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NOVEMBER 2019–FEBRUARY 2020
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contents
NOVEMBER 2019–FEBRUARY 2020
25 Program 2
A Note from the Board Chair and President
A welcoming message from Board of Trustees Chair
I nformation about the Helen Zell and Chicago Symphony Orchestra Association
program and the performers President Jeff Alexander
for this concert
4 A Perfect Ten—Maestro’s Milestones
A presentation of highlights from Riccardo Muti’s tenure in
honor of his tenth season as music director of the CSO
c hicago symphony orchestra
association 10 Beethoven250 Rosenthal Archives
Program Book Production Highlighting materials from the collections of the CSO’s
Frances Atkins Content Director
Phillip Huscher Scholar-in-Residence & Rosenthal Archives
Program Annotator
14 Negaunee Music Institute at the Chicago
Gerald Virgil Senior Content Editor
Kristin Tobin Designer &
Print Production Manager
Landon Hegedus Editor & Copywriter Symphony Orchestra
A new work by Mason Bates blends music and digital
Bryan Dowling Advertising Sales
708-434-5869 animation in honor of the 100th anniversary of the founding
bryan@media8midwest.com of the CSO’s concert series for children.
P H OTOG R A PHY BY TO DD RO S E N BERG
© 2019 Chicago Symphony Orchestra
20Volunteer and Support Opportunities
All rights reserved. Recognition of our generous donors and volunteers
41 Chicago Symphony Orchestra Association
Board of Trustees
42 Chicago Symphony Orchestra Association
Governing Members
44 Our Donors and Volunteers
on th e cov e r : Illustration by
Tom Herzberg (tomherzberg.com), 1994
rig h t: Chinese New Year Celebration,
February 10, 2019
Symphony Center Presents celebrates
the Chinese New Year with a special
concert on January 26, 2020.
P H OTO BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 1
a note from the chair and the president
DEAR FRIENDS,
We are pleased to welcome you to Symphony Center
during this festive time of year, and delighted that so many
choose to celebrate the season with music. The Chicago
Symphony Orchestra and Chorus, the Civic Orchestra of
Chicago, and artists on the Symphony Center Presents
series give us the gift of music performed at the highest
level year round, and for this we are truly grateful.
In early January, Zell Music Director Riccardo Muti
leads the Orchestra on its sixty-second international
tour, this time to Cologne, Vienna, Luxembourg, Paris,
Naples, Florence, Milan, and Lugano to present works by
Mendelssohn, Dvořák, Prokofiev, and Hindemith. The
tour also includes two performances of Verdi’s Requiem
at the Musikverein in Vienna as part of a series of special
concerts honoring that venerable hall’s 150th anniversary.
It is a great pleasure to see our beloved orchestra greeted
with enthusiasm at home and abroad.
Thanks to the support of over 10,000 donors who contribute to the Chicago
Symphony Orchestra Association each season, the CSO continues to serve as a
cultural ambassador for the city of Chicago. We very much hope that you consider
supporting the CSOA by making a gift to the Annual Fund, enabling you to
become an integral part of our ongoing pursuit of artistic excellence, the devel-
opment of new audiences, innovative education and community programs, and
sharing music with audiences in Chicago and around the world. Your support also
ensures that the important work of the CSOA continues for generations to come.
On behalf of the Chicago Symphony Orchestra, Chicago Symphony Chorus,
Civic Orchestra of Chicago, Negaunee Music Institute, our trustees, volunteers,
administration, and above all, the many people whose lives are enriched each year
through music, we thank you for your support.
We send our warmest wishes for a music-filled, happy, and healthy new year
and look forward to seeing you at Symphony Center soon.
Helen Zell Chair, Chicago Symphony Jeff Alexander President, Chicago Symphony
Orchestra Association Board of Trustees Orchestra Association
To make a gift, visit cso.org/makeagift or call 312-294-3100.
2 CSO.ORG PHOTOS BY TODD ROS EN BERG
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10 a perfect
Bernard Rands’s Danza
Petrificada received its world
premiere on May 5, 2011. Muti
and the Orchestra took the
work on tour to Europe, to cities
a continuation of a series of
highlight s from riccardo mu ti’s
tenure in honor of his tenth
se a s on a s music director of the
chicago symphony orchestr a
No. 2: World Premieres
Introducing new music to CSO audiences has been
an important part of Riccardo Muti’s artistic legacy
as music director. With the Chicago Symphony
Orchestra, he has conducted twelve world premieres
including Lucerne, Salzburg,
Luxembourg, Paris, and Vienna, to date by CSO Mead Composers-in-Residence and
the following summer. distinguished American and international composers.
He will conduct two new CSO commissions during
the spring of 2020. Many of these commissions have
been concertos featuring members of the Orchestra,
reflecting Muti’s great confidence in their abilities
as soloists. Having studied
composition himself for ten
years, Muti has the utmost
respect for composers:
“I approach music of the
classical period—baroque,
modern, romantic,
contemporary—always in
the same way, with the same
seriousness,” he says. “The
moment of truth comes
when what the composer
has sought is coming to life in
the performance.”
The CSO’s music director position is endowed
in perpetuity by a generous gift from the
Zell Family Foundation.
The Chicago Symphony Orchestra is grateful to
Bank of America for its generous support as the
Maestro Residency Presenter.
4 CSO.ORG
On January 30, 2014,
Riccardo Muti conducted
Giovanni Sollima’s
Antidotum Tarantulae XXI,
Concerto for Two Cellos
and Orchestra, with the
then Judson and Joyce
Green Creative Consultant
Yo-Yo Ma and the composer
as soloists. The idea for the
commission came from
both Muti and Ma. Muti
was already familiar with
Sollima’s music, having commissioned and premiered
Pulitzer Prize–winning composer two earlier works by the composer: Tempeste e ritratti at
Jennifer Higdon recalled Muti’s con- the Teatro alla Scala in 2001, and Passiuni at the Ravenna
cise advice to her when she received Festival in 2008.
her commission for the CSO’s low
brass section: “ ‘Write these guys
a good concerto.’ I said, ‘Yes, sir!’ ”
Muti conducted the premiere of
Higdon’s Low Brass Concerto on
February 1, 2018, and then took the
work on tour, performing it in New
York at Carnegie Hall; in Naples
and West Palm Beach, Florida; and
Chapel Hill, North Carolina.
CSO Viola Max Raimi’s score, composed at the request of
Riccardo Muti, was specifically written for his colleagues
in the Orchestra. Raimi was acutely aware, as he was
composing the pages of his Three Lisel Mueller Settings,
of creating music for the people who sit around him day
after day in rehearsal and in concerts. Each movement
featured a different colleague, including Principal Clarinet
Stephen Williamson, Principal Bassoon Keith Bunke,
and Principal Bass Alexander Hanna. Muti conducted
the premiere with the CSO and mezzo-soprano soloist
Elizabeth DeShong on March 22, 2018.
P H OTOS BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 5
10 a perfect
Two CSO Resound releases
feature CSO-commissioned
mead composers-in-residence
In October 2009, Riccardo Muti, then music director
designate, outlined several initiatives for his tenure.
One of them was to appoint CSO Mead Composers-
in-Residence who would act as advocates within the
Chicago community to further the understanding
and appreciation of all music. He named Mason Bates
works by Mead Composers-in-
Residence Anna Clyne and and Anna Clyne to two-year terms beginning in 2010,
Mason Bates conducted by which were later extended through the 2014–15
Muti and performed live by the season. In 2015, he appointed Samuel Adams and
CSO. The first includes Bates’s Elizabeth Ogonek to three-year residencies. During
Alternative Energy and Clyne’s
Night Ferry. The second record- their time with the CSO, each of the composers had
ing is of Bates’s Anthology of multiple works conducted by Muti, including CSO
Fantastic Zoology, which was commissions, bringing these emerging composers
dedicated to Muti at the conclu- to international attention. In 2018, Muti appointed
sion of the composer’s residency.
