Opera in Concert Brahms's Violin Concerto in D Major, Op. 77
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MSM SY MPH O N Y O RCHE S TR A & MSM GR ADUATE O PER A THE ATRE present Opera in Concert Brahms’s Violin Concerto in D Major, Op. 77 an d Ravel’s L’enfant et les sortilèges, Concert Version George Manahan (BM ’73, MM ’76), Conductor Alexa Smith (MM ’10), Director Jaeook Lee (PS ’21, DMA candidate), violin Winner of the 2021–22 Eisenberg-Fried Competition This concert is presented in honor of the Baisley Powell Elebash Fund and in recognition of their long-time generosity. THURSDAY, JANUARY 26 , 202 3 | 7:3 0 PM FRIDAY, JANUARY 27, 202 3 | 7:3 0 PM NEID ORFF- K ARPATI HAL L
Students in this performance are supported by the Herbert R. and Evelyn Axelrod Scholarship, the Hans & Klara Bauer Scholarship for Cello, the Theodore H. Barth Foundation Scholarship, the Elizabeth Beinecke Scholarship, the Edgar Foster Daniels Scholarship in Voice, the Gart Family Foundation Scholarship, the Helen Fahnestock Hubbard Family Scholarship, the Robert Mann Endowed Scholarship for Violin and Chamber Studies, the Birgit Nilsson Scholarship, the Orvis Annual Opera Scholarship, the Jim Petercsak Annual Scholarship, the Paul Price Percussion Endowed Scholarship, the Judith Raskin Scholarship, and the Margaret Hoswell van Der Marck Scholarship in Opera. MSM Opera Theatre productions are made possible in part by the Joseph F. McCrindle Endowment for Opera Productions.
MSM SYMPHONY ORCHESTRA
& MSM GRADUATE OPERA THEATRE
George Manahan (BM ’73, MM ’76), Conductor
JOH A N N E S BR A H M S Violin Concerto in D Major, Op. 77
(1833–1897) Allegro non troppo
Adagio
Allegro giocoso, ma non troppo vivace — Poco più presto
Jaeook Lee (PS ’21, DMA candidate), violin
Intermission
M AU R IC E R AV E L L’enfant et les sortilèges (Concert version)
(1875–1937) Libretto by Colette
Performed in French
Alexa Smith (MM ’10), Director
Derrick Byars, Lighting Designer
Kristen Kemp, Head of Music in Opera for Vocal Arts & Coach-Pianist
Travis Bloom, Coach-Pianist
Ji Young Lee (PS ’03), Coach-Pianist
Eric Sedgwick (MM ’07), Coach-Pianist
Malcolm J. Merriweather (DMA ’15), Conductor, MSM Chamber Choir
Samantha Noonan (MM ’24 candidate), Production Stage Manager
Steven Jude Tietjen, Supertitles AuthorMSM SYMPHONY ORCHESTRA
George Manahan (BM ’73, MM ’76), Conductor
VIOLIN 1 Faith Borkowski Daniel Lail
Maïthéna Girault, Niskayuna, New York Hickory, North Carolina
concertmaster Luxi Wang Mei-Chi Wang
Montreal, Canada Guangyuan, China Taichung City, Taiwan
Jaycee Cardoso Carolyn Carr Chan Hee Kim
Huntington Station, Pittsburgh, Pennsylvania Busan, South Korea
New York
May Yu
Nini Giorgadze DOUBLE BASS
Calgary, Canada
Kutaisi, Georgia Wenjie Liao, principal
Xiaodan Zhang Chongqing, China
Messiah Ahmed
Beijing, China
Garland, Texas Aiden Johnson
Dacula, Georgia
Corinne Au VIOLA
Short Hills, New Jersey Ryan O’Shea, principal Binxuan Yu
West Islip, New York Changsha, China
Yulin Zhou
Guangzhou, Guangdong Martin Rojas Amaree Sanchez
Province, China Bethesda, Maryland Highland, California
Gayeon Lee Owne Xayboury
FLUTE
Seoul, South Korea Milwaukee, Wisconsin
Kamilla Dancsa *
Jackson Chang Yu-Chieh Lin Baja, Hungary
New Taipei City, Taiwan New Taipei City, Taiwan
Jonah Murphy
Yen-Chih Lin Wenbo Xin Brooklyn, New York
Taichung, Taiwan Beijing, China
Julie ( Jiwoo) Park
Cecilia Martin Jack Rittendale Seoul, South Korea
Columbus, Ohio St. Louis, Missouri
Lindsey Wong†
En-Hui Hsieh Cincinnati, Ohio
VIOLIN 2
Kaohsiung City, Taiwan
Naoko Nakajima,
OBOE
principal CELLO Joshua Owens *
New York, New York
Yunwen Chen, Austin, Texas
Jeremy Hao principal
Aaron
Tai Po, Hong Kong Nanjing, China
Haettenschwiller
Curtis Klippel Yoojin Lee Baltimore, Maryland
Salt Lake City, Utah Seoul, South Korea
Rebecca Nelsen
Caitlin Marshall Paul Maxwell Manorville, New York
Cheltenham, England Chagrin Falls, Ohio
Melody Shaffer †
Ella Lee Shannon Paek Asheville, North Carolina
Pohang-si, South Korea Plainville, New York
4CLARINET TRUMPET PERCUSSION
Ka Hei Chan * Benjamin Hambro * Hwanee Pak
Hong Kong, Hong Kong Egg Harbor Township, Columbia, Maryland
Jeongmin Hong† New Jersey Owen Bloomfield
Seoul, Korea Steven Haxel † Clifton Grove, Australia
Gabriel Henkin Dallas, Texas Josh Conklin
New York, New York Kyle Nix Basking Ridge, New Jersey
Thomas Shermulis Pontotoc, Mississippi Jay Walton
Tinley Park, Illinois East Lansing, Michigan
TROMBONE
Edward Dealecio † Glenn Choe
BASSOON
New York, New York Cedar Park, Texas
Devin Cohen †
Bolton, Connecticut Harry Ning HARP
Chaoyang Jing Changsha, Hunan, China Christina Kant
Taiyuan, Shanxi, China Jakob Larson Edmonton, Canada
Kennedy Plains * Minneapolis, Minnesota
KEYBOARD
Wylie, Texas
TUBA Shaobai Yuan, piano
Michael Quigley Fumiya Miyata † New York, New York
Toronto, Canada Osaka, Japan Hyungjin Choi,
Matthew Pauls celesta
TI M PA N I
Simi Valley, California Astoria, New York
Austin Cantrell
HORN Charlotte, North Carolina
Alexandra Arnold *
Annapolis, Maryland
Liam Lacey†
Torrance, California
Pei-Yu Lo
Changhua City, Taiwan
Zachary McIntyre
West Milford, New Jersey
B R AS S A N D W I N D PR I N C I PA L S
* BR A H M S Violin Concerto in D Major, Op. 77
† R AV E L L’enfant et les sortilèges
5L’ENFANT ET LES SORTILÈGES CAST
J A N U A R Y 2 6 JANUARY 27
L’enfant Jared Marshall Lingxing Zhou
Maman Hannah Jeané Jones Hannah Jeané Jones
u/s Qingya Ding
La princesse Yujin Zeng Katherine Malone
Le feu Shan Hai Eunjin Lee
Le fauteuil/L’arbre Fernando Watts Fernando Watts
La bergère Seul Lee Seul Lee
u/s Yixin Chen
L’horloge comtoise Liyuan Liu James C. Harris
La théière Moses Sunghyun Park Moses Sunghyun Park
u/s Fernando A. Silva-Gorbea
u/s Xianghao Wen
La tasse chinoise Daiyao Zhong Daiyao Zhong
u/s Ya Gao
Une pâtre Haolun Zhang Haolun Zhang
u/s Zixuan Zhang
Une pastourelle Sabrina Di Battista Sabrina Di Battista
u/s Young-hae Jeon
Le petit vieillard SeongBeom Choi SeongBeom Choi
u/s Xingxiang Liu
Les chiffres Sea Jeong Jang Sea Jeong Jang
Young-hae Jeon Young-hae Jeon
Chun Liu Chun Liu
Thea Xijia Zhang Thea Xijia Zhang
Yuhao Zhang Yuhao Zhang
Zixuan Zhang Zixuan Zhang
La chatte Chenxin Wang Chenxin Wang
u/s Yuhao Zhang
Le chat Johannes Linnebelle Johannes Linnebelle
u/s James C. Harris
La libellule Hannah Jeané Jones Qingya Ding
Le rossignol Yining Xie Yining Xie
u/s Shan Hai
La chauve-souris Chun Liu Chun Liu
u/s Huiying Chen
6J A N U A R Y 2 6 JANUARY 27
