan Alley. As his ambitions grew, so did his desire to learn. He sought out the tutelage of composition greats like Nadia Boulanger, Maurice Ravel, and Arnold Schoenberg. One by one they all rejected Gershwin as a student, advising him that they would only mar the talent and uniqueness of his musical style.

Heyward’s novel about life in the African-American ghetto of Charleston, South Carolina had intrigued other composers besides Gershwin. After writing to Heyward to ask permission to turn the work into an opera, he discovered that Jerome Kern and Oscar Hammerstein II were also after it. They wanted to adapt it as a musical comedy vehicle for Al Jolson. Heyward eventually opted for Gershwin’s idea of turning Porgy and Bess into an opera that contained “all the elements of entertainment...humor as well as tragedy.” Once rights were secured, George’s brother Ira was added to the team as lyricist and by September of 1935, Porgy and Bess was finished. Opening in Boston to overwhelming acclaim, conductor Serge Koussevitzky called it “a great advance in American opera.” Gershwin’s confidence was bolstered: “It sounded exactly as I thought it would sound when I wrote it.”

The reception in New York was quite something else. Theater critics were enthusiastic, but the music critics were ruthless, often questioning how this

piece could be defined as an opera. Critic and composers Virgil Thomson called it “crooked folklore and halfway opera, a strong but crippled work.” After a mere 124 performances, the Porgy and Bess closed with a loss of nearly $100,000.

The concert version heard this evening was commissioned by Fritz Reiner, then conductor of the Pittsburgh Symphony Orchestra. It was put together by Geroge Gershwin’s longtime friend and sometimes assistant Robert Russell Bennet. In his autobiography The Broadway Sound, Bennett credits Reiner with having chosen most of the excerpts, and their sequence.

“All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.”-James Baldwin

Composer and writer John Glover writes notes, articles, and online courses for organizations such as the Los Angeles Philharmonic, Glimmerglass Opera, the Chicago Sinfonietta, Carnegie Hall, and Opera America. He has received grants and commissions from organizations including Meet the Composer, Glimmerglass Opera, violist Liuh-Wen Ting, and the American Conservatory Theater. He currently lives in New York City and is developing a new opera ‘Our Basic Nature’ with American Opera Projects


PROFILES ( i n o r d e r o f a p p e a r a n c e)

Paul Freeman, Music Director/Conductor

Maestro Paul Free-man is in his 24th season as Music Di-rector of the Chicago

Sinfonietta, a post he has held since his founding of the orchestra in 1987.

Born in Richmond, Virginia, Maestro Freeman has established himself as one of America’s leading conductors. In 1996, he was appointed music direc-tor and chief conductor of the Czech National Symphony Orchestra in Prague, a position he held simultaneously with Chicago Sinfonietta till 2009. From 1979 to 1989, he served as music director of the Victoria Symphony in Canada, princi-pal guest conductor of the Helsinki Phil-harmonic in Finland, associate conduc-tor of the Dallas and Detroit Symphony Orchestras, and music director of the Opera Theatre of Rochester, New York.

A recipient of the Mahler Award from the European Union of Arts, Free-man as a guest conductor has led more than 100 orchestras in over 30 countries. As one of America’s most successful recording conductors, he has approximately 200 releases to his credit. Freeman has been involved in more than a dozen televised orchestra productions in North American and Europe. He has been nominated for two Emmy Awards and constantly receives rave reviews for his record-ings. The December 2000 issue of Fanfare magazine proclaimed Maestro Freeman “one of the finest conductors which our nation has produced.”

Dr. Freeman received his Ph.D. from Eastman School of Music. He studied on a U.S. Fulbright Grant in Berlin, and holds honorary doctorate degrees from Dominican and Loyola Universities. In 2005, Maestro Freeman was designated a HistoryMaker, having been nominated by the DuSable Museum of African

Only two concerts left in Maestro Paul Freeman’s

final season

HEAR, SEE, FEEL...

Generation Next: The Future of Classical Music March 28, 2011 Maestro Freeman and the Sinfonietta’s own Terrance Gray, conductor of the Chicago Youth Symphony Orchestras, welcome some of the city’s rising young stars to the stage.

Women in Classical Music: The Maestro’s Last Concert May 22 & 23, 2011 Maestro Freeman is joined by Music Director Designate Mei‐Ann Chen to honor women in classical music, plus Maestro Chen’s tribute to the Sinfonietta’s founder and guiding presence. Don’t miss this moment in history!

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PROFILES (c o n t.)

American History, for his outstanding contributions to African American life, history, and culture.

Maestro Freeman’s talent was sum-marized in the following quotation from Robert Marsh, longtime music critic for the Chicago Sun-Times: “Free-man conducts performances which are remarkable for their beauty and communicative force. He brings the sound of the Chicago Sinfonietta to the heights of angels.”

Leslie B. Dunner, Guest Conductor

One of the premiere American conductors of his generation, Leslie B. Dunner en-joys an international

career, distinguished by the breadth of his repertoire as well as his electrifying and critically lauded performances.

Following a summer that included three different programs with South Africa’s KwaZulu-Natal Philharmonic Orchestra, his current season includes return engagements with California’s Symphony Silicon Valley and the Chi-cago Sinfonietta, as well as debuts with the San Angelo Symphony Orchestra and Orquesta Filarmónica de Jalisco. With the Louisville Ballet, he returns as Principal Conductor, leading produc-tions of Giselle, The Nutcracker and Le Sacre du printemps.

Leslie B. Dunner’s guest conducting en-gagements have taken him around the globe, including the major orchestras of Atlanta, Baltimore, Chicago, Cincinnati, Cleveland, Dallas, Indianapolis, Louis-ville, Minnesota, New York, Pittsburgh, St. Louis, San Francisco, Seattle and Washington, DC. International orches-tras have included those of Edmonton, Halifax, Québec, Windsor and México City in North America, plus Russia’s St. Petersburg Philharmonic and Camerata, the Estonian National Symphony, South Africa’s Johannesburg and KwaZulu-Natal Philharmonic Orchestras, National

and Transvaal Symphony Orchestras and Johannesburg Festival Orchestra, Orchestra Sinfonica dell’Emilia-Romagna “Arturo Toscanini” in Italy and the Sym-phony Orchestra of Madrid. In 1996, he stepped in as a last-minute replacement for Lord Yehudi Menuhin on the Warsaw Sinfonia’s debut tour of South Africa, earning enthusiastic critical acclaim.

Equally at home with ballet and opera, Leslie B. Dunner has led performances of American Ballet Theatre (at New York City’s City Center and the John F. Kennedy Center for the Performing Arts in Washington, DC), New York City Ballet, Washington Ballet, Dance The-atre of Harlem, Madison Ballet, Orlando Ballet, Royal Ballet at Covent Garden, Birmingham Royal Ballet, Michigan Opera Theatre and South African Ballet Theatre, while opera productions have been conducted in Pretoria, South Africa and with Opera Ebony in New York City. Of special note is his having conducted Opera Africa’s production of Mziliazi Khumalo’s Princess Magogo kaDinuzulu at Oslo’s Den Norske Opera. From 2003 to 2009, Dr. Dunner served as Music Director and Principal Con-ductor of the Joffrey Ballet.

In 1999, Leslie B. Dunner ended an 11-season association with the Detroit Symphony Orchestra. From 1996-1999, Dr. Dunner was Music Director of Canada’s Symphony Nova Scotia; subsequently, he served five seasons as Music Director of the Annapolis Symphony Orchestra.