Missy Mazzoli, whose CSO-commissioned work
Orpheus Undone receives its world premiere with Muti
and the Orchestra in April 2020.
Samuel Adams shakes the hand of Riccardo Muti following
the February 10, 2018, performance of his CSO-commissioned
work, many words of love, at Carnegie Hall. Muti and Principal
Bass Alexander Hanna congratulate Elizabeth Ogonek back-
stage following the October 11, 2017, performance of her CSO-
commissioned work, All These Lighted Things, at the Kauffman
Center for the Performing Arts in Kansas City. Muti has often
chosen to feature CSO-commissioned works on tour to rein-
force the Orchestra’s commitment to contemporary music and
living composers.
In addition to writing her CSO commission, Missy Mazzoli curates the CSO’s MusicNOW series. She
is seen here performing her arrangement of music by Meredith Monk, entitled Passage, What Does It
Mean?, with CSO musicians at the May 20, 2019, MusicNOW concert.
6 CSO.ORG PHOTOS BY TODD ROS EN BERG
10 a perfect
No. 3: Concertos with Orchestra Members
Riccardo Muti has an exceptional bond with the
Chicago Symphony Orchestra. In an interview
with Scholar-in-Residence and Program Annotator
Phillip Huscher last season, Muti noted that when he
returned to conduct the CSO in 2007, “the way they
responded to my musical ideas and the sense of family
that we immediately created together pushed me to
accept this very prestigious commitment.” One way
of showing his great respect for their talents has been
to invite members of the Orchestra to perform con-
certos at Orchestra Hall and on tour. Moreover, as was
noted earlier, many of these concertos have been CSO
commissions. Here are some highlights from the nearly
twenty works featuring CSO members as soloists that
Muti has conducted during his tenure.
“We’re the luckiest musicians on the planet to be
in the CSO and to have him as the music director.
There’s nothing like it anywhere; there’s nothing like
him anywhere. With this unit, everything is at the
Concertmaster Robert Chen highest possible level. I’m confident that, with him, this
performed Hindemith’s Violin piece is going to be a hit,” said CSO Bass Trombone
Concerto with Muti and the Charles Vernon in preparation for the world premiere of
CSO on October 11, 2013.
Higdon’s Low Brass Concerto on February 1, 2018.
Muti conducted Principal Cello John Sharp Principal Clarinet Stephen Williamson per-
in Elgar’s Cello Concerto in E minor on formed Mozart’s Clarinet Concerto in A major
March 26, 2014. on the CSO’s West Coast Tour and is pic-
tured here at Zellerbach Hall at University of
California, Berkeley, on October 14, 2017.
8 CSO.ORG PHOTOS BY TODD ROS EN BERGJennifer Gunn performed the CSO premiere of Ken Benshoof ’s Concerto in Three Movements for
Piccolo and Orchestra and Vivaldi’s Piccolo Concerto in C major, RV 444, with Muti and the CSO
on June 13, 2019. On the same program, Charles Vernon gave the world-premiere performance of
James Stephenson’s Bass Trombone Concerto.
Muti conducted Associate Concertmaster Muti congratulated Principal Harp
Stephanie Jeong and Assistant Principal Cello Sarah Bullen after her performance of
Kenneth Olsen in Brahms’s Double Concerto, Debussy’s Sacred and Profane Dances on
pictured here on November 7, 2019. April 19, 2018.
Riccardo Muti joined CSO
soloists backstage following the
premiere of Jennifer Higdon’s
Low Brass Concerto on
February 1, 2018. (From left)
Principal Tuba Gene Pokorny,
Riccardo Muti, Trombone
Michael Mulcahy, Bass
Trombone Charles Vernon,
and Principal Trombone
Jay Friedman
P H OTOS BY TO DD RO S E NB E RG, ANN E RYAN (P H OTO AT C ENTER LEFT) NOVEMBER 2019–FEBRUARY 2020 9Commemorating
the 250th anniversary
of the birth of
Ludwig van Beethoven
HI G HL I G H T IN G M AT ER I A L S FR O M T HE C O L L E CT I O N S O F T HE
RO S E N T H A L A RC H I V E S O F T H E C H I CAG O SY M P H O N Y O RC H E S T R A
PHOTO BY M ATZ EN E C HI CAGO
During the 1926–27 season, second
music director Frederick Stock
led the Chicago Symphony
Orchestra’s first season-long survey
of Beethoven’s nine symphonies,
in addition to the Coriolan, The
Creatures of Prometheus, Egmont,
and Leonore no. 3 overtures. He also
led the Third Piano Concerto with
Mischa Levitzki, the Fourth with
Alfred Cortot, and the Fifth with both
Harold Samuel and Elly Ney; the Violin
Concerto with both Joseph Szigeti
and Albert Spalding; as well as
the Triple Concerto with pianist
Alfred Blumen, Concertmaster
Jacques Gordon, and Principal Cello
Alfred Wallenstein.
10 CSO.ORGPHOTO BY JIM STEER E
Third music director Désiré
Defauw led all nine of
Beethoven’s symphonies
during the 1944–45 season,
Ninth music director Daniel Barenboim curated a festival
along with the Coriolan, Fidelio,
of the composer’s works during the 1997–98 season that
Leonore no. 3, and Ruins of
included the Orchestra and Chorus in the nine sympho-
Athens overtures; the Third
nies (no. 2 was led by assistant conductor William Eddins).
and Fourth piano concertos
Barenboim also conducted a fully staged Fidelio with
with Alexander Brailowsky and
Waltraud Meier as Leonora, Ah! perfido with Jane Eaglen, and
Rudolf Serkin; and the Violin
the five piano concertos from the keyboard. Guest conductor
Concerto with Yehudi Menuhin.
Michael Gielen also led Leonore overtures nos. 2 and 3, and
Pinchas Zukerman was soloist and conductor in the two violin
romances along with Mahler’s arrangement of the Serioso
String Quartet in F minor.
P H OTO BY TOD D ROSE N BE RG
In June 2010, Bernard
Haitink—in his final season
as principal conductor—led
all nine symphonies, along
with the Fidelio and Leonore
nos. 2 and 3 overtures. With
the Orchestra and Chorus, he
concluded his tenure and the
119th season with Calm Sea
and Prosperous Voyage and
the Ninth Symphony, fea-
turing soloists Jessica Rivera,
Kelley O’Connor, Clifton
Forbis, and Eric Owens.2019-2020 SEASON: FAMILY 30 years
HOLIDAYS: MARCUS ROBERTS TRIO + ORCHESTRA
Scott Speck conducts the Chicago Philharmonic
Featuring Marcus Roberts Trio
Sunday December 8, 3pm • Harris Theater, Chicago
PROMISE: MOZART, PÄRT, BACEWICZ, DVOŘÁK
Scott Speck conducts the Chicago Philharmonic
Featuring Visceral Dance Chicago
Sunday March 1, 3pm • North Shore Center, Skokie
UNITY: AMJAD ALI KHAN, SHOSTAKOVICH
Lidiya Yankovskaya conducts the Chicago Philharmonic
With Amjad Ali Khan and family of sarod musicians
Sunday April 5, 3pm • Harris Theater, Chicago
HOME: BRAHMS 3
Scott Speck conducts the Chicago Philharmonic
With violin soloist Phillippe Quint
Sunday May 10, 3pm • Pick-Staiger Hall, Evanston
ARETHA: A TRIBUTE
Scott Speck conducts the Chicago Philharmonic
Featuring the vocal artistry of Capathia Jenkins
and Ryan Shaw
Saturday May 23, 7:30pm • Harris Theater, Chicago
Enjoy live, classical music throughout Chicago and the North Shore starting at $25.