La rainette Xingxiang Liu Xingxiang Liu
u/s Isaiah Traylor
L’écureuil Ya Gao Ya Gao
u/s Yuhao Zhang
La chouette Nadine Nagyeong Lee Nadine Nagyeong Lee
u/s Huiying Chen
Une bête (Soprano) Daisy Dalit Sigal Daisy Dalit Sigal
u/s Xiqian Feng
Une bête (Alto) Zixuan Zhang Zixuan Zhang
Une bête (Tenor) Isaiah Traylor Isaiah Traylor
Une bête (Bass) Kwan Soon Yim Kwan Soon Yim
CORO
SOPRANO TENOR
Huiying Chen Xingxiang Liu
Yixin Chen Benjamin Ruiz
Xiqian Feng Fernando A. Silva-Gorbea
Jiayi Gao Hang Su
Young-hae Jeon Siyuan Tian
Jeonghye Kim Isaiah Traylor
Nadine Nagyeong Lee Xianghao Wen
Chun Liu
BASS
Jinjin Wang
James C. Harris
A LT O Johannes Linneballe
Ya Gao Jinyi Liu
Yiming Rao Liyuan Liu
Chenxin Wang Ross Macatangay
Weiyu Wang Bo Wang
Yuhao Zhang Fernando Watts
Zixuan Zhang Kwan Soon Yim
7MSM CHAMBER CHOIR
Malcolm J. Merriweather (DMA ’15), Conductor
SOPRANO TENOR
Brianna Marie Almonte Francisco Gomez
Maya Borisov Evan Katsefes
Szilvi Cimino Bingkai Meng
Zihe Guo Brandon Pencheff-Martin
Amelie Jacobs Mercer Sadlier
Molly Ann Killough
BASS
Mary Margaret McNeil
Saviah Miller Luke Randazzo
Emily Mun Brendon Rapushaj
Madeline Pope Quinlan Sellars
Yina Qiao Jacob Soulliere
Jennifer Robinson
Daisy Dalit Segal
Kayla Thomas
Karina Vartanian
A LT O
Grace Foulsham
AJ Rivera Johnson
Esther Lee
Wing Tung Lei
Adaiah Naji Ogletree
Ja’hlil Pembleton
Xitong Wang
Aliyah Wendelbo
8PROGRAM NOTES
Violin Concerto in D Major, Op. 77
Johannes Brahms
Brahms composed his Violin Concerto in D Major in the summer of 1878 in
Pörtschach on Lake Wörth, the same charming Austrian village where the previous
summer he had composed another great D major work, his Second Symphony. Like
Beethoven, Mendelssohn, and others before and after him, Brahms wrote his Violin
Concerto with a famous violinist in mind—in this case his friend and virtuoso
violinist Joseph Joachim. On August 24, 1878, Brahms sent Joachim the violin part
of the first movement of the Concerto, saying that there would be four movements
and asking him in customary self-deprecatory manner if he would make technical
comments.
Naturally Joachim was overjoyed and spent much time over the Concerto,
responding with suggestions in letters and in person when the two met in Hamburg
in September for the performance of the Second Symphony, with Brahms
conducting and Joachim as concertmaster. Brahms spent much of that fall shaping
the Concerto and in November wrote Joachim that “the middle movements
have fallen out—naturally they were the best! I am having them replaced by a
feeble Adagio,” Brahms’s amusing way of describing one of his most inspired slow
movements. (Scholars believe one of the discarded movements, a scherzo, was later
reworked for the Second Piano Concerto in B-flat Major, Op. 83.) Though Joachim
did not receive the definitive solo part until December 12, and apparently not even
the score by that point, he had sufficient faith in Brahms to have programmed the
work for New Year’s Day at the Leipzig Gewandhaus.
Occasionally Joachim’s painstaking suggestions were taken by the composer; more
often they were overruled or provided the impetus for an entirely new solution.
This process is well documented in the correspondence and Brahms’s many-
layered emendations in the manuscript, a facsimile of which was published by the
Library of Congress in 1979. Following Classical concerto tradition and confident
in his friend’s abilities, Brahms composed no cadenza for the first movement. The
cadenza supplied by Joachim is most frequently performed, though others have
been written, including those by Busoni and Tovey.
The Leipzig premiere was accorded respect but not enthusiasm; the Concerto
fared slightly better in Vienna, after which Brahms wrote his friend Elisabet von
Herzogenberg that “The cadenza went so magnificently at our concert here that the
people clapped right on into my coda.” Joachim, delighted with his new solo vehicle,
quickly obtained the composer’s permission (and the score and parts) to perform
9the Concerto at the Crystal Palace in London on January 24, 1879; it was there
that the Concerto won its first resounding success.
Bowing to Classical tradition, Brahms opened the Concerto with a long
orchestral introduction, almost an exposition in its own right. The main theme
is already present in the opening measures, immediately imparting a warm glow.
This movement resembles the first movement of its predecessor, the D Major
Symphony, in its spacious design and leisurely 3/4 meter.
The slow movement is especially noteworthy for its variation techniques. The
exquisite main theme, played at the outset by the oboe supported by the other
wind instruments, is expanded with the soloist’s entry so that the first four-
bar phrase becomes six bars and the next four-bar phrase eight. The violin
throughout is concerned with artful embellishments and elaborations of the
main melodic material.
The rondo finale abounds in Hungarian-style melodies, rhythmic effects,
syncopations, and double stops in homage to Hungarian-born Joachim. Joachim
had written a Concerto in the Hungarian Manner that he dedicated to Brahms, and
Brahms had employed Hungarian features in several other compositions, notably
the finale of his G Minor Piano Quartet, about which Joachim had commented
that Brahms had beaten him at his own game. Brahms’s ingenious variation
technique is apparent here in the statements of the rondo theme, the last of which
takes on a marchlike character in 6/8 meter. The exuberant revelry contains its own
winding down in the last measures of the coda before the final affirmative chords.
L’enfant et les sortilèges
Maurice Ravel
Hoping for something avant-garde and “capable of engaging, touching, and moving
our younger audience,” Paris Opéra director Jacques Rouché enlisted writer and
actress Colette (known simply by her surname) in late 1915 or early 1916 to write
the scenario for a “fantasy-ballet.” One of the most influential French writers of
the 20th century and a future Nobel Prize winner, Colette penned what she called
Ballet pour ma fille (Ballet for my daughter) in 1916 with a speed that she said was
unusual for her. Pleased with her scenario, Rouché tried to interest Dukas and
Stravinsky, who were unavailable, and went on to suggest a long list of composers.
Colette expressed approval only when at last he mentioned Ravel, whom he hadn’t
suggested earlier out of worry that he “might take a long time to say yes.”