From 1994 through 2001, Leslie B. Dunner served as an assistant conduc-tor to Kurt Masur and the New York Philharmonic, accompanying them in this capacity on their 1995 10-city European tour. From 1987 to 1994, he was Music Director of the Detroit Sym-phony Civic and Dearborn Symphony Orchestras, Music Advisor for the Harlem Festival Orchestra and a cover conductor for Erich Leinsdorf at the Chicago Symphony Orchestra. In addi-tion, he was Principal Conductor of the renowned Dance Theatre of Harlem.


PROFILES (c o n t.)

A native New Yorker, Leslie B. Dunner holds advanced degrees in music from the University of Cincinnati’s College-Conservatory of Music, Queens College in New York City and the University of Rochester’s Eastman School of Music. He serves on the advisory boards of Houston’s Opera Vista, World Artist Experience in Annapolis and The Inter-national Jordania Conducting Competi-tion in Chattanooga.

Reginald R. Robinson, piano

Reginald R. Robinson, born and raised in Chicago is a noted pianist/composer of

Semi-Classical, Ragtime, Latin American and early Jazz & Blues styles. He is also an educator on ragtime music across the U.S.

Reginald became interested in playing Ragtime in 1986 in 7th grade while attending Robert Emmett Elementary School after a city funded arts pro-gram visited the school. The musicians covered many different styles from Beethoven to Miles Davis but Reginald paid close attention when the musi-cians talked about Ragtime and per-formed The Entertainer by Scott Joplin. He had heard this melody coming from the ice cream trucks every summer but had never heard the song played as a serious piece of music on piano before.

In June of 1987 just before he gradu-ated from 8th grade and his fam-ily moved across town, his mother purchased a piano from a moving neighbor. He began teaching himself how to read and write music from studying out of school music books that were around his home and by comparing note for note ragtime transcriptions to faithful piano roll recordings of the same music. In 1988 he took lessons with The American Conservatory of Music and briefly studied sight reading with a teacher.

Reginald Robinson recorded three CD’s for the Delmark Record label. In 2004 Reginald received a fellowship Grant from the John D. & Catherine T. MacArthur Foundation for his innova-tion in Ragtime music, and followed that with his fourth album Man Out of Time in 2006. In the summer of 2007 he performed Concerto for a Genius with Orbert Davis and the Chicago Jazz Phil-harmonic, which consisted of four of Reginald’s original compositions from his Man Out of Time album arranged for full orchestra by Mr. Davis. In 2008 Reginald teamed with com-poser/arranger Kerwin Young who arranged two of Reginald’s original tunes for strings and flute. He recently performed with Accessible Contem-porary Music, a group led by pianist/composer/arranger Seth Boustead who scored three of his original composi-tions for piano, strings and clarinet. Reginald’s latest music project, called Reflections, is a three disc set which features audio and visual performances of music that he composed over the last twenty years.

Between recording, performing and composing, Reginald is at work on his most ambitious project, a documentary film about the history and develop-ment of ragtime music

Lisa Daltirus, soprano

With a radiant voice of beauty, power, nu-ance and musicality, as well as a demand-ing stage presence,

Lisa Daltirus is poised for a major career worldwide. In her professional operatic debut as Tosca, the New York Times said, “ ...she exuded an intangible electricity, that charge that comes across to the audience when something is re-ally happening onstage.” Of a subse-quent Tosca performance, Opera News reported, “plainly a star in the making...Leontyne Price is a clear (and welcome) model vocally. Her full, liquid sound


PROFILES (c o n t.)

illuminated line after line with musical polish and detail and soared impres-sively on high B-flats and Cs.”

Engagements from the past few seasons include Ms. Daltirus’ New York City Opera debut as Cilla in Margaret Garner, the title roles of Tosca and Aida and Leonora in Il Trovatore for the Seattle Opera; Aida for the Portland Opera; Tosca for the Connecticut Opera, Lyric Opera of Kansas City, and Arizona Opera; Serena in Porgy and Bess at the Washington National Opera and in con-cert with the Orlando Philharmonic and the Hollywood Bowl; and Bess in Porgy and Bess at the Lyric Opera of Chicago and on tour in London, Edinburgh and Cardiff with the Cape Town Opera.Additional recent operatic engage-ments include Tosca in her debuts with the Palm Beach Opera, Minnesota Opera, Michigan Opera Theatre, Boston Lyric Opera and Opera Carolina; Aida at the Cincinnati Opera, Connecticut Opera, and Opera Delaware; Aida

and Bess in Porgy and Bess with the Michigan Opera Theater; Santuzza in Cavalleria Rusticana at Opera Theatre of St. Louis; Aida, Margaret Garner and Porgy and Bess at Opera Company of Philadelphia; her role debut as Mimi in La Bohème with the Opera Company of North Carolina; and her role debut as Leonora in Il Trovatore in Hartford, Connecticut. Recent European engage-ments include her Amsterdam debut as Lia in Debussy’s L’Enfant Prodigue under the baton of Valery Gergiev at the Concertgebouw, and Rosalinde in Die Fledermaus in Thessaloniki, Greece.

Ms. Daltirus has received awards and rec-ognition from the NJ State Opera Vocal competition, the Joy of Singing competi-tion, The Metropolitan Opera National Council Auditions, The Liederkranz International Vocal Competition and the New York Vocal Artists Competition. She is also a grantee of the Singer’s Devel-opment Fund in NYC and the William Matthews Sullivan Foundation.


PROFILES (c o n t.)

Chauncey Packer, Tenor

American tenor Chauncey Packer is an exciting talent on the stages of opera houses in

Europe and the United States. He has recently performed the roles with Atlanta Opera, Shreveport Opera and New Orleans Opera. In past seasons he performed with Pensacola Opera, Mobile Opera, Utah Festival Opera, Opera Grand Rapids, Des Moines Metro Opera and LSU Opera. During the 2010-2011 season, Mr. Packer will perform the role of Monostatos in The Magic Flute with New Orleans Opera, where he will also reprise his portrayal of Sportin’ Life in Porgy and Bess.

Mr. Packer is one of the most in-demand artists for his captivating portrayal of Sportin’ Life in Porgy and Bess. Following his debut of this role with Atlanta Opera, the Atlanta Journal proclaimed, “Here Chauncey Packer was the complete entertainer.” Last season, he made his San Francisco Opera debut as Sportin’ Life to rave reviews, and he has also performed the role with Mo-bile Opera, Opera Grand Rapids, Tulsa Opera and this season in many major European cities with the Munich-based New York Harlem Productions tour. Mr. Packer also performed Porgy and Bess with Opéra Comique in Paris, Caen, and Luxembourg. A recent concert performance of the same work with the Nashville Symphony, conducted by John Mauceri, was recorded and released on the Decca label.

He has also performed concerts with Edmonton Opera, Baton Rouge Symphony, Mobile Symphony, Gulf Coast Opera, Shreveport Opera and Pensacola Symphony, in such works as Haydn Mass in C Major, Beethoven Ninth Symphony, Bruckner Te Deum, Schubert Mass in G Major and Handel Messiah.

Mr. Packer has been involved with outreach programs for Mobile Opera

and Pensacola Opera and has par-ticipated in young artist programs with Utah Festival Opera and Des Moines Metro Opera. He has been the recipient of several prestigious awards, including the Huel Perkins Fellowship at Louisiana State University for his doctoral studies. He has won several vocal competitions including National Associations of Teacher’s Singing Com-petition, Rose Palmai-Tenser Competi-tion, Shreveport Singer of the Year, and was a finalist in Ducrest International Competition. He placed several times in the regional finals of the Metropoli-tan Opera National Council Auditions, and in 2005, won at the regional level and was a national semi-finalist.