Discounts available for seniors and students with symphonic subscriptions for as low as $44.
chicagophilharmonic.org | 312.957.0000CELEBRATE BEETHOVEN’S 250TH
BIRTHDAY AT SYMPHONY CENTER!
During the 2019/20 season celebration, Riccardo Muti
conducts Beethoven’s nine symphonies with the
Chicago Symphony Orchestra, and celebrated virtuosos
perform a cycle of Beethoven’s 32 piano sonatas on
the Symphony Center Presents Piano series.
Join us for these remaining performances:
RICCARDO MUTI
CONDUCTS BEETHOVEN
feb 20–23 Symphonies Nos. 2 & 5
apr 30–may 3 Symphonies Nos. 4 & 7
jun 11–13 Symphonies Nos. 6 & 8,
Overture to The Ruins of Athens
jun 18–21 Symphony No. 9
THE PIANO SONATAS
mar 29 & 31 Sir András Schiff
apr 5 Mitsuko Uchida
may 10 Evgeny Kissin
may 20 Igor Levit
may 24 Maurizio Pollini
See all of Beethoven’s works
being performed in 2019/20 at
CSO.ORG/BEETHOVENnegaunee music institute at the cso
World Premiere by Mason Bates Blends Music and
Digital Animation
I
t has been more than twenty years since the animator Jim Capobianco. This program will run
Chicago Symphony Orchestra teamed up as part of the CSO School and Family Concerts
with Mickey, Minnie, Donald, and the gang series, March 26–28, 2020, under the direction
to provide the soundtrack to Walt Disney’s of Edwin Outwater.
Fantasia 2000, for which the CSO earned a The commission is in celebration of the 100th
Grammy Award nomination. The CSO will anniversary of the founding of the CSO’s series
again cross paths with cutting-edge technology for children that began during the 1919–20
in the world premiere and CSO co-commission season, established by the Orchestra’s second
of Mason Bates’s Philharmonia Fantastique: The music director, Frederick Stock. This program-
Making of the Orchestra. Bates, the CSO’s Mead ming continues today along with other exten-
Composer-in-Residence from 2010 to 2015, sive educational and community-engagement
cocreated the piece with award-winning writer programming produced by the Negaunee
and director Gary Rydstrom and story artist and Music Institute.
c loc kw i s e from lef t: Images from a live-action photo shoot for the
forthcoming Philharmonia Fantastique. Left to right: composer Mason Bates,
writer and director Gary Rydstrom, story artist and animator Jim Capobianco
Photos by Marko Bajzer
14 CSO.ORG19/20
Photo by Chris Chistodoulou
Sir John Eliot Gardiner +
Orchestre Révolutionnaire et Romantique
The Complete Beethoven Symphonies
February 27, 2020 / 7:30PM Symphonies 8 + 9
February 28, 2020 / 7:30PM Symphony 1, Prometheus + Leonore Excerpts
February 29, 2020 / 7:30PM Symphonies 2 + 3
March 2, 2020 / 7:30PM Symphonies 4 + 5
March 3, 2020 / 7:30PM Symphonies 6 + 7
312.334.7777 | harristheaterchicago.org | 205 East Randolph Drive
Alexandra C. and
John D. Nichols
Sir John Eliot Gardiner Harris Theater Presents Mainstage Corporate Opening Night Sponsor
Lead Benefactor Music Presenting Sponsor
Corporate Closing Night Sponsor Season SponsorNEGAUNEE MUSIC INSTITUTE AT THE CSO
Philharmonia Fantastique is a concerto for
orchestra and animation with kinetic, cutting-
edge, multimedia work that integrates film and
prerecorded sound with live performance. The
collaboration between the piece’s creators—
innovators in the worlds of music, storytelling,
and animation, respectively—similarly demon-
strates this groundbreaking intersection of artistic
disciplines. Bates’s work “flies inside musical
instruments to explore the age-old connection
of creativity and technology,” said the composer,
“and the centennial of the Chicago Symphony
Orchestra’s education programs is the perfect
launching point for this multimedia work.”
In the new piece, an energetic, colorful sprite
leads the audience on a tour through the music,
taking listeners inside the instruments of the
orchestra, exploring how individual instruments
produce a sound, and how they work together in
an ensemble. The story unfolds through music
and visuals alone, creating a piece free of language
barriers, accessible, and entertaining for audi- top to bot to m : A trio of students gets ready to enter
Orchestra Hall for a CSO School Concert. Maestro
ences of all ages. Prestissimo B. Sharpenflat, aka Dan Kerr-Hobert from The
“The CSOA is very pleased to continue our Second City, attempts to steal the spotlight from the CSO
relationship with Mason Bates through this musicians and (actual) conductor Edwin Outwater during a
Family Matinee performance. Photos by Todd Rosenberg
new commission,” said CSOA President Jeff
Alexander. “Mason is one of the most singular Mason Bates currently serves as the first
and creative voices in orchestral music today, and composer-in-residence of the Kennedy Center for
he is gifted with a collaborative spirit and a pas- the Performing Arts. His opera The (R)evolution of
sion for education and innovation. Philharmonia Steve Jobs premiered at the Santa Fe Opera in 2017;
Fantastique presents a wonderful opportunity to the live recording of that production was recognized
with Best Opera Recording at the 2019 Grammy
welcome a new generation of listeners into the Awards telecast.
inspiring world of orchestral music, and we look
Writer and director Gary Rydstrom has been nomi-
forward to sharing this music with our audiences.” nated for eighteen Academy awards, winning seven
“Discovering the music of Mason Bates during for his work in sound and sound editing in films,
his time with the CSO was so joyful,” said Helen including Jurassic Park, Titanic, and Saving Private
Zell, CSOA Board Chair and sponsor of the CSO Ryan. Story artist and animator Jim Capobianco has
commission. “His music takes audiences on jour- worked on many major animated films, including The
Lion King, Fantasia 2000, Finding Nemo, and Inside
neys of the imagination, and I look forward to the Out. He received an Academy Award nomination for
ways that his new work will engage listeners.” Best Original Screenplay for Ratatouille.
CSO School and Family Concerts, presented by the
Philharmonia Fantastique: The Making of the Negaunee Music Institute, engage approximately
Orchestra is co-commissioned by the Chicago 40,000 audience members each season. These
Symphony Orchestra, San Francisco Symphony, affordable and age-appropriate concerts feature the
Dallas Symphony Orchestra, Pittsburgh Symphony extraordinary musicians of the Chicago Symphony
Orchestra, and National Symphony Orchestra. Orchestra to inspire the next generation of audience
The CSO commission is made possible through the members and music lovers.
generous support of Helen Zell.