Ravel did accept the commission, but he was serving his country during World War
I as a motor corps driver, and the copy of the script never reached him at the front.
He received another copy at home when he was discharged, but his life, already
disturbed by war and illness, was turned upside-down in January 1917 by the death
10of his mother, who was his main emotional support. His period of “horrible despair”
stretched into years of reduced productivity. Colette wondered what had become
of their project, which Ravel now envisioned as an opera rather than a ballet.
From the start Ravel had in mind something “in the spirit of an American
operetta” with a wide range of styles justified by the freedom of Colette’s
libretto. Later he would say, “There is a bit of everything in it. There is a little of
Massenet, of Puccini, of American music, and of Monteverdi.” He anticipated
critical censure for this mix but knew Colette embraced it as he did.
Colette heard from Ravel only once, in February 1919, saying he had been thinking
about their opera even though he hadn’t written a note of music. He wondered what
she thought of expanding the squirrel’s dialogue and having the cup and teapot,
in old black Wedgwood, sing a ragtime—in Black American slang (instead of the
Auvergne dialogue she had written for a bourrée). She replied enthusiastically,
saying, “But certainly ragtime! . . . What a terrific gust from the music hall to stir
up the dust of the Opéra! . . . And the squirrel will say everything you wish.”
But then—silence for another five years. At last, Ravel called on her in 1924 with
the work completed. She recalled being amazed that he didn’t even think of
playing any of it for her, and that all he seemed concerned about was the cat duet
and whether they should be singing “mouâo” or “mouain.” Ravel had made the
final push to finish what was now called L’enfant et les sortilèges (The Child and the
Spells) by the end of 1924 on account of a hard and fast deadline—the opera would
be presented at Monte Carlo on March 21, 1925. Ravel was delighted in Vittorio de
Sabata as an “extraordinary” conductor, the “marvelous” orchestra, the excellence
of the singers, and the enthusiasm of director Raoul Gunsbourg. The young
George Balanchine choreographed the dances, and Ravel himself played piano for
rehearsals, but he did not mention the dancers in his glowing report because he was
in a dispute with Diaghilev, whose dancers were the resident company.
The production’s unabashedly enthusiastic reception was contrasted almost a
year later by its stormy reception in Paris at the Opéra-Comique. (How Rouché
lost the premiere of his commission and how its first Paris performance took
place at the Opéra-Comique rather the Paris Opéra has never come to light.) The
Paris critics were divided as to the opera’s merits, and as to the audience, Colette
wrote to her daughter: “L’enfant et les sortilèges is playing twice a week before a
packed but turbulent house. The partisans of traditional music do not forgive
Ravel for his instrumental and vocal audacities. The modernists applaud and boo
the others, and during the ‘meowed’ duet there is a dreadful uproar.”
The story revolves around a naughty child, who is impudent to his mother, tortures
his pets, and destroys everything in his room. When the exhausted child tries to
sink into an armchair, all of these objects come to life and turn against him. In
11the garden, the animals and insects also remind him of how he has mistreated
them. Afraid and lonely, he cries out “Maman” (Mother), which only infuriates the
animals further. In the ensuing frenzy a squirrel is hurt and the child binds up its
wounded paw. This show of compassion immediately changes the animals’ opinion
of him, and they realize they can help the child by imitating the cry for his mother.
All of his life Ravel was attracted to the worlds of children, animals, and magic,
so the opportunity to bring Colette’s enchanted characters to life with musical
imagery elicited one of the most witty and touching manifestations of his
genius. The sheer number of characters gave an unusually broad range for his
skills as a parodist and miniaturist. He drew on the early beginnings of jazz
(the “ragtime” is actually a foxtrot) for the Teapot (black Wedgwood) and Cup
(changed to Chinese porcelain), who sing a humorous mixture of French, English,
and pseudo-Chinese. Just as adeptly, he wrote a coloratura aria for the Fire,
which he contrasts immediately with simple folklike music for the Shepherds
and Shepherdesses. In the chain of waltzes—for the Dragonfly, the Bat, and the
Frogs—he imbues each with a delightful character of its own.
Just as impressive are Ravel’s skills as an orchestrator. In general, combinations
of winds and brass dominate the scenes with the objects in the room and of
the child’s tantrum, whereas strings become much more present in the natural
world and with the progress toward remorse and tenderness. Though he uses a
large orchestra, he often reduces the scoring to a chamber-sized ensemble with
remarkable combinations of instruments. The opening, for example, he scores for
oboes with a solo double bass playing high harmonics. For the Teapot and Cup’s
duet he comically employs contrabassoon, bass trombone, bass clarinet, and tuba at
the start, adding piano, celesta, other winds and brass, and a plethora of percussion,
including tambourine, whip, xylophone, wood block, and cheese-grater(!) as the
foxtrot progresses. He also uses the wind machine aptly when the Fire leaps out of
the fireplace and when the Trees interact with the Child. His conjuring of owls and
nightingales in the moonlit garden with slide whistle and piccolo is magical.
Above all, songfulness abounds in L’enfant et les sortilèges, which Ravel himself
called a “lyrical fantasy,” governed by “a striving for melody.” He reaches the
epitome of this striving in the lovely aria of the storybook Princess in duet with
solo flute and in the ensuing brief but heart-melting monologue of the Child,
“Toi, le coeur de la rose” (You, the heart of the rose).
Posterity has embraced both Colette’s libretto and Ravel’s score as masterpieces.
His second of only two operas (L’heure espagnole was his first), L’enfant et les
sortilèges shows Ravel at the height of his compositional prowess, making it
infinitely regrettable that he never wrote another opera.
—Program notes ©Jane Vial Jaffe
12SYNOPSIS
Afternoon in a room in an old-fashioned house in the country that opens onto a garden
A young boy, lazy and distracted, is making feeble attempts to complete his
homework. His mother enters to find very little done. Exasperated, the mother
declares that the obstreperous boy will stay locked in his room to think about his
naughtiness until supper. When she leaves, the child throws a temper tantrum,
delighting in his own bad behavior and abusing the various objects in the room.
Suddenly, the furniture comes alive to say it has had enough of the child. The
broken clock, too, is tired of the bad boy. So are the cracked Chinese teacup and
Wedgwood teapot. From the fireplace, the fire itself declares it will warm only
good children—bad ones will be burnt. The child is then visited by a shepherd
and shepherdess. And a princess the child has dreamt about despairs that he has
separated her from her story. The lesson book comes to life and arithmetic berates
the child. Dazed by the attack of numbers, fractions, and multiplication tables, the
child believes he will be comforted by the cats. They lure him into the garden.
A nocturnal serenade of various animals and insects greets the child. A tree
chastises him for the wound he cut into its bark and a dragonfly calls to her lost
mate. The child realizes he has pinned the other dragonfly to his wall. A bat
hopes her mate will return to the nest of their little ones, but the child has killed
him, too. A frog is warned about the cage by a squirrel who has spent time in it.
The child tells the squirrel it was only so that he could observe the squirrel more
closely. The child is excluded from this loving world of the animals and calls out
for his mother in his loneliness.
The animals all decide to take revenge on the child and attack him. In the frenzy,
the squirrel is wounded. The child binds the squirrel’s wound and falls back weakly.
The realization that he has acted with compassion causes the animals to want
to help the child. They remember the word he cried and try to imitate him. The
animals deliver the child back to the house, where he utters a final “Maman.”