Chauncey Packer is originally from southern Alabama where he received his undergraduate degree from University of Mobile and his master’s degree in music from University of New Orleans where he makes his home.

Donnie Ray Albert, baritone

Donnie Ray Albert is a regular guest of opera companies and symphony orchestras around the world,

including the Metropolitan Opera, Los Angeles Opera in Mahagonny, A Floren-tine Tragedy, and Hansel and Gretel, plus numerous appearances with Opera Pacific, Houston Grand Opera, Floren-tine Opera of Milwaukee, Dallas Opera, Arizona; Atlanta Opera, Austin Lyric Opera, Florida Grand Opera, Minnesota Opera,Utah Opera, and the opera com-panies of New Orleans, Baltimore, Co-lumbus, Kansas City, Omaha, Pittsburgh, and, in Canada, with the companies in Calgary, Edmonton, Canadian, Montreal, Manitoba, and Vancouver.

In Europe, he has appeared at the Cologne Opera in Les Contes d’Hoffman, Cavalleria Rusticana, I Pagliacci, and Die Tote Stadt, the Royal Opera House, Cov-ent Garden, the Royal Opera Wallonie in Liege for Zemlinsky’s A Florentine


PROFILES (c o n t.)

Tragedy, the National Theater in Prague, the Deutsche Opera Berlin, Lithuanian National Opera in the title role of Der Fliegende Holländer, plus the opera houses in Bordeaux, Köln, Bregenz, Milan, Mannheim and Hamburg, and in Vienna in the title role in Ernst Bloch’s Macbeth for the Vienna “Klangbogen” Festival. He has appeared in Japan with the New National Theater in Tokyo and in Sao Paolo, Brazil.

As a concert artist, Mr. Albert has sung with the orchestras of Washington DC (National), Cologne, Southwest Florida, Chicago, Cincinnati, Dallas, Fort Worth, Houston, Dallas, Minnesota, Seattle, St. Paul, Los Angeles, Austin, Palm Beach, Greensboro, Grant Park Music Festival, and Madison, Vienna and Linz, in Austria and in Jerusalem. He is also a resident artist with the Center for Black Music Research at Chicago’s Columbia College.

The past two seasons, Mr. Albert per-formed with Vancouver Opera, Orlando Opera, Kentucky Opera, Washington Concert Opera, Rhode Island Phil-harmonic, Southwest Florida Master Chorale, the Choral Arts Society of Washington, the Atlanta Symphony, the American Symphony Orchestra, Nash-ville Symphony, the Kentucky Opera, Latvian Opera, Prague’s National The-ater, and the Semper Opera in Dresden.

Donnie Ray Albert was born in Loui-siana. He earned a Bachelor of Music Degree at Louisiana State University and a Master of Music Degree from Southern Methodist University in Dal-las, Texas. Mr. Albert may be heard on RCA’s Grammy Award and Grand Prix du Disque winning recording of Porgy and Bess, NOW’s recording of The Horse I Ride Has Wings with David Garvey on piano, EMI’s Frühlingsbegräbnis and Eine Florentinesche Tragodie by Zemlinsky conducted by James Conlon, and Simon Sargon’s A Clear Midnight on the Gasparo label.

Chicago Community Chorus led by Dr. Keith Hampton, Artistic Director

Keith Hampton is currently the Director of Choral Activities

at Gary Comer College Prep, A Campus of Noble Street Charter School and the Director of Music Ministries and Organ-ist at the Park Manor Christian Church, in Chicago, IL. Dr. Hampton is very active as a conductor, an organ soloist, and an accompanist and is in constant demand as a workshop clinician. He has guest conducted the Rhode Island All-State Chorus, American Choral Directors Association’s Eastern Division High School Honor’s Choir, Baltimore All-County High School Chorus and the Pennsylvania Region I and Region VI High School Choirs.

Dr. Hampton earned a Bachelor of Music Education Degree from West-minster Choir College, Princeton, NJ; a Master of Arts Degree from Mary-wood University, Scranton, PA; and a Doctor of Music Degree in Church Music from Northwestern University, Evanston, IL. Dr. Hampton was twice chosen as one of fourteen conduc-tors to participate in the Oregon Bach Festival Conducting Master classes. In addition, he was chosen to conduct in the a cappella music workshop sponsored by Chorus America.

Dr. Hampton is the President of Dr. K.T. Productions, Inc., providing music tran-scriptions of Black Gospel Music with the use of Finale by Coda Music. As a published composer, his arrangements of Spirituals and Gospel Songs can be found at Augsburg Press, Earthsongs Publications and Hinshaw Music. Dr. Hampton’s composition, Praise His Holy Name, is among the most popular pieces to be performed by choirs.


CHICAGO COM MUNIT Y CHORUS H ISTORY

Founded on August 18, 2003, the one-hundred voiced Chicago Community Cho-rus (CCC) is comprised of singers from all walks of life and varying levels of musical experience. The chorus actively seeks to reflect the diversity of Chicago by the involvement of singers from a variety of ethnic backgrounds and has a children’s choir called The Voices of the Future. Weekly rehearsals are held on Mondays at the Park Manor Christian Church and on Saturdays at our north side satellite location. The chorus presents at least three performances each year in a variety of venues. It performs a wide variety of repertoire that includes choral literature by the great composers from the fifteenth century to the present, spirituals, gospel music, jazz, folk music and show tunes.

The mission of the Chicago Community Chorus is to provide an advanced choral experience to anyone who loves to sing. Singers do not have to audition in order to participate in the ensemble. The teaching of vocal technique, music reading skills and the performance of high quality music literature from a variety of musi-cal styles are simultaneous goals of this organization.

Choir Officers are members of the choir and have been elected by their peers as responsible for the operations of the choir. Please let them know if you are inter-ested in volunteering in any way.

Eddie Drummond, President & Membership ChairJodette Adams, Vice President & LibrarianPatricia Lampkin-Vinnett, TreasurerBrandon Brown, Financial SecretaryRosie Thomas, Assistant Financial SecretaryLuanne Bethke Redmond, Secretary

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A communityinspired

We applaud the Chicago Sinfonietta for promoting diversity and inclusiveness in orchestral music.

© 2010 PricewaterhouseCoopers LLP. All rights reserved. In this document, “PwC” refers to PricewaterhouseCoopers (a Delaware limited liability partnership), which is a member fi rm of PricewaterhouseCoopers International Limited, each member fi rm of which is a separate legal entity.

CI-11-0057 Sinfonietta Ad.indd 1 12/21/2010 12:47:12 PM


CHICAGO S INFONIET TA H ISTORY

Maestro Paul Freeman founded the Chicago Sinfonietta in 1987 in response to the lack of opportunity for minority classical musicians, composers, and soloists. Twenty-four seasons later, the Chicago Sinfonietta remains as the national model and true trailblazer for promoting diversity and inclusiveness in orchestral music.

The Chicago Sinfonietta has a proud history of having enriched the cultural, edu-cational, and social quality of life in Chicago, while gaining significant recognition on the national and international stage. Committed to promoting diversity and inclusiveness in classical music, the Sinfonietta performs at Chicago’s Symphony Center, Lund Auditorium at Dominican University, Wentz Concert Hall at North Central College, and the Harris Theater for Music and Dance at Millennium Park. The Sinfonietta presents a full season of symphonic concerts as well as a Chamber Series which for the 2010/2011 season will be held at Brookfield Zoo. The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.