16 CSO.ORGevent spotlight
CSOA’s Annual Symphony Ball Presented by the
September 21, 2019 Women’s Board of the
O
Chicago Symphony
n the evening of September 21, Zell Music Director Orchestra Association
Riccardo Muti conducted the Chicago Symphony
Orchestra’s annual Symphony Ball concert. The program, SYMPHONY BAL L CO - CHAIR S
WOME N’S BOARD
supported by presenting sponsor Northern Trust, included a BOARD OF TRU STE E S
rousing program featuring music by Verdi and Suppé, as well Mimi Murley
as Tchaikovsky’s Romeo and Juliet, Fantasy-Overture after Leslie Henner Burns
Shakespeare. “A pianist of magisterial elegance, power and
SYMPHONY BAL L CO - CHAIR
insight” (The New York Times), Leif Ove Andsnes performed
BOARD OF TRU STE E S
Grieg’s magnificent Piano Concerto in A minor. Terrence J. Truax
Gala patrons enjoyed a bustling preconcert reception, with full
bar and hors d’oeuvres in Buntrock Hall. Red-carpet experience, WOME N’S BOARD PRE SIDE NT
photo wall, and performances by members of the Civic Orchestra Elizabeth A. Parker
of Chicago were presented on Michigan Avenue to welcome all PRE SE NTING SPONSOR
concert attendees to Orchestra Hall. Northern Trust
The Women’s Board of the Chicago Symphony Orchestra
OFFICIAL AIRL INE
Association proudly presented this year’s ball, “An Evening of
United Airlines
Romance, Revelry, and Artistry,” utilizing the style of the Italian
Renaissance. The event, co-chaired by Mimi Murley and Leslie ME DIA SPONSOR S
Henner Burns and Trustee co-chair Terrence Truax, raised nearly WBBM Newsradio 780
$1.5 million for the organization. and 105.9 FM
Chicago Magazine
below, l e f t to r ig h t : Co-chairs Mimi Murley and Leslie Henner Burns
celebrate at the Four Seasons with Zell Music Director Riccardo Muti. Photo by
Todd Rosenberg
Herald trumpets welcome guests to the Four Seasons Hotel Chicago. Photo by Anne Ryan
op p os i te pag e , c lo c kw is e from top : Pianist Leif Ove Andsnes performed Grieg’s Piano Concerto in A minor, Op. 16. Photo by
Todd Rosenberg
A brass quintet of musicians from the Civic Orchestra of Chicago welcomed arriving guests on Michigan Avenue. Photo by
Todd Rosenberg
l e f t t o r i g h t: CSOA Trustee Keith Crow, Women’s Board President Elizabeth Parker, Women’s Board member Mia Martich, and
Zoren Lazarevic. Photo by Bob Carl
l e f t t o r i g h t: Women’s Board members Kim Shepherd and Shelley Ochab, CSOA Life Trustee Cindy Sargent, Women’s Board
member Cheryl Sturm, and CSOA Life Trustee Mary Lou Gorno. Photo by Bob Carl
18 CSO.ORGEVENT SPOTLIGHT NOVEMBER 2019–FEBRUARY 2020 19
volunteer and support opportunities
The programs of the Chicago Symphony Orchestra Association are made possible
each season thanks in part to our dedicated volunteers and donors. Support the music
you love by getting involved in the following ways.
GOVERNING MEMBERS are business, cultural, and civic leaders GOVERNING MEMBERS
EXECUTIVE COMMITTEE
who serve as essential advocates for the CSO, both in Chicago Michael Perlstein Chair & Vice Chair of
and around the world, and participate in many significant activi- Nominations & Membership
Jared Kaplan Immediate Past Chair
ties at Symphony Center. Email governingmembers@cso.org for Charles Emmons, Jr. Vice Chair of the
more information. Annual Fund
Sally Feder Vice Chair of
Member Engagement
The LE AGUE works on fundraising events, educational pro-
grams, and social activities to support the CSO while building
LEAGUE EXECUTIVE COMMIT TEE
camaraderie with fellow members. Email wardw@cso.org for Sue Bridge President
William Ward Vice President
further information. of Administration
Kathy Solaro Vice President of Areas
The WOMEN’S BOARD promotes the CSO’s artistic excellence Nancy Friedman Vice President
of Education
and exemplary educational programming by engaging women Marcia Lewis Vice President of Events
Earle Cromer III Vice President of Finance
leaders in advocacy and fundraising efforts, including the CSO’s Eileen Conaghan Vice President
annual Symphony Ball. Email Kim Duffy at duffyk@cso.org for of Fundraising
Jessica Erickson Vice President
further information. of Membership
Bonnie McGrath Secretary
Denise Stauder Strategic Planning Chair
The OVERTURE COUNCIL is a dynamic group of Chicago Fred Garzon, Lee Ori Members-at-Large
young professionals aged 21–45 who have a love of music and
a desire to learn more about how to support the CSO. Email WOMEN’S BOARD
overturecouncil@cso.org for more information. Elizabeth A. Parker President
Elisabeth Adams Immediate Past President
Jennifer Luby, Claudine Tambuatco
AUXILIARY VOLUNTEERS provide invaluable administrative Communications/Governance Chairs
Juli Crabtree Community
support in a variety of ways and work in the administrative offices. Engagement Chair
Email Ariana Strahl at strahla@cso.org for further information. Katie Barber Membership Chair
The CSO L ATINO ALLIANCE encourages individuals and their OVERTURE COUNCIL
families to discover and experience timeless music with other EXECUTIVE COMMITTEE
John Dunson President
enthusiasts in concerts, receptions, and educational events. To Hank Bell Cultural Outreach Chair
learn more, please visit cso.org/latinoalliance or connect with us Kathryn Davies Activities Chair
Amy Fallon Communications Chair
on Facebook and LinkedIn. David Greene Social Media Chair
Michelle Kittleson Audience
Development Chair
The CSO AFRICAN AMERICAN NET WORK’ s mission is to Ben Levy, Taylor Poulin Soundpost
engage Chicago’s culturally rich African American community Co-chairs
Nick McWilliams Secretary
through the sharing and exchanging of unforgettable classical
music experiences while building relationships for generations to
L AT I N O A L L I A N C E L E A D E R S H I P
come. To learn more and join the Network, please call Sheila Jones Ramiro J. Atristaín-Carrión, Rina Magarici
at 312-294-3045, email africanamericannetwork@cso.org, or Co-chairs
visit cso.org/AAN.
THEODORE THOMAS SOCIETY
Mary Lou Gorno Chair
The THEODORE THOMAS SOCIET Y recognizes those who
make financial plans, usually through a will, trust or gift annu-
ity, to benefit the CSO in the future. Email Al Andreychuk at The Volunteer Programs office is located at
andreychuka@cso.org for more information. 67 East Adams, 6th floor. 312-294-3160
20 CSO.ORGsponsors
The Chicago Symphony Orchestra Association
is grateful for the generous support of this
season’s major corporate sponsors.
ma e st ro res i den c y p res en t er
offi cia l a irline o f the cso
NOVEMBER 2019–FEBRUARY 2020 21executive spotlight
r e né e metca l f, ma rket ex ecu t i ve, o s ca r m u n oz , c h i e f e xe c u t i v e o f f i c e r
i llinois glo ba l co mmerci a l ba n ki n g United Airlines
Bank of America Merrill Lynch United is pleased to serve
Bank of America is proud to the CSO as its official airline
continue its long-standing and proudly supports its
support of the Chicago remarkable contributions to
Symphony Orchestra. the performing arts commu-
Our partnership not only nity here in Chicago and
delivers artistic quality beyond. With the CSO, we
but also helps to create celebrate the energy that
meaningful connections performers and audiences alike bring to our
with a diverse audience base in Chicago and hometown and to the global stage.
around the world.
mae st ro r e s i den c y p r es en t er
st e ve shebik , v ice cha i r e. s c ot t s a n t i , c h a i rm a n a n d
The Allstate Corporation ch i e f e xe c u t i v e o f f i c e r
Allstate applauds the CSO ITW
for its commitment to enrich I TW is proud to support
community and educational the Chicago Symphony
programs in our hometown Orchestra and its long
of Chicago. We are a proud tradition of excellence in
supporter of the Negaunee providing extraordinary
Music Institute at the CSO, classical music perfor-
as we believe that good mances for audiences here
starts young. in Chicago and around
the world.
ch r is c ra ne, presiden t a n d ceo s cot t c . swa n s o n , p re s i d e n t
Exelon PNC Bank Illinois
At Exelon, we believe that At PNC, we recognize the
creativity inspires us all. importance of the arts in
We are proud to serve as contributing to a dynamic,
sponsor of the SCP Jazz vibrant, and successful
series. Exelon has a strong community. We applaud
tradition of committing the Chicago Symphony
our energy and resources to Orchestra’s achievements
the communities we serve. as a cornerstone of our
Through our corporate citizenship program, local arts community, and look forward to another
Exelon creates collaborations with community- exciting year of world-class performances.
based nonprofits to deliver cutting-edge ideas
that achieve meaningful
and measurable change
for the better.