–Synopsis ©Jane Vial Jaffe
13A NOTE FROM THE DIRECTOR:
REIMAGINING L’ENFANT
Fantasy is an essential dimension of operas cherished by its audiences. In the case of
L’enfant, we meet a series of furniture, toys, and animals who spring to life following
a child’s temper tantrum—his mother has done the unthinkable and asked him to
complete some homework. Having children of my own—most of the props were
furnished by my 4-year-old daughter—I was excited to bring a centered sense of play
to our semi-staged production. What a delight for the students to create larger-than-
life characters mere inches away from their classical performance colleagues.
The fantasy world offered in Ravel and Colette’s L’enfant et les sortilèges presents a
moment to revisit the world of children’s imagination. Audiences have long treasured
the fantastical worlds that creators have brought to the stage over the centuries—
from Wagner’s Der Ring des Nibelungen to Mozart and Schikaneder’s Die Zauberflöte,
and even the early operas, such as Francesca Caccinia’s La liberazione di Ruggiero
dall’isola d’Alcina, in which a sorceress enters on the backs of dolphins. However, the
fantasy characteristic of Ravel’s era is closer to the human experience and works to
evoke deeper feelings. Stories like Puccini’s Madama Butterfly or Turandot deliver
a decidedly romantic and tragic saga rich with inaccuracies and appropriation.
Their European perspective may translate poorly to modern audiences. It is easy to
feel uneasy watching certain depictions of the era, especially with Asian or Black
characters represented. The magic can even be interrupted entirely by something
as seemingly benign as stage makeup. At the same time, I cannot imagine a world
without the beauty of the Humming Chorus from Butterfly or L’enfant’s delightful
duet of the teapot and teacup. There may be a time when we feel different, but in our
School, we choose to lean in.
We set this piece in motion nearly a year ago. Dean of Vocal Arts Carleen Graham
was determined to use the scene with the Black teapot and the Chinese teacup
as a learning opportunity for our students. We engaged them in discussions of
orientalism in opera and depictions of Black and Asian cultures on the opera stage
and worked with them to choose how to embody these roles. We used former MSM
Artist Citizen in Residence Phil Chan’s quadrant framework of Character vs.
Caricature to check in on our character work. Furthermore, we held a department-
wide workshop to help our students think through how they make character
decisions as artists in operas with outdated and offensive cultural content. We are
very proud of their willingness to be courageous in these discussions.
We are thrilled to bring you just a little bit of magic to start your new year.
–Alexa Smith
14ABOUT THE ARTISTS
George Manahan (BM ’73, MM ’76), Conductor
George Manahan is in his 12th season as Director of Orchestral Activities at
Manhattan School of Music, as well as Music Director Emeritus of the American
Composers Orchestra. He served as Music Director of the New York City
Opera for 14 seasons and was hailed for his leadership of the orchestra. He was
also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient
of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also
honored by the American Society of Composers and Publishers (ASCAP) for his
“career-long advocacy for American composers and the music of our time.” His
Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed
by audiences and critics alike. “The fervent and sensitive performance that
Mr. Manahan presided over made the best case for this opera that I have ever
encountered,” said the New York Times.
Mr. Manahan’s guest appearances include the Orchestra of St. Luke’s, Atlanta,
San Francisco, Hollywood Bowl, and New Jersey, where he served as acting Music
Director for four seasons. He has been a regular guest with the Curtis Institute and
the Aspen Music Festival and has appeared with the opera companies of Seattle,
Philadelphia, San Francisco, Chicago, Santa Fe, Paris, Sydney, Bologna, St. Louis,
the Bergen Festival (Norway), and the Casals Festival (Puerto Rico). His many
appearances on television include productions of La bohème, Lizzie Borden, and
Tosca on PBS. The Live from Lincoln Center telecast of New York City Opera’s
production of Madama Butterfly, under his direction, won a 2007 Emmy Award.
George Manahan’s wide-ranging recording activities include the premiere
recording of Steve Reich’s Tehillim for ECM; recordings of Edward Thomas’s
Desire Under the Elms, which was nominated for a Grammy; Joe Jackson’s Will
Power; and Tobias Picker’s Emmeline. He has conducted numerous world
premieres, including Charles Wuorinen’s Haroun and the Sea of Stories, David
Lang’s Modern Painters, Hans Werner Henze’s The English Cat, Tobias Picker’s
Dolores Claiborne, and Terence Blanchard’s Champion.
He received his formal musical training at Manhattan School of Music, studying
conducting with Anton Coppola and George Schick, and was appointed to the
faculty of the school upon his graduation, at which time the Juilliard School
awarded him a fellowship as Assistant Conductor with the American Opera Center.
Mr. Manahan was chosen as the Exxon Arts Endowment Conductor of the New
Jersey Symphony the same year he made his opera debut with the Santa Fe Opera,
conducting the American premiere of Arnold Schoenberg’s Von Heute auf Morgen.
15Alexa Smith (MM ’10), Director
Alexa Smith serves as Associate Vice President for Strategic Innovation and
Special Initiatives at Manhattan School of Music. She oversaw the creation of
and led MSM’s Cultural Inclusion Initiative which fosters diversity, equity, and
inclusive practices throughout the school. She previously served as Interim Dean
of Performance and Production, overseeing all elements of all performances
and stage productions. She is the 2021 recipient of the Sphinx Venture Fund
Award to develop the Duncan-Williams Voice Competition in partnership with
MSM and New York City Opera. The competition serves Black and Latinx
singers of any age and aims to eliminate barriers by providing funds to create
audition materials and fully fund travel expenses. She holds degrees in voice
from Roosevelt University and Manhattan School of Music and an MBA from
Boston University. She is an alumna of the SphinxLEAD Program, a two-year
professional empowerment program designed to evolve the landscape of arts
leadership for leaders of color.
Jaeook Lee (PS ’21, DMA candidate), violin
Winner of the 2021–22 Eisenberg-Fried Competition, violinist Jaeook Lee,
currently a DMA candidate under the tutelage of Mark Steinberg at Manhattan
School of Music, has garnered international accolades for his “exceptionally
sensitive and creative sound.” Most recently, he won third prize at the Munetsugu
Angel Violin Competition, which generously awarded him a loan of the “Ex-
Shultz” 1831 Giovanni Francesca Pressenda violin. Past awards include the Special
Prize at the Yehudi Menuhin International Violin Competition. He was the
recipient of the Robert Mann Scholarship at Manhattan School of Music from
2020 to 2022.
Born in South Korea, Jaeook began his musical studies early in his home country.
His early success included a prize-winning performance of Tchaikovsky’s Violin
Concerto at the Great Mountains International Music Festival and top prizes
at national competitions. In 2008, Jaeook was honored to represent the Kumho
Cultural Foundation as a Kumho Young Artist and to be awarded a Kumho
Artist Residency. He made his American debut the same year at Lincoln Center,
performing the Vieuxtemps Violin Concerto No. 4 at Alice Tully Hall. He has
since given recitals internationally at various venues, including Kumho Art Hall,
Paul Hall, Merkin Hall, and Munetsugu Hall, and concertizes regularly with the
Harvard Society.
16Jaeook has performed at numerous festivals, including a broadcast appearance on
Good Day Chicago with the Ravinia Steans Music Institute. He performed in the
premiere of Bernard Rand’s String Quartet No. 3. In 2012 and 2013, Jaeook also
attended the Verbier Academy Festival in Switzerland.
Jaeook received his Bachelor of Music degree from the Juilliard School and Master
of Music degree from the New England Conservatory. He has taken lessons and
master classes from notable violinists such as Ana Chumachenco, Cho-Liang
Lin, Zakhar Bron, Mihaela Martin, Gábor Takács-Nagy, and Pamela Frank. His
principal teachers and mentors have included Glenn Dicterow, Lisa Kim, Kyung-
Wha Chung, Sylvia Rosenberg, Donald Weilerstein, and Miriam Fried.