Under the guidance of founding Music Director Paul Freeman, the orchestra performs at the highest artistic level and has achieved an outstanding reputation for its innovative programs. The Sinfonietta is dedicated to the authentic perfor-mance of Classical, Romantic and Contemporary repertoire and excels at present-ing imaginative new works by composers and soloists of color.

Chicago Sinfonietta musicians truly represent the city’s rich cultural landscape and continue to fulfill the orchestra’s mission of Musical Excellence through Diversity™. A 2007 survey of major orchestras revealed that the Chicago Sinfonietta is the most diverse professional orchestra in the United States. Through this distinction, the Chicago Sinfonietta serves as a national model for inclusiveness in classical music.

During the first ten years, the orchestra embarked on six international tours performing concerts in Germany, Austria, Italy, Switzerland and the Canary Islands. The Chicago Sinfonietta has produced fourteen compact discs, including the much heralded three-disc African Heritage Symphonic Series released on Cedille Records in 2002 and a live recording of the 2007 tribute concert to Dr. Martin Luther King, Jr. The orchestra has performed twice at the John F. Kennedy Center in Washington D.C. In August of 2008, the Chicago Sinfonietta made its debut performance at the Jay Pritzker Pavilion in Millennium Park to over 11,000 people and performed for over 90,000 people during 2009-2010.

CHICAGO S INFONIET TA MISS ION

The Mission of the Chicago Sinfonietta is to serve as a national model for inclu-siveness and innovation in classical music through the presentation of the highest quality orchestral concerts and related programs. The Chicago Sinfonietta aspires to remove the barriers to participation in, and appreciation of classical music through its educational and outreach programs that expose children and their families to classical music, and by providing professional development oppor-tunities for young musicians and composers of diverse backgrounds enabling new, important voices to be heard. This will help America become a true cultural democracy, in which everyone can share fully in its cultural resources and in which all can contribute to its cultural richness.


CHICAGO SINFONIETTA EDUCATIONAL AND COMMUNITY OUTREACH

Audience Matters is the Chicago Sinfonietta’s core educational program. This pro-gram provides an immersive introduction to classical music for elementary school students in the Chicago Public School system. Through the program, students learn about the families of instruments in the orchestra from teaching artists – Sinfonietta musicians – who also relate composers, history, art, and architecture to the various periods of classical music. On multiple visits, musicians from different sections of the orchestra demonstrate their instruments through experiential tools, integrating visual, audio, and tactile elements to help the students learn. In addition, students and their families are invited to all Sinfonietta performances for the season. Over 1,000 students are participating in Audience Matters this year thanks to our generous donors.

SEED (Student Ensembles with Excellence and Diversity) provides mentoring for young musicians. The SEED Program identifies talented high school musicians and offers them a series of workshops and master classes taught by Chicago Sinfo-nietta teacher-musicians in small ensemble settings. The program concludes with a concert performed by the ensembles. The goal of this program is to both inspire and mentor these young artists, and encourage their professional growth for the future.

Project Inclusion: Musicians of Color Fellowship Program

The Chicago Sinfonietta is delighted to introduce the 2010 Class of Fellows for Project Inclusion. This program, begun in 2007, provides professional development opportunities for talented minority musicians funded through the generous sup-port of Aon Cornerstone Innovative Solutions, the Chicago Community Trust, and Hewitt. Project Inclusion addresses the Sinfonietta’s long-term goal of increasing the number of minority musicians playing in orchestras across the U.S. by provid-ing fellowships and ensemble experience for promising young musicians. Recent data shows that less than 3% of orchestral musicians performing with the top 1,000 orchestras are people of color.

Project Inclusion provides 2 year fellowships for young musicians of color that include rehearsing and performing with the orchestra, receiving one-on-one mentoring from senior members of the Sinfonietta, attending master classes and mock auditions, and assistance in job placement after completion of the program. We are delighted to introduce the 2010 class of Project Inclusion Orchestra Fellows. They are:

Name Instrument CollegeElizabeth Diaz Flute LoyolaTamara Gonzalez Violin DePaulTasha Lawson Horn LSU

We are also delighted to introduce the 2010 Project Inclusion Ensemble Fellows who will be performing in smaller ensembles at various locations throughout the year. They are:

Name Instrument CollegeRicardo Ferreira Violin DePaulKevin Lin Viola Roosevelt Shawnita Tyus Violin DePaul


CHICAGO S INFONIET TA AND COM MUNIT Y OUTREACH (c o n t.)

Project Inclusion Orchestra and Ensemble Fellows Program is managed by Renée Baker. Our mentors include orchestra members Renée Baker, Principal Viola, John Fairfield, Principal French Horn, Janice McDonald, Principal Flute, and Karen Nelson, Principal Second Violin.

Maestro Freeman notes, “We look forward to working with these talented musicians and aiding in their professional development. This program addresses the core of our mission and is a wonderful continuation of our past work. We sincerely thank all who have contributed to the development and implementation of Project Inclusion.”

We also wish to acknowledge some very important partners whose assistance has been invaluable in developing and implementing Project Inclusion:

Chicago College of the Performing Arts at Roosevelt University – Henry Fogel, DeanDePaul School of Music – Donald E. Casey, DeanNorthwestern University School of Music – Toni-Marie Montgomery, Dean

We thank Aon Cornerstone Innovative Solutions, the Lead Sponsor of Project Inclusion. Thanks also to Supporting Sponsors Chicago Community Trust and Hewitt & Associates LLC.


CHICAGO S INFONIET TA BOARD OF D IRECTORS

Cheri Chappelle........................................................................................................................ ChairTara Dowd Gurber ................................................................................... Immediate Past ChairAnita J. Wilson ...................................................................................................................Secretary Mark J. Williams .....................................................Treasurer/Finance Committee Co-Chair

Patrick Cermak ......................................................................Development Committee ChairVirginia Clarke .......................................................................... Nominating Committee ChairMargarete Evanoff .................................................................... Finance Committee Co-ChairDean R. Nelson .............................................................................Marketing Committee ChairNazneen Razi ................................................................................... Program Committee Chair

Paul Freeman ..................................................................................... Founding Music DirectorMei-Ann Chen ................................................................................... Music Director DesignateJim Hirsch ...........................................................................................................Executive Directo

Neelum T. AggarwalKarim HK AhamedAnne Barlow-JohnstonJetta Bates-VasilatosLinda BoasmondPhil EngelPhil Gant IIIRich GambleDan GrossmanSteven V. HunterGregory P. JacobsonBetty JohnsonNicole Johnson-Scales

Kevin A. KrakoraJohn LuceStephanie SpringsMichelle VanderlaanKimberly WallerGreta Weathersby

Chairs of Friends OrganizationsDr. Lascelles Anderson – West Side FriendsLinda Tuggle – South Side Friends

Barbara Harper Norman – North Side FriendsKathleen Tannyhill – North Side Friends

LIFETIME TRUSTEESMichelle CollinsBettiann GardnerWeldon RougeauAudrey TuggleRoger Wilson

CHICAGO S INFONIET TA ADMINISTR ATIVE PERSONNEL

Jim Hirsch ........................................................................................................... Executive DirectorRenée Baker .................................................................................................... Personnel ManagerParis Braxton ..............................................................................Box Office/Database ManagerEnrique ‘Henry’ E. Chang ............................................................................. Marketing DirectorJeanetta Hampton ...........................................................................................Financial DirectorJeff Handley .................................................................Education Outreach Program DirectorChristina Harris .........................................................................Production Manager/LibrarianDon Macica .................................................................................................Marketing ConsultantCourtney Perkins ................................................................................ Director of DevelopmentWilliam Porter ..................................................................................................Assistant LibrarianRyan Smith ...................................................................... Administrative/Website Coordinator

We Need You! Volunteer for the Chicago Sinfonietta, meet great people, and make a real difference. For information on how you can become a Sinfonietta volunteer, call Ryan Smith at 312-236-3681 x1552.