22 CSO.ORGEXECUTIVE SPOTLIGHT
ch ar le s w. dougl a s, pa rt n er ch ri sto p h e r l . c u l p, m a n ag i n g d i re c to r
Sidley Austin LLP Financial Economics Consulting, Inc.
From one Chicago tradition The CSO commands
to another, Sidley Austin respect both locally and
LLP congratulates the worldwide and is an
Chicago Symphony important ambassador of
Orchestra on a successful our city to the rest of the
2019–20 season. We are world. We are proud to
proud to support an support this amazing and
organization that has unparalleled symphony
contributed so much to the rich heritage of our in all of its pursuits at home and abroad.
city. May the music continue to transform and
inspire us all.
davi d r . ca sper, u.s. c eo t er r e n c e j . t rua x , m a n ag i n g pa rt n e r
BMO Financial Group Jenner & Block LLP
The Chicago Symphony Jenner & Block is proud to
Orchestra commands the share the CSO’s passion for
admiration of music lovers creativity, innovation, and
worldwide. Its reputation the pursuit of excellence. As
across the world brings a longtime CSO supporter,
acclaim to our great city, the firm looks forward to
and its programming and continuing to participate in
outreach connect audiences the symphony’s rich tradi-
through the bond of music. As a proud admirer tion of musical excitement and unfolding artistry
and supporter, BMO is pleased to help play a role in Chicago and the many communities it touches
in strengthening the CSO, in the United States and around the world.
one of our city’s greatest
cultural legacies.
ji m kol ar, centra l mar ket ed w e h m e r, p re s i d e n t & c e o
manag i n g pa rtner Wintrust Financial
PwC Chicago has become a
PwC is proud to support cultural touchstone for some
the Chicago Symphony of the most celebrated
Orchestra, a vital and musical acts in the world.
world-class artistic institu- As Chicago’s Bank, we’re
tion that has enhanced honored to support the
Chicago’s cultural commu- Chicago Symphony
nity since 1891. The CSO’s Orchestra and its dedication
long-standing tradition of to inspiring musicians in our community with
excellence is legendary, and we applaud its efforts educational programs that instill hard work,
during another exciting season. discipline, and creativity and through the power
of music. Their work demonstrates that we can
all play a unique part to
produce something magical.
NOVEMBER 2019–FEBRUARY 2020 23a note from the director of programming
welcome to symphony center
In anticipation of the 250th anniversary of Beethoven’s
birth on December 17, 2020, the Chicago Symphony
Orchestra and Symphony Center Presents join the entire
musical world in celebrating this momentous mile-
stone throughout the 2019–20 season. Symphony Center
is thrilled to present a complete cycle of Beethoven’s
thirty-two piano sonatas performed by six outstanding
pianists over eight concerts in the first complete cycle of
these works in Orchestra Hall since Daniel Barenboim’s
eight-concert traversal during the 1985–86 season.
In addition to the piano sonatas, this season also includes performances of
Beethoven’s Diabelli and Eroica variations for solo piano, a program of piano trios
including the Archduke, and a selection of works for violin and piano including
the Spring and Kreutzer sonatas. In all, our Beethoven 250 celebration will feature
forty separate concerts with more than fifty of his works performed by the CSO,
Zell Music Director Riccardo Muti, and over twenty guest artists.
For our Symphony Center Presents Jazz series, we have planned a season that
again celebrates jazz legends and rising stars. Our twenty-sixth Jazz series includes
a residency by the amazing Jazz at Lincoln Center Orchestra with Wynton
Marsalis, tributes to Charlie Parker and women in jazz, as well as exciting pro-
grams by NEA Jazz Masters Chick Corea, Abdullah Ibrahim, and Dianne Reeves.
During its inaugural season in 1997, Symphony Center was christened “The
Musical Heart of Chicago,” and while the artists we present bring their amazing
musicianship to our stage, it is you the patrons who make Symphony Center’s
musical heart come alive. Whether this is your first visit or you have been a sub-
scriber for many years, thank you for your support of Symphony Center, and I
hope you enjoy this concert.
James M. Fahey Director of Programming, Symphony Center Presents
“M USIC IS A HIGHER REVEL ATION THAN ALL WISDOM AND PHILOSOPHY.”
—Ludwig van Beethoven
P H OTO BY TO DD RO S E NB E RG NOVEMBER 2019–FEBRUARY 2020 25The Chinese New Year Celebration is generously
sponsored by
Ling Z. and Michael C. Markovitz.
Corporate support is generously provided by
Citadel and Citadel Securities.
26 EIGHT Y-NINTH SE ASONEIGHT Y-NINTH SE ASON
SYMPHONY CENTER PRESENTS
Sunday, January 26, 2020, at 3:00
Special Concert
CHINESE NEW YEAR CELEBRATION
Shanghai Chinese Orchestra
Zhejiang Shaoju Opera Theatre
SHANGHAI CHINESE ORCHESTRA 上海民族乐团
Yao Shenshen Conductor 指挥: 姚申申
han wenhe Concerto for Chinese Flute (Landscape around the Lake)
韩闻赫 双竹笛与乐队《湖光》
Jin Kai, Zhao Yunmeng 金锴 赵韵梦
luo xiaoci
Spirit of the Chinese Calligraphy for Solo Zheng (orch. Xie Peng)
罗小慈 筝独奏《墨戏》 (配器:谢鹏)
Lu Shasha 陆莎莎
Farewell My Concubine for Solo Pipa
琵琶独奏《霸王卸甲》
Yu Bing 俞冰
lying Bees for Ensemble with Traditional Chinese Orchestra
F
民乐组合《蜂飞》
Ding Long, Chen Shi, Li Lin, Zhao Zhen, Wang Yinrui 丁龙 陈适 李霖 赵臻 王音睿
oncerto for Suona (Dancing Phoenix) (arr. Huang Lei)
C
唢呐与乐队 《凤舞》
Yan Jinlong 闫晋龙
jiang ying
Local American Music and Silk Road for Chinese Orchestra
姜莹民 乐合奏《美国当地乐曲》《丝绸之路》
intermission
NOVEMBER 2019–FEBRUARY 2020 27Special thanks to the following for their help and support
in presenting this concert:
Zhao Jian
Consul General of the People’s Republic of China in Chicago
Ling Z. Markovitz
Life Trustee, Chicago Symphony Orchestra Association
Choose Chicago
David Whitaker, President & CEO
Jason Lesniewicz, Director of Cultural Tourism
China Arts and Entertainment Group, Ltd.
Li Jinsheng, President
Li Baozong, General Manager
Fan Jing, Deputy Director
Geng Runhua, Project Manager
Duan Xiaofei, Project Manager
Li-Kuo Chang
Acting Principal Viola, The Louise H. Benton Wagner Chair,
Chicago Symphony Orchestra
Tony Gourmet Group
Tony Hu, Chef
Thanks to the
soloists and ensembles
that performed traditional
vocal and instrumental works prior
to today’s concert.