Derrick Byars, Lighting Designer
Derrick Byars, a professional writer, composer, director, and theatre artist,
currently serves as Director of Production at Manhattan School of Music.
Derrick has directed and produced many shows and concerts in New York, most
notably an immersive production of Andrew Lippa’s The Wild Party and Make
Them Hear You: A Celebration of African-American Musical Theatre at 54 Below.
Derrick is currently a member of the Tony Award-winning BMI Lehman Engel
Musical Theatre Advanced Workshop. His musical The Pact was a finalist for
the 2022 National Musical Theatre Conference at the Eugene O’Neill Theatre.
Derrick is also the founder of MOSAIX, an organization dedicated to helping
the voices of theatre artists of color be heard. As a composer, lyricist, and book
writer, Derrick wants his work to be diverse and eclectic, with a strong message
that helps us move forward.
Instagram: @derrickbyars
Kristen Kemp, Head of Music in Opera for Vocal Arts
& Coach-Pianist
A Florida native, vocal coach and pianist Kristen Kemp has worked with numerous
opera companies throughout the United States, including Cincinnati Opera,
Michigan Opera Theater, Sarasota Opera, Indianapolis Opera, Utah Festival
Opera, Martina Arroyo’s Prelude to Performance Program, and Opera North, as
well as the Opera Theatre of Lucca, Italy, in association with the University of
Cincinnati Conservatory. Kristen served on the music staff of Sarasota Opera from
2003 to 2015, where she was also the Studio Artist Director for her last five seasons.
As a member of the coaching staff for Sherrill Milnes’s VOICExperience, Kristen
has worked with the programs in New York, Florida, and Savannah since 2010.
Since moving to New York City in 2013, she has been a frequent performer and
17collaborator at the Mannes School of Music and Hunter College and in numerous
concerts with piano and orchestra at Carnegie Hall and David Geffen Hall. Kristen
Kemp joined Manhattan School of Music as an Opera Theatre coach in 2018
and was named Head of Music in Opera for Vocal Arts in 2021. She received her
Master’s degree in collaborative piano and her Artist Diploma in opera coaching
from the University of Cincinnati College Conservatory of Music.
Malcolm J. Merriweather (DMA ’15), Conductor,
MSM Chamber Choir
Grammy-nominated conductor and baritone Malcolm J. Merriweather is
Director of the New York Philharmonic Chorus and Music Director of New
York City’s Dessoff Choirs. He joined the faculty of Manhattan School of Music
in 2022 and is an Associate Professor at Brooklyn College.
He has conducted ensembles in venues that include Carnegie Hall, Lincoln
Center, the Metropolitan Museum of Art, Madison Square Garden, Westminster
Abbey, and the Vatican prior to the election of Pope Francis. His repertoire
covers everything from Bach to the world premiere recording of The Ballad of the
Brown King by Margaret Bonds (AVIE Records).
Dr. Merriweather has been featured as a soloist throughout the United States and
has premiered dozens of contemporary solo works. He studied with Rita Shane
and was a fellowship recipient at Tanglewood. Dr. Merriweather has earned
degrees from Eastman, Manhattan School of Music, and Syracuse University.
malcolmjmerriweather.com
Travis Bloom, Coach-Pianist
Travis Bloom is a sought-after vocal coach and collaborative pianist in New York
City. He recently was on the music staff for the highly anticipated return of Gordon
and Nottage’s Intimate Apparel at Lincoln Center. He has served as an artistic
staff member at Manhattan School of Music since 2017, collaborating for both
the opera and voice departments. For the past three summers, he has worked as a
faculty coach with the Chautauqua Institute Voice Program under the direction of
Marlena Malas. During his time at Chautauqua, he worked closely with composers
Ricky Ian Gordon and Ben Moore, presenting recitals of their music. He has also
accompanied master classes with Renée Fleming, Susan Graham, Craig Rutenberg,
Thomas Hampson, Isabel Leonard, and Anthony Roth Costanzo. Since moving
to NYC in 2016, Mr. Bloom has been a staff pianist for the Bronx Opera Company
and the International Vocal Arts Institute under the direction of Joan Dornemann
and Paul Nadler. Since 2018, he has worked with the Metropolitan Opera Guild as a
18pianist for their master class series. This past summer, Mr. Bloom joined the music
staff of Opera Saratoga and the Berkshire Opera Festival.
Ji Young Lee (PS ’03), Coach-Pianist
Ji Young Lee is an accomplished musician with extensive experience as a solo
pianist and vocal coach. A recital coach at Manhattan School of Music since
2009, she joined MSM Graduate Opera Theatre in 2022. She is also an adjunct
faculty member and the music director for the opera productions at New York
University and works as a vocal coach for Classical Voice Intensive at NYU
during the summer.
In the past, she has taught at Chautauqua Institution’s summer music festival and
Hawaii Performing Arts Festival and been an apprentice coach at San Francisco
Opera Merola Program. Ms. Lee’s performances include concerts at Carnegie
Hall, Steinway Hall, Merkin Hall, and Alice Tully Hall. She has served as the
pianist for numerous master classes, including those of Marilyn Horne, Graham
Johnson, Fedora Barbieri, Lauren Flanigan, Jane Eaglen, Tom Krause, Steven
Blier, Lucia Albanese, Robert Lloyd, and Shirley Verrett.
Born in South Korea, Ms. Lee earned her Bachelor of Music degree from Yonsei
University in Seoul and a Master of Music degree in collaborative piano from the
Juilliard School, where she was awarded the George A. Wedge Prize and three
merit scholarships. Ms. Lee holds Professional Studies Certificates from the
Juilliard School and Manhattan School of Music. She is a fellowship recipient
and past attendee at the Music Academy of the West, where she won the 2000
Marilyn Horne Foundation Competition.
Eric Sedgwick (MM ’07), Coach-Pianist
Eric Sedgwick has performed with many of music’s top talents, including Leona
Mitchell, Sanford Sylvan, Marni Nixon, Nicholas Phan, and Laquita Mitchell;
Broadway leading ladies Sarah Rice, Carole Demas, and Debra Monk; and
English hornist Thomas Stacy of the New York Philharmonic. Currently a staff
vocal coach at Manhattan School of Music and a faculty coach at the Tanglewood
Music Center, he has served as rehearsal pianist for the Boston Symphony
Orchestra under the batons of Michael Tilson Thomas, Bramwell Tovey, John
Williams, and Andris Nelsons. He is also a regular pianist for programming at
the Met Opera Guild and has been an artistic contributor to the Opera Theatre
of Saint Louis, Omaha Opera, LA Opera, Bard Summerscape, and Beth Morrison
Projects. He is a graduate of Manhattan School of Music and Brown University.
19Samantha Noonan, Production Stage Manager
Samantha Noonan, a native Nebraskan, has been working as a stage manager
and assistant stage manager since she arrived in New York City in January 2019.