Classical music for your special event! The Chicago Sinfonietta’s wonderful and talented musicians are available to perform at parties, weddings, corporate meetings, or special events. For more information, call 312-236-3681 x 1553.

The Chicago Sinfonietta is the official orchestra of the Joffrey Ballet.


BR IO LEADERSHIP COUNCIL

Brio, the Chicago Sinfonietta’s Network for Young Profession-als, is an affinity group for the culturally adventurous between the ages of 21 and 44 who embrace the universal language of music. The mission of Brio is to extend the base of support for the

Chicago Sinfonietta and its goals by engaging the next generation of culturally adventurous and philanthropically inclined audiences through access to behind-the-scenes experiences and volunteer opportunities.

To learn more about Brio, visit www.chicagosinfonietta.org/brio, or call Courtney Perkins at 312.284.1559.

BRIO LEADERSHIP COUNCILStanley Hill ................................................................................................................................ ChairJasmin French ............................................................................................ Immediate Past ChairDalida Jongsma .................................................................................................................SecretaryMackenzie Phillips ............................................................................................................Treasurer

Matthew BraunMichelle Crisanti

Steven Hunter

Micaeh Johnson Kameron MatthewsJacqueline N’Namdi

The Nielsen Company is a proud sponsor of the Chicago Sinfonietta

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CHICAGO S INFONIET TA PERSONNEL

Paul Freeman, Music DirectorLeslie B. Dunner, Guest Conductor

VIOLINPaul Zafer, concertmasterCarol Lahti, asst. concertmasterKaren Nelson, principal secondDave Belden, asst. principalMark AgnorLucinda AliCharles BontragerMelanie ClevertDaniela FolkerTerrance GrayCarl JohnstonDavid Katz Carmen Llop-KassingerDomnica LunguTodd MatthewsNina SaitoJames SandersPhyllis SandersMichael SheltonEdith Yokley

VIOLARenée Baker, principalBecky CoffmanAndrew Dowd IIIRobert Fisher Matt MantellVannia Phillips CELLOAnn Griffin, principalMark AndersonDonald MeadEdward MooreWilliam PorterAndrew Snow BASSJohn Floeter, principalChristian DillinghamBrenda DonatiKarl EH SeigfriedAlan Steiner

HARPFaye Seeman

PIANODonald Mead

FLUTEJanice MacDonald, principalLeslie ShortNicole Mitchell

OBOERicardo Castaneda, principalJune MatayoshiAmy Barwan CLARINETLeslie Grimm, acting principalDaniel WonDileep Gangolli

BASSOONRobert Barris, principalAmy Rhodes

FRENCH HORNJohn Schreckengost, principalBeth Mazur-JohnsonAnna MayneTasha Lawson*

TRUMPETMatt Lee, principal Edgar Campos John Burson

TROMBONEKatherine Stubbins, principalRobert Hoffhines John McAllister

TUBACharles Schuchat

TIMPANIRobert Everson, principal

PERCUSSIONJeffrey Handley, principalMichael FolkerJon Johnson

Names of string players are listed in alphabetical order, as the Chicago Sinfonietta uses seat rotation except for principals.

* Project Inclusion Fellow


INDIV IDUAL AND INSTITUTIONAL SUPPORTERS

The Chicago Sinfonietta gratefully acknowledges the following contributors (as of 12-31-10):

Concert Circle ($50,000+)

AnonymousAon CornerstoneChicago Community

TrustThe Joyce FoundationThe John D. and

Catherine T. MacArthur Foundation

National Endowment for the Arts Recovery Act

The Wallace Foundation

Premier Circle ($25,000-$49,999)Alphawood FoundationAnonymousABC7Blue Cross Blue Shield of

IllinoisThe Boeing Company

Charitable TrustCrown Family

Philanthropies Mrs. Bettiann GardnerKraft Foods Global, Inc.Prince Charitable TrustPolk Bros. FoundationLloyd A. Fry FoundationSouthside Friends of the

Chicago Sinfonietta

Crescendo Circle($10,000-$24,999)BaxterThe Collins Family FundExelonGaylord and Dorothy

Donnelley FoundationMs. Tara Dowd GurberLeo S. Guthman FundHewittIllinois Tool Works, Inc.JP Morgan Chase

Foundation Japanese Chamber of

Commerce Foundation and Industry of Chicago

Jenner and Block LLPMr. and Mrs. William

JohnsonJohn Mathias

National Endowment for the Arts

The Nielsen CompanyNorthern Trust Charitable

TrustNorthside Friends of the

Chicago SinfoniettaPeople’s EnergyThe Albert Pick, Jr. FundPricewaterhouseCoopersWight & Company

Presto Circle ($5,000-$9,999)AnonymousMs. Renee BakerCedar Concepts

CorporationChicago Tribune

FoundationDLA Piper US LLP Richard H. Driehaus

FoundationFifth Third Bank – Jacob

G. Schmidlapp TrustsMrs. Jill FitzgeraldAnn and Gordon Getty

FoundationGraingerJohn R. Halligan

Charitable FundJim and Michelle HirschDrs. Peyton and Betty

HutchisonIllinois Arts CouncilIllinois Tool Works

FoundationIrving Harris Foundation The Jacobson GroupMacy’sMr. and Mrs. Salhuddin

and Nazneen RaziReed Smith LLPMr. Mark Williams

Vivace Circle ($2,500-$4,999)Dr. Neelum AggarwalAnonymousMr. Karim AhamedMs. Karen BealMs. Anne Barlow

Johnston

Challenger, Gray and Christmas

City Arts - Department of Cultural Affairs

Ms. Virginia ClarkeColumbia College

Chicago, Institute for the Study of Women and Gender in the Arts and Media

Deloitte Consulting LLPMs. Diane DowdMr. and Mrs. Phil and

LaJule GantMr. Dan GrossmanMs. Susan IrionJack & Jill of America

FoundationJones Lang LaSalleMr. Kevin KrakoraMotorola, Inc.Mr. and Mrs. Dean NelsonQuarles & Brady LLPMr. and Mrs. Weldon

RougeauSage FoundationMs. Stephanie S. SpringsMs. Michelle VanderlaanMs. Anita WilsonThe Farny R. Wurlitzer

Foundation

Allegro Circle ($1,000-$2,499)Ms. Kathy AbelsonIn Honor of Maestro

FreemanMr. Richard AndersonMr. and Mrs. James and

Susan AnnableIn Memory of William

JohnstonAriel Capital

Management, LLCMr. Peter BarrettLinda and Eric BoasmondMs. Elena BradieHon. Roland Burris R. M. Chin & AssociatesMr. and Mrs. William and

Arlene ConnellMs. Jennifer ConnellyMs. Frances DixonMs. Catherine Dowd


INDIV IDUAL AND INSTITUTIONAL SUPPORTERS (c o n t.)