Dong Fang Performing Arts
Li Zhang, President and Qing Li,
Choir Director
Huang He (Yellow River)
Performing Arts
Janice Yang, President
28 EIGHT Y-NINTH SE ASONZHEJIANG SHAOJU OPERA THEATRE
Grand Bustling Chinese New Year
《龙腾虎跃中国年》
Lead Singers: Yao Baiqing, Shi Jiejing 主唱：姚百青 施洁净
Face Changers: Zhou Zeze, Qian Zeju 变脸：周泽泽 钱泽炬
Long Silk Dancers: Ye Jing, Yang Jiong 长绸：叶 婧 杨 炯
Lion Dancers: Dong Kailin, Ding Lintao, Zhu Danxian, Wang Jianda 舞狮：董凯林 丁霖焘 朱丹贤 汪建达
Dragon Dancers: Tang Congcong, Zhao Hui, Jiang Yifan, Wang Haoshuang, Zhang Jun, Dong Yidong, Luo Jiqiang,
Shen Biao, Wang Zhichen 舞龙：汤聪骢 赵 辉 蒋一帆 王浩爽 张 君 董一栋 骆纪强 沈 标 王之辰
Shao Opera: The Battle of Hanjin
绍剧《汉津之战》
Guan Yu: Ying Linfeng 关羽：应林锋
Horse Boys: Shen Biao, Qian Zeju 马僮：沈 标 钱泽炬
Enemy Generals: Zhou Zeze, Wang Jianda, Ding Lintao, Zhang Jun 反将：周泽泽 汪建达 丁霖焘 张 君
Shao Opera: Dragon and Tiger Fight, Big Fight
绍剧《龙虎斗·大斗》
Zhao Kuangyin: Zhang Jingang 赵匡胤：章金刚
Huyan Sanzan: Zhang Jie 呼延三赞：章 劼
Shao Opera: Excerpts from Monkey Subdues the White-Bone Demon
绍剧《孙悟空三打白骨精》选段
Sun Wukong: Liu Jianyang 孙悟空：刘建杨
Tang Monk: Wang Jianda 唐 僧：汪建达
Pigsy: Yao Baiqing 猪八戒：姚百青
Sha Wujing: Luo Jiqiang 沙 僧：骆纪强
White-Bone Demon: Yang Jiong 白骨精：杨 炯
Village Girl: Ye Jing 村 姑：叶 婧
Old Woman: Shi Jiejing 老妪：施洁净
Old Man: Ying Linfeng 老丈：应林锋
Four Devils: Zhou Zeze, Zhao Hui, Zhu Danxian, Tang Congcong 四魔王：周泽泽 赵 辉 朱丹贤 汤聪骢
Yan Xiaobing, Ruan Weihui, drums 司鼓：严晓兵、阮伟惠
HU Kegang, lead erhu and suona 主胡、唢呐：胡克钢
Jiang Yifeng, erhus 唢呐、二胡：蒋一峰
Hu Fanghua, flute and sanxian 笛、三弦：胡芳华
Ma Zuxian, pipa and ruan 琵琶、阮：马祖娴
Lu Yan, percussion 打击乐：鲁艳
The Chinese New Year Celebration is generously sponsored by Ling Z. and Michael C. Markovitz.
Corporate support is generously provided by Citadel and Citadel Securities.
NOVEMBER 2019–FEBRUARY 2020 29comments
Grand Bustling Chinese New Year
《龙腾虎跃中国年》
Festivals in China begin in the new year. As the most significant and grandest
traditional festival of the Chinese nation, the Spring Festival features the con-
centrated embodiment of the nation’s thoughts and beliefs, ideals and wishes,
life and entertainment, culture and psychology; and the exultant expression of
blessings, cuisine, and recreational activities. Adopting face-changing, long silk,
somersault, and the folk tradition of dragon and lion dancing, this performance
presents the festive and joyous scene of the Chinese nation’s celebration of the
grand Spring Festival the with impassioned and sonorous music of Shao Opera.
百节“年”为首，
“春节”是中华民族最隆重的传统佳节，它不仅集中体现了
中华民族的思想信仰、理想愿望、生活娱乐和文化心理，而且还是祈福、饮
食和娱乐活动的狂欢式展示。本节目运用中国戏曲“变脸” 、“长绸”
、“翻
腾”及民间“舞龙”、
“舞狮”技艺，在热烈、高亢的绍剧音乐中展现中华民族
过大年的喜庆氛围。
过大年 过大年 Happy Spring Festival, happy Spring Festival
邀你来过中国年 Welcome to the grand Chinese New Year
过大年 过大年 Happy Spring Festival, happy Spring Festival
邀你来过中国年 Welcome to the grand Chinese New Year
过大年 把戏演 Enjoy the New Year, Enjoy the great drama
中国人不看大戏不过年 Grand New Year with splendid drama
初一唱到十五夜 From Lunar New Year’s Day to Lantern Festival
团团圆圆中国年 Joyful reunion of the grand Chinese New Year
过大年 把戏演 Enjoy the New Year
中国人不看大戏不过年 Grand New Year with splendid spectacle
唱得烦恼随风散 Set aside all worries
红红火火又一年 Embracing our days of celebration
中国年 中国年 Chinese New Year, Chinese New Year
红红火火 团团圆圆 Days of celebration, days of gathering
唱出一个中国年 Welcoming in the Chinese New Year
30 EIGHT Y-NINTH SE ASONCOMMENTS
Shao Opera: The Battle of Hanjin
绍剧《汉津之战》
Red-faced drama, also known as Guan Yu drama, is a significant theatri-
cal style for mature male characters in Shao Opera. The Battle of Hanjin is
excerpted from Romance of the Three Kingdoms. In the story, Cao Cao chases
after Liu Bei with Guan Yu, bringing troops through the Hanjin Pass to his aid.
Representative of red-faced drama repertoire, this performance originated in
Peking Opera and evolved to include unique features of Shao Opera.
“红生戏”又称“关公戏”
，是绍剧老生剧目中重要的一支。《汉津之战》取自
《三国演义》：刘备被曹操追赶，关羽领兵前往汉津口接应。为绍剧“红生
戏”代表剧目之一，其表演脱胎于京剧，却又博釆众长、自成一家，极具绍
剧特色。
战马不住连声吼 Unceasing roaring from battle steeds
青龙偃月神鬼愁 Invincible green dragon saber
某今奉命江夏走 Receiving orders to leave for Jiangxia Prefecture
要与曹操动貔貅 To have hard-fought battle with Cao Cao.
人马扎在汉津口 Our brave troops stationed in Hanjin Pass
某要那曹操项上头 Swear to chop off Cao Cao’s head and take
his life
NOVEMBER 2019–FEBRUARY 2020 31COMMENTS
Shao Opera: Dragon and Tiger Fight, Big Fight
绍剧《龙虎斗·大斗》
This scene originates from the ancient Shao Opera The Gathering and is repre-
sentative of its core repertoire. During the Northern Song dynasty (960–1170),
the Emperor Zhao Kuangyin led his troops into battle, but was trapped by a
traitorous minister, mistakenly killed the pioneering general Huyan Shouting,
and was stuck in the region of Hedong for seven years. Huyan Zan, the son of
Huyan Shouting, fought with the emperor and refused all the highly paid posts
he offered. The text “steel whip in my hand, your death in sight” was widely
known after being quoted into the novel The True Story of Ah Q by Lu Xun,
who once praised this as “the sound of revenge from Yue State.”
脱胎于古本绍剧《风云会》，为绍剧代表剧目之一。北宋，皇帝赵匡胤御驾
亲征，因中奸臣之计斩杀先行呼延寿廷，被困河东七年。呼延之子三赞为
报父仇，与之争斗，赵匡胤许以高官厚䘵，均被拒绝。其中唱词“我手执钢
鞭将你打”因被鲁迅写入小说《阿Q正传》而家喻户晓。鲁迅曾誉其为“越人
复仇之声”。
有请少爷 Let’s see the young lord.