A graduate vocal performance student under the tutelage of Joan Patenaude-
Yarnell, Ms. Noonan was most recently the assistant stage manager for City Lyric
Opera’s production of Uncovered (2022) and the stage manager for a production
of La Traviata with the Lighthouse Opera Company (2022). She is also currently
working as a stagehand for MSM’s production crew.
samanthanoonan.com
CAST
Huiying Chen Jiayi Gao
Coro, u/s La chouette, Coro
u/s La chauve-souris MM antic. ’23
MM antic. ’23 Jiangsu, China
Weihai, Shandong Province, China Student of Catherine Malfitano
Student of Shirley Close
Ya Gao
Yixin Chen L’écureuil, Coro, u/s La tasse chinoise
Coro, u/s La bergère MM antic. ’24
MM antic. ’23 Shenzhen, China
Shenzhen, China Student of Cynthia Hoffmann
Student of Edith Bers
Shan Hai (BM ’20, MM ’22)
SeongBeom Choi Le feu, u/s Le rossignol
Le petit vieillard PS antic. ’23
MM antic. ’24 Beijing, China
Seoul, South Korea Student of Marlena Malas
Student of Shirley Close Upcoming: Merola Young Artist
Program, San Francisco, Summer 2023
Sabrina Di Battista
Une pastourelle James C. Harris
MM antic. ’23 L’horloge comtoise, Coro, u/s Le chat
Toronto, Canada MM. antic. ’23
Student of Harolyn Blackwell Manassas, Virginia
Upcoming: Flight (Tina), Opera Student of Sydney Outlaw
NUOVA
Sea Jeong Jang
Qingya Ding Les chiffres
La libellule, u/s Maman MM antic. ’23
MM antic. ’23 Seoul, South Korea
Taiyuan, China Student of Joan Patenaude-Yarnell
Student of Cynthia Hoffmann
Young-hae Jeon
Xiqian Feng Les chiffres, Coro, u/s Une pastourelle
Coro, u/s Une bête MM antic. ’24
MM antic. ’23 Seoul, South Korea
Beijing, China Student of Ruth Golden
Student of Marlena Malas
20Hannah Jeané Jones Liyuan Liu
Maman, La libellule L’horloge comtoise, Coro
MM antic. ’24 MM antic. ’24
Houston, TX Yancheng, China
Student of Ashley Putnam Student of Cynthia Hoffmann
Upcoming: Treemonisha (Monisha cover),
Xingxiang Liu
Gerdine Young Artist, Opera Theatre
La rainette, Coro, u/s Le petit vieillard
of Saint Louis
MM antic. ’23
Jeonghye Kim (MM ’20) Shanghai, China
Coro Student of Dimitri Pittas
PPD antic. ’23
Ross Macatangay (BM ’22)
Seoul, South Korea
Coro
Student of Catherine Malfitano
MM antic. ’24
Eunjin Lee New York, New York
Le feu Student of Mark Schnaible
MM antic. ’23
Katherine Malone
Seoul, South Korea
La princesse
Student of Marlena Malas
MM antic. ’23
Nadine Nagyeong Lee Greenville, South Carolina
La chouette, Coro Student of Marlena Malas
MM antic. ’24 Upcoming: Suor Angelica (Suor
Daegu, South Korea Genovieffa), Chautauqua Opera
Student of Ruth Golden Conservatory
Seul Lee Jared Marshall
La bergère L’enfant
MM antic. ’24 MM antic. ’24
Seoul, South Korea Clinton, Maryland
Student of Shirley Close Student of Joan Patenaude-Yarnell
Johannes Linneballe Moses Sunghyun Park
Le chat, Coro La théière
MM antic. ’24 MM antic. ’24
Copenhagen, Denmark Seoul, South Korea
Student of Dimitri Pittas Student of Mark Schnaible
Upcoming: 22–23 Metropolitan Opera
Chun Liu
Laffont Competition, Eastern Region,
Les chiffres, La chauve-souris, Coro
March 2023
MM antic. ’24
Shenzhen, China Yiming Rao
Student of Chris Nomura Coro
MM antic. ’24
Jinyi Liu
Nanchang, China
Coro
Student of Catherine Malfitano
MM antic. ’23
Wuhan, China Benjamin Ruiz
Student of Chris Nomura Coro
MM antic. ’23
Harlingen, Texas
Student of Dimitri Pittas
21Fernando A. Silva-Gorbea Xianghao Wen (MM ’22)
Coro, u/s La théière Coro, u/s La théière
MM antic. ’24 PS antic. ’23
Trujillo Alto, Puerto Rico Shanghai, China
Student of James Morris Student of Joan Patenaude-Yarnell
Hang Su Yining Xie
Coro Le rossignol
MM antic. ’24 BM antic. ’24
Jining City, Shandong Province, China Changchun, China
Student of Mark Schnaible Student of Cynthia Hoffmann
Upcoming: L’incoronazione di Poppea
Siyuan Tian
(Poppea), Manhattan School of Music,
Coro
May 2023
MM antic. ’23
Shijiazhuang, China Kwan Soon Yim
Student of Chris Nomura Une bête, Coro
MM antic. ’24
Isaiah Traylor
Daejeon, South Korea
Une bête, Coro, u/s La rainette
Student of James Morris
MM antic. ’24
Tupelo, Mississippi Yujin Zeng
Student of Shirley Close La princesse
PS antic. ’23
Bo Wang
Pingxiang, China
Coro
Student of Marlena Malas
MM antic. ’23
Upcoming: Chautauqua Opera
Shenzhen, China
Conservatory, Summer 2023
Student of Mark Schnaible
Haolun Zhang
Chenxin Wang
Une pâtre
La chatte, Coro
MM antic. ’24
MM antic. ’23
Chengdu, China
Kaifeng, China
Student of Joan Patenaude-Yarnell
Student of Ruth Golden
Thea Xijia Zhang
Jinjin Wang
Les chiffres
Coro
MM antic. ’23
PPD antic. ’23
Beijing, China
Chongqing, China
Student of Catherine Malfitano
Student of Sidney Outlaw
Yuhao Zhang
Weiyu Wang
Les chiffres, Coro, u/s L’écureuil,
Coro
u/s La chatte
MM antic. ’24
MM antic. ’24
Peking, China
Henan, China
Student of Mary Dunleavy
Student of Mark Schnaible
Fernando Watts (BM ’22)
Zixuan Zhang
Le fauteuil/L’arbre, Coro
Les chiffres, Une bête, Coro,
MM antic. ’24
u/s Une pâtre
Bridgetown, Barbados
MM antic. ’24
Student of Sidney Outlaw
Heilongjiang, China
Student of Ruth Golden
22Daiyao Zhong (BM ’19) Lingxing Zhou
La tasse chinoise L’enfant
MM antic. ’23 MM antic. ’23
Guangzhou, China Changde, China
Student of Mignon Dunn Student of Cynthia Hoffmann
MSM Chamber Choir
Coro Members
Brianna Marie Almonte Evan Katsefes
BM ’26 BM ’25
Queens, New York New York, New York
Student of Cynthia Hoffmann Student of Marlena Malas
Maya Borisov Molly Ann Killough
BM ’26 BM ’25
Princeton, New Jersey Philadelphia, Mississippi
Student of Nirmali Fenn Student of Catherine Malfitano
Szilvi Cimino Esther Lee
BM ’26 BM ’25
Fairfield, Connecticut Bayside, New York
Student of Mark Stambaugh Student of Ruth Golden
Grace Foulsham Wing Tung Lei
BM ’25 BM ’26
West Chester, Pennsylvania Macau, China
Student of Mary Dunleavy Student of Wael Farouk