Mr. Jamal EdwardsCarmen and Earnest FairBarbara J. Farnandis, Ph.DMr. Doug FreemanMs. Sharon HatchettJack and Jill FoundationMr. Prentiss Jackson and

Dr. Cynthia HendersonMr. John JanowiakMs. Carol B. JohnsonMs. Jetta JonesJones Lang LaSalle

AmericasCatherine and Jack KotenMr. Joe LernerMr. and Mrs. Richard

McKinlayMesirow FinancialMr. Michael MorrisDr. John D. MorrisonMr. Walter NelsonMr. Quintin E. Primo IIIMs. Brenda PulliamRuzicka and Associates,

LTD.Mr. and Mrs. R.E. SargentMr. Michael SawyierMr. James StoneMr. Alexander TerrasMs. Almarie WagnerMs. Cheri Wilson-

ChappelleRoger G. Wilson and Hon.

Giovinella GonthieuMs. Greta WeathersbyMr. and Mrs. Patrick

Wooldridge

Forte Circle ($500-$999)Ms. Rochelle AllenAnonymousMr. Stephen C. BakerMr. Dennis BartolucciMs. Yasmin BatesMr. and Mrs. Lerone

Bennett, Jr.Dr. Vanice (Van) Billups,

Ph.D.Mr. Raymond BisanzDr. and Mrs. Simon BoydMs. Teri Boyd and Mr.

Aleksandar HemonDr. and Mrs. Arthur

BrazierMr. Rich Brey

Ms. Beulah R. BrooksMr. Brady BrownleeMr. Paul BujakMs. Luz ChavezThe Chicago Classical

Recording SocietyChicago Federation of

MusiciansMr. and Mrs. John T. ClarkMr. Wheeler ColemanDr. Roosevelt Collins and

Jean CollinsMs. Rita CurryMr. and Mrs. Michael

DamskyMs. Marsha DavisMs. Karen DeLauMr. Michael de SantiagoMr. William DeWoskinMs. Tatiana K. DixonMs. Toni DunningMr. Alan EaksDr. Gloria Elam-NorrisDeborah and David

Epstein FoundationEpstein GlobalMs. Deb KerrMr. Michael FalboMr. James FoleyRosalind and Gilbert FryeMr. Stanley HiltonMr. Richard GambleMs. Alice GreenhouseMr. and Mrs. Timothy

GreeningMs. Joyce GreyBoston Consulting GroupMrs. Ann E. GrubeMs. Gwendolyn Hatten

ButlerDr. and Mrs. James

HaughtonMr. Stanley Hill, Sr.Mr. Pran JhaMs. Phyllis JamesMs. Micaeh JohnsonMs. Nicole Johnson ScalesMr. Drew KentMr. Eric KingMr. Thomas KirschbraunLa Rabida Children’s

HospitalMs. Natalie LewisDr. John and Doug LuceChuck and Jan Mackie Mr. George Mansour

Ms. Toya MarionneauxMs. Janis E. MarleyMr. and Mrs. Walter and

Shirley MasseyMs. Beatrice W. MillerMr. and Mrs. Stephen and

Cindy MitchellMs. Constance

MontgomeryMs. Isobel NealMs. Judy PettyMs. Louise Lee ReidMrs. Marion RobertsJohn and Gwendolyn

RogersMr. Al SharpMr. and Mrs. William ScottSidley Austin FoundationRuth and Frederick

Spiegel FoundationMs. Alisa Starks Mrs. Tammy SteeleMr. and Mrs. James W.

StoneMs. Kathleen TannyhillMs. Jacqueline TaylorMs. Dana Thomas AustinThe Rise GroupMs. Lonnette Tuggle

AlexanderMr. and Mrs. Peter and

Pooja VukosavichMr. and Mrs. David

WintonDr. and Mrs. Roland

WaryjasMs. Thelma

WestmorelandMr. Tramayne WhitneyMr. Hugh WilliamsMs. Elizabeth S. WilkinsMr. and Mrs. Bruce and

Rita WilsonMs. Beatrice Young

Patron’s Circle ($250-$499)Advisor Charitable Gift

FundMs. Iris AtkinsDr. Lascelles AndersonMs. Mary Lou Bacon†

Mr. Jeff BaddeleyMs. Zita BaltramonasMr. Walter Becky IIMr. Perry Berke



Ms. Michelle BibbsMr. Arthur BoddieMs. Barbara BowlesMs. Laurie BradyMs. Pauline Spicer BrownMs. Ina BurdMs. J.C. CampbellMr. Ruben CannonMs. Kimberly Chase

HardingMs. Aimee ChristMr. and Mrs. John ClarkMr. Michael CleavengerMr. Lawrence CohnMr. and Mrs. Lewis and

Marge CollensMs. Kevann CookeWilliam R. Crozier and

Judy ChrismanMs. Barbara Cress

LawrenceMr. Joseph DanahyMs. Marsha DavisMs. Bertha DePriestMs. Gloria DillardMr. Patrick DorseyJoanne and Bob DulskiMs. Maxine DusterMs. Murrell Higgins

DusterMs. Sarah EbnerMs. Sylvia EdwardsMr. Paul M. EmbreeMs. Margarete EvanoffMs. Marcia FlickMs. Roshni FlynnFranczek Radelet

Attorneys and Counselors

Sue and Paul FreehlingMr. Dennis FruinGabriel FuentesMs. Denise GardnerMs. Randilyn GilliamMs. Jean GrantMr. Brian GurberMs. Janice HamasakiMs. Alyce HammonsMs. Murrell Higgins

DusterC. M. GoviaMr. Scott HargadonHarris Bank FoundationMs. Marilyn HeckmyerMr. Jay HeymanMr. Stan Hill

IBM International Foundation

I-Stats Med Inc.The Janotta-Pearsall

Family FundMs. Carol B. JohnsonMr. and Mrs. George E.

JohnsonMs. Joyce Johnson MillerMr. Todd MuchMs. Mary JamesMs. Paula K. JonesMr. William JonesKatten Temple LLCMr. Steve KingMr. Fred LabedMr. and Mrs. Richard and

Roberta LarsonDr. and Mrs. Edwin J.

LiebnerMr. and Mrs. Arnie LentersMs. Vivian LosethMrs. Christine LovingMr. Craig Jeffery and Ms.

Barua ManaliMr. Matthew MantellMs. Janis MarleyMr. Hasan MerchantMs. Irene MeyerMs. Doris MerrityMs. Carole C. Miller –

WoodMr. Scott MillerMs. Constance

MontgomeryMs. Helen MooreMs. Nailah D. MuttalibDrs. Donald E. and Mary

Ellen NewsomMs. Dorothy NisbethMs. Alison E. Nelson Ms. Joyce NormanMs. Deidra Ann NorrisJeff and Susan Pearsall

FundMr. Gary PelzMs. Dolores PettittMr. and Mrs. Joe and

Naomi PettyMs. Mackenzie PhillipsMs. Harriet PiccirilliMr. James W. RankinMr. and Mrs. Cordell ReedAndre and Dana RiceMs. Marion RobertsMs. Penelope Robinson

Susan RogersMs. Jagriti RuparelMs. Nisha Ruparel-SenMr. and Mrs. John and

Margaret SaphirMs. Gloria SilvermanMr. Robert Smith Dr. Glenda SmithMs. Mary Ann SpiegelMs. Joyce StricklinMs. Sheila TuckerMs. Audrey TuggleMs. Linda S. TuggleDavid Hirschman and

Morrison TorreyMr. David J. VarnerinMr. Darwin WaltonMs. Thelma

WestmorelandMs. Dorothy WhiteMs. Regina Allen WilsonMs. Gladys WoodsMrs. Ruth O. WooldridgeNicala R. Carter-WoolfolkMs. Aline O. Young

Sustainer’s Circle ($100-$249)Mr. Finis AbernathyMs. Ruth A. AllinMs. Arlene AlpertDr. Anna Anthony† Ms. Rita BakewellMs. Karen BealMr. David BeedyMs. Janice BellMs. Melanie BergMs. Geneva BishopMr. Stephen BlessmanMs. Diana Frances BlitzerMs. Mary BlomquistJohn Paul BlosserMr. Darryl BoggsMs. Joyce BowlesRuby and Romural

BradleyW. G. and Joann BramanMs. Martha BrummittBob Bujak In Honor of Dorothy

WhiteIrving and Ragina L.