来也 Here I am.
盖世英雄不可挡 Here I am of an age to go out into the world.
杀父之仇挂胸膛 I will never forget to seek revenge for the murder of my father.
罗家山上遣兵将 I deployed my forces on Luojia Mountain;
九节钢鞭我要打宋皇 With my nine-part steel whip, I’ll beat the Emperor of Song.
俺 呼延三赞 I, Huyan Zan,
可恨昏君无道 Hate this unscrupulous, foolish king who
将俺爹爹屈斩御营 Defeated my father, wronged and slain.
是俺奉了母亲之命 In my mother’s kingdom,
点动人马 替父报仇 I called our brave troops together to avenge the death of my father.
众三军 All of our
32 EIGHT Y-NINTH SE ASONCOMMENTS
人马直进御营 Armed forces press forward to the royal camps.
一见小将勇又勇 Brave and strongheaded young general in front of me,
手执钢鞭泰山重 With the great and heavy steel whip in hand,
小将哪 Young general,
我问你哪家子来谁家将 Who are you, and where do you serve?
快快说与我知情 Just answer me.
少爷姓名休来问 You don’t deserve to know my name.
我问你马上老将是何人 You, on the horse.
小将哪 You, young general.
若要问我是哪一个 If you wonder my name,
我就是宋皇 驾前一老臣 I’m the old imperial minister of the Emperor of Song.
呀呀呸 Yeah, yeah.
我看你头戴八宝金镶帽 You, wearing gold hat inlaid with eight jewels and
身披盔甲黄似锦 Armor of golden-yellow brocade,
跨下赤兔胭脂马 Riding on this red hare
手提着盘龙棍有一根 With a dragon stick in hand,
不是昏君是哪一个 You’re no one else but a foolish king!
休来瞒俺小将军 You don’t fool me.
呀 Ah!
我假称老臣将他骗 I pretended to be the old minister to deceive him, but
他认得寡人乾德君 He unexpectedly recognized me as King of Qiande.
小将哪 You, young general,
若要问我是哪一个 If you wonder my name,
我就是宋朝天子赵匡胤 I am Zhao Kuangyin, the Emperor of Song.
NOVEMBER 2019–FEBRUARY 2020 33COMMENTS 昏君着鞭 I have my whip in your direction, foolish king. 听说昏君出了马 I have heard of you, foolish king. I take the field 我父冤仇报得成 Seeking revenge for my father’s grievance. 我手执钢鞭搂头打 Steel whip in my hand, your death in sight, 打死你昏君抵父命 To avenge my father’s persecution. 小将哪 You, young general, 你口口声声报父仇 You keep saying revenge for your father. 寡人跟前通姓名 Tell me your name. 昏君 Foolish lord, 家住河北冀州城 My father lived in Jizhou, Hebei, 呼延寿廷我父命 Named Huyan Shouting, 好好保驾河东地 Dutiful protector of the region of Hedong, 因何屈斩在御营 Wronged and slain in the royal camp. 好哇 Whoa, whoa! 听说来了呼家后 Here comes Hu’s offspring 寡人才得放了心 Rest assured, 小将哪 You, young general, 斩你父非是寡人过 Your father’s death is not my fault. 欧阳方奸贼卖国臣 It’s Ouyang Fang, the traitor, the conspirator. 昏君 Foolish lord, 这一国之中你称皇 You’re the king of the state, 四海之内你为君 You’re the king of this land. 不是昏君下旨意 If it wasn’t your imperial edict, 那一个大胆的奸贼敢斩先行 Who else would dare to slay him without permission? 34 EIGHT Y-NINTH SE ASON
COMMENTS
小将哪 Young general,
你保得寡人回朝转 Take me safely back to the imperial palace
寡人封你为前殿使 And I will grant you the post of front-palace censor.
不要 I don’t want this.
后殿使 Rear-palace censor.
也不要 No!
左殿王来右殿王 Left-palace monarch or right-palace monarch?
不要不要 No, No, No!
三十六爵开国王 36th Lord?
昏君 Foolish lord,
你说什么前殿使来后殿使 I cannot avenge my father’s persecution
左殿王来右殿王 With the title of left-palace monarch or right-palace monarch,
三十六爵都不要 Or even 36th lord,
打死你昏君抵父命 But only by taking your life.
小将哪 You, young general,
你保得寡人回朝转 Take me safely back to the imperial palace,
寡人万里江山与你一九分 And I’ll grant you ten percent of the state.
不要 No.
二八分 Twenty percent?
也不要 No.
三七四六平半分 Thirty, forty, fifty percent . . . ?
不要不要 No, No, No!
我罢罢罢 If it be so,
倒不如你做君 I abdicate, and you’ll be the king
NOVEMBER 2019–FEBRUARY 2020 35COMMENTS
我做臣 And I’ll be the minister.
昏君 Foolish lord,
哪个与你论君臣 No one cares for being the king or the minister.
说什么万里江山对半分 No one cares for the rights of governing.
我手执钢鞭将你打 Steel whip in my hand, your death is in sight.
我要取你红头见娘亲 I am taking your bleeding head back to soothe my
mother’s sadness.
呀 Ah!
我万里江山买不得命 My vast but valueless state land . . . my one vanishing life!
只得拼命大交锋 I have no other choice but to desperately fight this tough battle.
昏君遭鞭 The foolish lord was beaten.
36 EIGHT Y-NINTH SE ASONCOMMENTS
Shao Opera: Excerpts from Monkey Subdues the
White-Bone Demon
绍剧《孙悟空三打白骨精》选段
This performance is an excerpt from the great classical novel Journey to the
West. The devil White-Bone Demon, who changed itself into human form
three times in an attempt to eat the meat of Tang Monk, was discovered
by Sun Wukong and beaten to death. Tang Monk mistakenly thought Sun
Wukong had killed a human, and angrily exiled him back to the Mountain of
Flowers and Fruits. Then, unfortunately, Tang Monk was kidnapped by the
White-Bone Demon. Sun Wukong buried the hatchet, determinedly returned
to wipe out the demons, rescued Tang Monk, and proceeded on his pilgrimage
to the West.
The excerpt was produced as a color film in the 1960s and distributed to
seventy-two countries and regions. It was highly praised by Mao Zedong
and other party and state leaders during the performance in Huairen Hall of
Zhongnanhai. Chairman Mao had once inscribed a poem for this drama as
“A thunderstorm burst over the earth, / So a devil rose from a heap of white
bones. / The deluded monk was not beyond the light, / But the malignant
demon must wreak havoc. / The Golden Monkey wrathfully swung his mas-
sive cudgel / And the jade-like firmament was cleared of dust. / Today, a mias-
mal mist once more rising, / We hail Sun Wukong, the wonder-worker.”
取材于古典名著《西游记》，千年尸魔白骨精，为食唐僧肉，三次变化人形
均被孙悟空识破并打死，唐僧误以为孙悟空打死人命，怒将其逐回花果
山，结果落入白骨精之魔爪。孙悟空不计前嫌，毅然重下花果山，智灭群
妖，救出唐僧。师徒同心重登西行取经之路。
上世纪60年代摄制成彩色电影，发行至72个国家和地区。在中南海怀仁
堂为毛泽东等党和国家领导人演出，获得高度赞誉。毛泽东主席曾为该剧
题诗：“一从大地起风雷，便有精生白骨堆。僧是愚氓犹可训，妖为鬼蜮必
成灾。金猴奋起千钧棒，玉宇澄清万里埃。今日欢呼孙大圣，只缘妖雾又重
来。”
子孙们 变化起来 Children, let’s transform.
母亲 Mother.
儿啊 My dear child.
母亲 Mother.
众家魔王 看了 Demons and devils
一变村姑去送斋 Transformed into a village girl on her way to the butcher.