Francisco Gomez Mary Margaret McNeil
BM ’26 BM ’26
Buenos Aires, Argentina St. Marys, Georgia
Student of Dimitri Pittas Student of Marlena Malas
Zihe Guo Bingkai Meng
BM ’26 BM ’25
Guangzhou, China Beijing, China
Student of Alexandre Moutouzkine Student of Chris Nomura
Amelie Jacobs Saviah Miller
BM ’26 BM ’25
Brooklyn, New York Florence, South Carolina
Student of Harolyn Blackwell Student of Ruth Golden
AJ Rivera Johnson Emily Mun
BM ’26 BM ’25
Berkeley California Busan, South Korea
Student of Sidney Outlaw Student of Joan Patenaude-Yarnell
23Adaiah Naji Ogletree Quinlan Sellars
BM ’26 BM ’26
Houston, Texas Huntington, New York
Student of Ashley Putnam Student of Mark Schnaible
Ja’hlil Pembleton Daisy Dalit Sigal
BM ’25 Une bête
Philadelphia, Pennsylvania BM ’26
Student of Catherine Malfitano Montreal, Canada
Student of Marlena Malas
Brandon Pencheff-Martin
BM ’25 Jacob Soulliere
Marcellus, New York BM ’25
Student of Dimitri Pittas Carefree, Arizona
Student of Ashley Putnam
Madeline Pope
BM ’26 Kayla Thomas
Marriottsville, Maryland BM ’25
Student of Catherine Malfitano Rockaway, New Jersey
Student of Ruth Golden
Yina Qiao
BM ’25 Karina Vartanian
Beijing, China BM ’25
Student of Ruth Golden West Islip, New York
Student of Joan Patenaude-Yarnell
Luke Randazzo
BM ’26 Xitong Wang
Cincinnati, Ohio BM ’26
Student of James Morris Shandong, China
Student of Wael Farouk
Brendon Rapushaj
BM ’25 Aliyah Wendelbo
Bronx, New York BM ’26
Student of Ruth Golden Hillsborough, North Carolina
Student of Catherine Malfitano
Jennifer Robinson
BM ’25
Lakeland, Florida
Student of Shirley Close
Mercer Sadlier
BM ’26
The Woodlands, Texas
Student of Dimitri Pittas
24MSM PERFORMANCE AND
PRODUCTION OPERATIONS
Madeline Lucas Tolliver, Dean of Performance and Production Operations
Instrumental Ensembles
JT Kane, Dean of Instrumental Studies and Orchestral Performance
Matthew Ward, Manager of Percussion Operations and the Contemporary
Performance Program
Hunter Lorelli, Large Ensembles Manager
Edward Gavitt, Small Ensembles Manager
Julia Bravo, Instrumental Ensembles Associate
Hannah Marks, Instrumental Ensembles Associate
Opera and Musical Theatre
Carleen Graham, Dean of Vocal Arts
Christina Teichroew, Managing Director
Kathryn Miller, Assistant Managing Director
Josi Petersen Brown, Ensembles Manager
Performance Library
Manly Romero, Performance Librarian
Piano Technical Services
Israel Schossev, Director
Richard Short, Assistant Director
Victor Madorsky, Performance Tuner/Technician
Hide Onishi, Chief Concert Technician
Production
Derrick Byars, Director of Production
Matthew Stewart, Associate Director of Production
Chanel Byas, Production Manager, Opera and Musical Theatre
Beth Cruice, Associate Production Manager, Opera and Musical Theatre
Lorena Peralta, Associate Production Manager, Opera and Musical Theatre
25Andres Diaz Jr., Production Supervisor
Tyler Donahue, Production Coordinator
Dash Lea, Production Coordinator
Eric Miller, Production Coordinator
Pamela Pangaro, Production Coordinator
Patrick St. John, Production Coordinator
Cassandra Deveau, Costume and Wardrobe Supervisor
Adanne Spencer–Johnson, Associate Costume and Wardrobe Supervisor
Stefano Brancato, Props Supervisor
Rachael Shane, Props Coordinator
Baker Overstreet, Associate Props Coordinator
Justin Perkins, Associate Props Coordinator
Scheduling and Patron Services
Ramon Tenefrancia, Manager of Scheduling and Patron Services
Clayton Matthews, Scheduling and Patron Services Associate
Gileann Tan, Scheduling and Patron Services Associate
Veronica Mak, Head House Manager
The Orto Center for Distance Learning and
Recording Arts
Chris Shade, Director
David Marsh, Distance Learning Program Manager
Grace Leckey, Recording Services Manager
Mohit Diskalkar, Network Systems Engineer
Dan Rorke, Chief Recording Engineer
Kevin Bourassa, Recording Engineer
Johnathan Smith, Recording Engineer
Mie Hirschfield, Recording Engineer
Graceon Challenger, Chief Maintenance Technician
Special thanks to...
Fleur Schneider for creating props for this production.
2627
MANHATTAN SCHOOL OF MUSIC DONORS
Gifts received in FY 2022 (July 1, 2021–June 30, 2022)
Manhattan School of Music is deeply grateful to the community of generous donors who support our commitment to
excellence in education, performance, and creative activity and to the cultural enrichment of the larger community.
For more information about giving opportunities, please contact Susan Madden, Vice President for Advancement, at
917-493-4115 or smadden@msmnyc.edu.
$1 million and above Rosalie J. Coe Weir Foundation Howard Herring (MM ’74,
Estate of Phillip Kawin Bernie Williams (BM ’16) HonDMA ’15)
(BM ’82, MM ’85) J & J Flooring
$10,000 to $24,999
Flavio Varani (BM ’68, MM ’70) Max Kade Foundation
An Anonymous Family Foundation
Nancy M. Kissinger (’54)
$250,000 to $999,999 Alfredo and Mita Aparicio
The Elaine Kligerman Charitable Fund
Joan Taub Ades (HonDMA ’14) Louis Armstrong Educational
Samuel M. Levy Family Foundation
Lorraine Gallard and Foundation
Marquis George MacDonald
Richard H. Levy The Theodore H. Barth Foundation
Foundation
Gart Family Foundation Frank and Lydia Bergen Foundation
Clement Meadmore Foundation
Michael F. Neidorff (HonDMA ’17)* Allen H. and Selma W. Berkman
Jason Moran (BM ’97) and
and Noémi K. Neidorff (BM ’70, Charitable Trust
Alicia Moran (BM ’00)
MM ’72, HonDMA ’17) / Botti Family Fund
New York City Council
Centene Charitable Foundation Alejandro Cordero
HaeSun Paik
Bill and Patricia O’Connor The Enoch Foundation
Steven Palladino
The Eric and Margaret
$100,000 to $249,999 RIK Electric Corporation
Friedberg Foundation
Estate of Maurice Eisenstadt Hyon and Jeffrey Schneider
Karey and Javier Gonzalez
William Goldstein (BM ’65) Beverly and Arthur T.