BuntonDr. Rose Butler HayesMs. Karen CallawayMs. Debra O. Callen



Mr. Greg CameronIn Honor of Audrey

TuggleM. J. CannizzoMr. David Carnerin Richard and Nancy

CarriganMs. Julia CartwrightCertified Tax ServiceMr. and Mrs. Richard and

Jeanne ChaneyMr. Thomas ChesrownMr. and Mrs. Robert and

Vivian ChurchMichael and Peg ClearyIra and Nancy CohenMr. William Cousins, Jr.Ms. Mary-Terese CozzolaBob and Mary Ellen

CreightonMs. Geraldine

CunninghamMs. Gwendolyn CurrinMr. and Mrs. Tapas and

Judy Das GuptaMarilyn and Robert DayMs. Donna Davies Mr. and Mrs. Charles and

Rosalie DavisThomas and Linda DavisJoseph and Susanna

DavisonMr. and Mrs. Kenneth H.

DawsonTom and Samantha

DeKovenMs. Shirley DillardJoann and Bob DulskiMr. and Mrs. Goodwin W.

DuncanMs. Clarice DurhamMs. Patricia EichenoldRobert Elston and Patricia

SloanMs. Emelda L. EstellBarbara and Charlotte

FantaMr. and Mrs. Paul and

LaVergne FantaMs. Susan FioreMs. Joan Y. FlemingMs. Pricilla FlorenceDr. Juliann Bluitt FosterMs. Victoria FrankMs. J. Friedman

Mr. and Mrs. James Gervasio

Ms. Barbara GilbertMs. Phyllis GlinkMr. and Mrs. Timothy

GreeningMr. James GrisbyAnita & Warren HarderMs. Gwendolyn HudsonMs. Doric HullihanMr. Clifford HuntMs. Delores IveryMs. Pat EmmerMs. Carol GilbertsonMs. Irene GoldsteinMs. Andrea GreenMs. Flora Braxton GreenMr. and Mrs. Andrew and

Mary Lee GreenleeMs. Susan GrossmanIn Honor of Dan and

Caroline GrossmanMr. Calvin Hall, Sr.Ms. Alyce G. HammonsMs. Gwendolyn HardenDoris J. HarrisMr. Dolphin S. HarrisMr. Herbert C. Harris Ms. Deborah Minor

HarveyGloria O. HemphillMs. Barbara J. HerronMs. Ruth HorwichMs. Yvonne HuntleyMs. Delores IveryMr. and Mrs. John and

Leola JacksonMr. Prentiss JacksonMr. Jack JamesMs. Kennie M. JamesMs. Mary L. JannottaMr. Dwayne JasperMr. James JohnsonMs. Sharon R. JohnstonMs. Constance J. JonesMs. Marion Jones Ms. Patricia KilduffMr. Bryant KimMarie C. KingMs. Patricia KoldykeJoan H. LawsonMr. Robert B. LiftonMs. Patricia LongMs. Corinne Allen

McArdleMs. Sylvia McClendon

Estelle McDougal LanierMs. Rosemary LevineNini and Tom Lyman IIIMs. Shirley MartinMs. Grace L. MathisMr. Ruben McClendon, Jr.Mr. and Mrs. Thomas

McLeanMs. Joyce Merriwether Dr. Irene M. MeyerMs. Cindy MitchelRobert MoellerMary MomsenRev. Calvin MorrisEdgar and Wilda MorrisMs. Peggy MontesMs. Catherine MugeriaMonica MurthaMr. James MyersMs. Myrna NolanMs. Joyce NormanMs. Karen NooraniMr. Dragic M. ObradovicMargaret O’HaraMr. Paul OppenheimMs. Dorris OveMr. Larry Owens Allen and Georga

ParchemMs. Gail Harvey ParkerMs. Maude PattersonMs. Donna M. Perisee

McFarlaneMs. Anna M. PerkinsToussaint and Thelma

PerkinsMartha B. PetersMs. Catherine PickarMs. Rosemary PietrzakMr. and Mrs. Larry and

Judy PittsMs. Katherine RagnarMr. Brian RayMs. Elizabeth RayMs. Lois Wells ReedMr. Arnold RobinsonMr. and Mrs. Jack RogersMs. Marcia L. RogersMs. Susan RogersMs. Ida L. ScottMr. Howard J. SellerMs. Elizabeth SelmierHoward S. ShapiroMr. Herbert SiegelMr. and Mrs. Martin

Silverman



Mr. Craig SokolSouth Shore Cultural

CenterIn Memory of Anna

AnthonyMs. Jeanne SparrowDoris and Herman SmithMs. Hope D. SmithFranklin St. LawrenceMr. and Mrs. Joan and

Charles StaplesMs. Betty J. M. StarksMs. Marie StauchMr. Frankie StephensMr. Brian StintonMr. James Stone

Ms. Lisa SullivanMs. Peggy SullivanMr. Michael SutkoMr. and Mrs. Steven and

Astrida TantilloJanet and Samme

ThompsonMs. Bradena ThomasCordelia D. Twitty Ms. Gloria Cecilia

ValentinoMr. John J. VieraMs. Carol R. ViethMs. Audrey WalkerMr. John WallaceAnita M. Ward

Ms. Jean E. WebsterKen and Marie WesterMr. Jay N. Whipple, Jr.Ms. Melissa A. WhitsonMs. Vera WilkinsMr. Brian WilliamsMr. Harold WingfieldMs. Gladys WoodsMr. and Mrs. Joseph

YokleyMr. Clyde A. Young IIIMs. Milicent YoungYvonne L. Young

Friend’s Circle (To $99)Anonymous



Mr. Howard AckermanMs. Carolyn S. AustinMr. Charles A. BakerMs. Barbara BallingerMs. Gail BanksCrotaluer BarnettMs. Jann BeauchampMs. Judith BeisserMr. Tomas G. BissonnetteBruce and Faith

BonecutterDonald and Irma BravinMs. Cynthia BrownMs. Laura BuntingMs. Trina BurrussMs. Anne CanaparyWilliam and Virginia

CassinDr. and Mrs. Roque

CorderoReverend Robert CrossWilliam and Arlene

ConnellMr. Andrew CutlerMs. Kassie DavisMr. Thomas DavisTed and Joanne DespotesMs. Alison DonnMs. Joan Doss AndersonMarshall Keltz and Bill

DrewryMr. Marvin DysonMr. and Mrs. John and

Pamela EggumMs. Delores EllisonMr. and Mrs. Philip L.

EngelMs. Sondra L. FewMs. Annette FordMs. Diana FrancesMs. Karen FreelMs. Laura Dean FriedrichMs. Martha L. GarrettMs. Ellen GaryMr. and Mrs. James and

Annleola GervasioMs. Phyllis J. GilfoyleMs. Marcella E. GillieMr. James GinsburgMs. Julia GolnickMs. Ophelia GoodrumMs. Barbara GreenleeMs. Doris M. GruskinMs. Phyllis Handel

Ms. Harriet HausmanMs. Lori Hayes ShawMarilyn HeckmyerMr. William HeelanMs. Mia HenryMs. Rhonda HillMs. Florence L. HirschIn Honor of Florence L.