NOVEMBER 2019–FEBRUARY 2020 37COMMENTS 小师傅 请随我一同前往 My respected monk, please come with me. 侬个断命妖怪 You, fey demon? 我老猪鼻子虽长 I, Pigsy. Although I have a long nose, 闻不出妖和人 I couldn’t smell out the difference between demon and human. 长老万福 Respected Buddhist, 你可曾见过我的女儿 Have you ever seen my daughter? 三度巧施攻心计 Playing tricks on my mind for a third time? 一封贬书逼得那泼猴 A derogatory letter forced Sun Wukong 俯首夹尾回山岗 Humiliated back to the mountain. 我问你天飘素绢是哪个 Let me ask you, what makes that white silk fall from the sky? 唐僧 这素绢不是佛祖点化 Tang Monk, that’s not a sign from your Buddha, is it? 乃是我女变化 It’s me; I made that. 天王寺他自投罗网 He’s falling into the snare in Tianwang Temple. 众小妖 汤锅伺候 Guys, get the stockpot ready. 痛恨我错把妖魔当善人 I am full of remorse for treating a demon as a good person. 枉发慈悲祸自身 It’s a mere waste of my mercy that gets us into trouble. 悔不该 中妖计 I regret having landed in the demon’s trap, 赶走了赤胆忠心的孙悟空 Forcing my faithful ally, Sun Wukong, back to the mountain. 众小妖 Demons, 将唐僧师徒一齐开刀 Let’s enjoy the feast of delicious Tang Monk and his disciples. 大徒儿 悟空 Disciple Wukong . . . 师父 Master . . . 你 You . . . 38 EIGHT Y-NINTH SE ASON
COMMENTS
妖怪 Demon . . .
妖怪死期在今朝 It’s your time of death, demon.
妖怪 你逃不掉啦 Demon, you can’t escape.
悟空 Wukong.
师父 Master.
NOVEMBER 2019–FEBRUARY 2020 39AN INTRODUCTION TO SHAOJU OPERA 绍剧简介
Shaoju opera, or Shaoxing Luantan (a general name for opera styles
from the Qing dynasty [1644–1911]), is popularly known as Shaoxing
Daban. Shaoju opera is a type of Luantan opera, a folk opera style
that originated in the Province of Shaanxi in northwest China. It
was renamed Shaoju opera in 1950 and added to the National List of
Intangible Cultural Heritage in 2008.
绍剧，原名绍兴乱弹，俗称绍兴大班，是我国乱弹戏剧传存在绍兴的
一支。1950年，定名为绍剧，2008年列入国家级非物质文化遗产名
录。
Roles in Shaoju Opera 绍剧的角色行当
The roles of Shaoju opera can be divided into three types of characters
and thirteen distinct roles, commonly known as the “Thirteen Roles.”
绍剧的角色分为三堂十三色——俗称“十三先生” 。
The White Face (Bai lian tang) characters play attractive and charming
roles. Although there are exceptions, they are usually handsome and
always recognizable by the white makeup applied to their faces, as their
name implies. The roles are divided by age typically—Lao Sheng is an
elder, Xiao Sheng is young, Lao Wai is the most senior, Za Se is a sup-
porting role, and Fu Mo is a member of an entourage.
白脸堂 顾名思义以扮演白面俊俏的人物应工，虽有例外，但以俊扮
为主。一般以年龄划分，老生、小生、老外，还有杂色与副末。
The Painted Face (Hualian) characters are elaborately painted with var-
ious colors and patterns. Painted Face roles are divided into personality
types: Da Hualian (first), Er Hualian (second), Xiao Hulian (small), Za
Se (supporting), and Si Hualian (fourth).
花脸堂 顾名思义，花脸的脸上用各种颜色勾画出各种不同形状的图
案。一般以性格划分：大花脸、二花脸、小花脸，还有杂色和四花脸。
Dan refers to female roles, which include Zhengdan (main), Huadan
(lively), Zuodan (warrior), Laodan (elder), and Wudan (supporting).
旦堂 即女性角色。正旦、花旦、作旦、老旦，还有五旦。
39A EIGHT Y-NINTH SE ASONThe Shaoju Opera Style 二、绍剧的演艺规范
The performing art of Shaoju opera is typified by four key aspects:
singing (chang), dance-acting (zuo), stage speech (nian), and acrobatics
(da). These four aspects are restricted and regulated by the Shaoju opera
role type and the characters’ identities in the opera.
绍剧的场上表演艺术，通常以“唱、做、念、打”四个方面来概括。绍剧
的“唱、做、念、打”受绍剧角色行当总体上的制约和规范，又与饰演
的剧中人物、身份相联系。
Singing The singing of Shaoju opera is dominated by particular
melodies or tunes, which include Sanwuqi (Three, Five, Seven) and
Erfan, as well as Yanglu, Xilu, and Diaoqiang.
唱腔规范。绍剧的唱以【三五七】 、
【二凡】为主，兼及【扬路】 、【西路】
和调腔。
Stage Speech Shaoju opera, as a regional style from Shaoxing, is
performed in a local dialect.
念白规范。作为绍兴的地方戏——绍剧当然以绍兴方言为其戏剧语
言的基础。
Dance-Acting There are rules and regulations in dance-acting
for hand gestures (shou), eye techniques (yan), postures (shen),
fa (paradigms), and bu (stances).
做工规范。戏曲的场上做工，举手投足，无动不舞；舞有矩，动有规，
故有“手、眼、身、法、步”五法之称。
Acrobatics Acrobatics in Shaoju opera are similar to those in Peking
opera and divided into sparring with weapons (bazi-gong) and mat fight
training (tanzi-gong).
武打规范。绍剧的武打一如京剧，分为把子功与毯子功。
Shaoju opera, closely related to the folk customs of Shaoxing, is an inte-
gral part of its folk religion and customs.
绍剧的演出与绍兴的民风习俗紧密联系，是民间宗教、风俗的一个
组成部分。
NOVEMBER 2019–FEBRUARY 2020 39BTRADITIONAL CHINESE INSTRUMENTS
Erhu（二胡）
Erhu or Er-Hu (二胡), a two-string fiddle, is one of the most popular
erhu
Chinese instruments in the Huqin family. Hu stands for “foreign” or “the
northern folk” in Chinese, and “qin” is a general name for all types of
string instruments.
Sheng (笙) is a free-reed mouth organ consisting of varying numbers
of bamboo pipes inserted into a metal chamber (formerly made from
a gourd or type of hardwood) with finger holes. It is one of the oldest
Chinese instruments, with images depicting it dating back to 1100 b.c.e.
sh eng
Suona (唢呐), also called laba or haidi, is a Chinese sorna (double-reed
horn) with a distinctively loud and high-pitched sound, is used fre-
quently in traditional Chinese music ensembles, particularly those that
perform outdoors. It is an important instrument in the folk music of
northern China, particularly the provinces of Shandong and Henan,
where it has historically been used for festival and military purposes. It
is still used—in combination with sheng mouth organs, gongs, drums,
and sometimes other instruments—in wedding and funeral processions.
Such wind and percussion ensembles are called chuida, or guchui. It is
also common in the ritual music of southeast China. In Taiwan, it forms
an essential element of ritual music that accompanies Daoist perfor-
mances of rites for both the living and the dead.
su ona
Dulcimer（扬琴）
A dulcimer is a type of stringed percussion instrument commonly used
in China. The instrument has a broad range of uses, including solo,
ensemble, and opera accompaniment. An indispensable and frequently
featured instrument, the dulcimer often functions similarly to a key-
board or piano in folk ensembles and ethnic bands.
du lci mer
39C EIGHT Y-NINTH SE ASONYou can also read