HirschMr. John B. HirschAlsencia Warren HodoIn Honor of Patricia

Bournique HollowayMs. Holly HughesMs. Rosemary JackMs. Doris JacksonMs. Vera Curry JamesMs. Argie JohnsonMs. Beulah JohnsonMr. Ray JohnsonMr. and Mrs. Kenneth and

Charlotte KenzelCarol KippermanGeorge & Velna KolodziejMr. Robert LardnerMr. and Mrs. Samuel and

Joan Lovering Mrs. Willie E. LegardyMs. Pearl MadlockPearl MalkAlefiyah MasterJune MatayoshiMr. John M. McDonaldMs. Yvonne D. McElroyMr. and Mrs. Dick and Peg

McKinlay Mr. and Mrs. Thomas and

Sharon McLeanIrene M. MeyerBarbara MillarMs. Vivian MitchellMs. Madeline MoonKathryn and Fred NirdeMs. Earnestine NorwoodMs. Sally NusinsonJewell K. OatesDelano and Bonita

O’BanionMs. Irma OlmedoMs. Gertrude O’ReillyMr. Gary C. PelzNoel and Bella PerlmanJoan and Robert Pope Mr. Clyde Proctor

Stuart and Marlene Rankin

Ms. Jennifer ReedE. Dolores RegisterMs. Janice E. RhodesJ. Dennis and Eli RichMs. Gloria RigoniMs. Michele RobinsonMs. Helen RosalesIn Memory of Ethel

SparrowMs. Marguerite L. SaeckerMs. Mary Rose SarnoRev. and Mrs. Don

SchillingMr. Jeff Scurry In Honor of Josephine

ScurryMs. June ShiversMr. Brian SikoyskiGloria P. Silverman Living

TrustTomas Bissonnette and

Rita SimoMs. Anna Cooper StantonMs. Lydia Smutny SterbaMs. Elisabeth StiffelCaesar and Patricia Tabet In Honor of Jacquié

Taylor from Claire Laton-Taylor

Ms. Shelby TennantMr. Melvin ThomasAlbert and Glennette

TurnerMs. Dorothy V. WadleyMs. Georgene WaltersMs. Erika WaltonMr. and Mrs. Bruce and

Rita WatsonMr. Jay WilcoxenMs. Consuelo WilliamsIn Memory of George

WilliamsMs. Ruth Teena WilliamsMs. Lynn WinikatesDavid and Nancy WintonKionne Annette

WyndewickeMichele Sutton YeadonMr. and Mrs. Eric Yondorf

† In Loving Memory


OTHER SUPPORTERS

The Chicago Sinfonietta is supported by grants from the Illinois Arts Council, a state agency; the Joyce Foundation; the Chicago Community Trust; the Chicago Department of Cultural Affairs CityArts Program; the National Endowment for the Arts, and other generous sponsors.

– Chicago Sinfonietta patrons are invited to enjoy a special $41 three-course pre-or post-concert dining menu at aria.

– The official hotel sponsor of the Chicago Sinfonietta.

– Parking partner of the Chicago Sinfonietta

The Chicago Sinfonietta is represented by the Silverman Group for public relations services.

The Sinfonietta thanks Starbucks for the donation of coffee for our Lund Auditorium concerts.

THANKS TO THE SAINTS, Volunteers for the Performing Arts. For information visit www.saintschicago.org or call 773-529-5510.


THE FR IENDS GROUPS OF THE CHICAGO S INFONIET TA

The Friends of the Chicago Sinfonietta is made up of three volunteer organiza-tions - the North, South, and West Side chapters - that promote the Sinfonietta and its mission. These groups introduce the Sinfonietta to new audiences and seek their involvement as subscribers, attendees, contributors, and volunteers. For more information about how you can become involved, contact the Chi-cago Sinfonietta at 312.236.3681.

North Side Chapter

Barbara Norman, Co-ChairKathleen Tannyhill, Co-Chair

Rochelle Allen Anna AnthonyRita CurryDr. Milton DraperStanley HiltonDrs. Betty and Peyton HutchisonCarol JohnsonConstance MontgomeryNailah MuttalibCharlz PayneBeverly Washington

South Side Chapter

Linda Tuggle, Chair

Lonnette AlexanderIris AtkinsJulie BargowskiBeulah R. BrooksPauline Spicer BrownChristine BrowneCarole H. ButlerAnna CannonCheri ChappelleBobbi Jo DonelsonElise Howard EdmondEmelda L. EstellEileen FoggieEllen GaryJoyce R. GreyJanice M. HamasakiSharon HatchettVeronica S. JeniferNekesa J. JoseyJanis E. MarleyDoris MerrityBeatrice W. MillerHelen P. MooreJacqueline L. MooreJoyce M. NormanMarcia A. PrestonGwendolyn Ritchie

Marion E. RobertsAntoinette ScottSharon E. ScottGlenda SmithJoyce Occomy StricklinSheila TuckerAudrey TuggleDorothy R. WhiteElizabeth WilkinsRita WilsonBarbara Wright-PryorAline O. Young

West Side Chapter

Dr. Lascelles Anderson, Chair

Barbara BallingerJann BeauchampAngela BillingsDrs. Ernest and Vanice (Van) Billups, Ph.D.Bruce and Faith BonecutterByron T. BroderickJudy ChrismanWilliam and Barbara CoatesBob and Mary Ellen CreightonWilliam CrozierEleanor M. DunnMr. and Mrs. Robert FreemanFlora GreenLaurie HeckmanCarole HohmeierLinda JacobsonMary JamesBob KohlFred and Barbara LarsonMr.& Mrs. Kweku Leighton-ArmahEverlean ManningDick and Peg McKinlayDr. John MorrisonAdekunle OnayemiRuth PeasleeJohn PutnamRichard and Roberta Raymond-LarsonLois ReedJanice RhodesJane ShirleyMabel Sims-BarnesJohn Troelstrup


CHICAGOCL ASS ICALMUSIC .ORG

Don’t miss out – visit chicagoclassicalmusic.org today! Highlighting an in-depth, behind-the-scenes look into Chicago’s world of classical music, the site features a comprehensive classical music events calendar, Hot Deal discounted tickets, a classical music news feed, forums to discuss the arts, blogs and articles written by musicians and leaders of top classical organizations in Chicago (including the Sinfonietta’s own Executive Director, Jim Hirsch),and much, much more. You can create your own user profile, post comments, articles and reviews! So get engaged and join Chicago’s classical music online community – www.chicagoclassicalmusic.org! Our 31 Participating organizations include Ars Antigua, Ars Viva, Avalon String Quartet, Baroque Band, Cedille Records, Chicago a cappella, Chicago Chamber Mu-sicians, Chicago Cultural Center – Department of Cultural Affairs, Chicago Opera Theater, Chicago Philharmonic, Chicago Sinfonietta, Chicago Symphony Orches-tra, CUBE, Dominican University Performing Arts Center, Elmhurst Choral Union, Fulcrum Point New Music Project, Grant Park Music Festival, Harris Theater for Music and Dance, Illinois Philharmonic Orchestra, Light Opera Works, Mostly Music Chicago, Music of the Baroque, Newberry Consort, Pacifica Quartet, Pick-Staiger Concert Hall, Northwestern University, Ravinia, Rembrandt Chamber Players, St. Charles Singers, The Chicago Ensemble, University of Chicago Presents, and WFMT. Generous support is provided by the MacArthur Foundation.

Once the show is over…

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Chicago Sinfonietta-A Dream Unfolds

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