Jane A. Gross
Eric Gronningsater Shorin Foundation
Elinor and Andrew Hoover
David G. Knott and Françoise The Shoshanna Foundation
J.C.C. Fund
Girard / McKinsey & Company Ted Smith (BM ’80)
Dominique Laffont
New York State Council on the Arts Jane Steele (MM ’80) and
Margot Alberti de Mazzeri
PwC Charitable Foundation William Sussman
Margot Patron
Paul and Joanne Schnell / Skadden The Tang Fund
Saul D. Raw and Constance E. Nickel
$50,000 to $99,999 Maria Elvira Salgar $2,500 to $4,999
Estate of Elizabeth G. Beinecke Carl and Aviva Saphier An Anonymous Donor
Anna Bulgari Revocable Trust Chiona Xanthopoulou-Schwarz Terry L. Allison and Sylvain Hétu
Carol Lieberman Mari and Kenneth Share Averick Philanthropic Foundation
Frank Lotrario (BM ’63, MM ’65) Family Gift Fund Carl Baron (MM ’11)
Solomon Mikowsky Epp Sonin (MM ’70) Joel Bell
The Arthur and Mae Orvis Mónica and Angel Sosa Justin H. Bischof (BM ’90,
Foundation Stephen and Elaine Stamas MM ’92, DMA ’98)
The Rubin-Ladd Foundation Scholarship Fund Noreen and Ken Buckfire
Estate of Harold Schonberg Michael G. Stewart Teresa Bulgheroni
Dorothy Strelsin Foundation Michelle Deal Winfield and Mick and Michelle Burke
Claude L. Winfield Eagan Family Foundation
$25,000 to $49,999
Frank and Jean Zhang / Jin Susan Ennis and Owen Lewis
Arts and Letters Foundation
Hua Foundation Evco Mechanical Corporation
Augustine Foundation
James Gandre† and Boris Thomas
Cornelia T. Bailey Foundation $5,000 to $9,999
General Plumbing Corporation
Carla Bossi-Comelli (HonDMA ’20) The ASCAP Foundation
Peter L. Horvath (BM ’64, MM ’65)
Fred J. Brotherton Charitable Annunziato Family
Israel Discount Bank of New York
Foundation Charitable Gift Fund
Chloé Kiffer †
Luisa Guembes-Buchanan (BM ’63) Alex Assoian Music Project
Patricia Kopec† and Jay E. Selman
The Chisholm Foundation The Hilaria and Alec
The Arthur Loeb Foundation
Edith H. Friedheim (MM ’72) / Baldwin Foundation
Ann M. McKinney (MM ’81)
Eric Friedheim Foundation Tony Bechara
Barbara and Dermot O’Reilly
Carol B. Grossman Matt and Andrea Bergeron
Jim Petercsak (BM ’66, MM ’68)
Marcia and Don Hamilton Bond Schoeneck & King
The Presser Foundation
Lori and Alan Harris Delin and Abelardo Bru
Proclean Maintenance Systems
Nancy Freund Heller and Jeffrey Heller Veronica Bulgari
Rahm Family Fund
Han Jo Kim Chartwells Dining Services
Alfred and Jane Ross Foundation
Edward Lowenthal Jeffrey Cohen† and Lucie Robert†
Sir Cesare L. Santeramo KCSJ
Susan Rochlis / The Rochlis EALgreen
Anthony Scelba
Family Foundation M.P. & J.G. Epstein Philanthropic Fund
The Thomas P. and Cynthia
Lois Roman Richard Gaddes
D. Sculco Foundation
The Fan Fox and Leslie R. Raul M. and Magdalena Gutierrez
Irene Schultz
Samuels Foundation Sylvia Hemingway / The
Steinway & Sons
Twiford Foundation Hemingway Foundation
Henry Sung
Maria and Guillermo Vogel
28 *Deceased †MSM Faculty/Staff Applause SocietyHoward and Yvonne Tsao Jeffrey Langford† and Joanne Michael Fordney and Beth Healy
Voya Financial Polk (DMA ’90)† Elaine N. Fukunaga (MM ’07)
The Widder Foundation Alan Lurie Peng Guan (MM ’23)
Alexis Zhu (DMA ’17) and The Madon Family Carolyn Zepf Hagner (MM ’69)
Michael Rose The Marc and Alta Malberg Mr. and Mrs. Frank R. Hugus
Foundation Herve M. Jacquet
$1,000 to $2,499
Susan Olsen Maren (BM ’68, MM ’72) Jacqueline M. Johnson (BM ’15)
Anonymous Donors (2)
Michael M. McClellan (MM ’81) Lena Kaplan
Richard Elder Adams (MM ’61)
The McDougal Family Eric M. Katz and Susan Barbash
JJ and Ralph Allen
Michelle and John Morris Gary and Donna Kunde
Ellen Babbitt
Michelle Nam (AD ’13) Matthew Kaung
Gabrielle Bamberger
Marjorie Neuwirth Chang Lee
Michael A. Bamberger
Dr. and Mrs. Bennett Pologe Chung Nung Lee (MM ’62)
Karen Bedrosian-Richardson
Jonathan Raskin Christiana Leonard
Bellet Construction
Regina J. Rheinstein (MM ’79) Thomas Maguire (BM ’66)
Bentley Meeker Lighting and Staging
Mary S. Riebold George W. Manahan (BM ’73,
Cynthia A. Boxrud (BM ’78)
Patrick and Marti Ritto MM ’76) and Mary Lou Manahan
Frederick Braverman
The Rodgers & Hammerstein Julia M. McCall-Mboya
(BM ’54, MM ’55)
Foundation James P. McCarthy (BM ’63, MM ’64)
George Braverman
Sabian Marjorie Messer
Bright Power, Inc.
Annabel Samimy and Jason Krantz Leslie Middlebrook Moore (MM ’78)
Elizabeth A. Browne
Yolanda Santos Henry Pinkham
Catherine T. Chan
Claire and John Sarno Maria Politano (MM ’78)
Xilun Chen
Antoine Schetritt Linda and Kalmon Post
Linda Chesis†
Shafiroff Foundation Susan Quittmeyer (MM ’78)
Aiden Hyun, Jung Sun Chung,
Helen Shepherd and James Morris†
and Byung Ju Hyun
Marc Silverman (MM ’77, DMA ’83)† James H. and Luce Reiss
Shirley Close†
Katie Song and Mike Joo The Eduardo and Antonella
Tony Converse
Daisy Soros Salvati Foundation
Donna Daley
Annaliese Soros Eve M. Schooler
Sharon E. Daley Johnson
The Melvin Stecher & Norman Jeffrey Scott (BM ’90)
(BM ’88, MM ’89)
Horowitz Foundation Marte A. Siebenhar (BM ’02, MM ’04)
Raymond DesRoches (BM ’61,
Richard Stewart Robert and Victoria Sirota
MM ’62) and Joan DesRoches
John Sweeney (BM ’78, MM ’85) James Stalzer (BM ’78, MM ’79)
Paul and Delight Dodyk
Thomas Trynin William M. Stein, Jr.
Daniel L. Dolgin* and
Dace Udris David Stich
Loraine F. Gardner
Nils Vigeland Delana Thomsen (MM ’76)†
Michael R. Douglas Charitable Fund
Reynold Weidenaar Gianluigi and Adrienne Vittadini
Emerson Reid
Ronald Weiner
Gale Epstein $250 to $499
Daniel E. Weiss
Patti Eylar and Charles Gardner Anonymous Donors (2)
Keith Wiggs (BM ’84)
Georgyn G. Fest (MM ’71) Donald Albrecht
David J. Wolfsohn (DMA ’84)
Dianne Flagello (BM’ 52, MM Elaine Alvarez (BM ’02, MM ’04)
Allen and Laura Yang
’52, HonDMA ’99) Paul J. Beck (BM ’98)
Donis G. Flagello $500 to $999 Judith Benson
Janet F. Frank (’65) Anonymous Donors (3) Etty Bousso
John L. Gerlach James Alexander Angela M. Brown (MM ’81)
Hans Gesell Louis E. Alexander (MM ’79) Mr. and Mrs. Dalmo Carra
Karen and Phil Glick Roslyn Allison and Bert Lewen Vincent Celenza
Carol Gold Main Violin The Chang Family
Ilse Gordon-Shapiro Karen Faust Baer and Paul Baer Ginger Chinn
Mr. and Mrs. Thomas A. Gottschalk The Bagby Foundation for Karen Cole
Joanne Greenspun the Musical Arts Mark Delpriora (BM ’82, MM ’87)†
Jerald and Madelon Grobman Patricia Barile Michael Devine (MM ’80)
William Grubb Mary Ellin Barrett* Nancy and Ken Duffy
Adolphus C. Hailstork (BM ’62, John K. Blanchard (MM ’89)† Carolyn Enger (MM ’89)
MM ’65, HonDMA ’19) Brody Family Fund Failla Family
Hansoree Amane and Stephan Brun Marsha and Monroe Firestone
William A. Haseltine Laurie Carney † John Foster and Cheryl Bunker
Stephen A. and Anne B. Hoffman Fund John R. and Rumiko Carroll David Friend (BM ’05, MM ’07)
Cecile Jim (MM ’74) Luis A. Cobo (BM ’94, MM ’96) Ruth Golden*
Caron Johnson Annette Coco (BM ’73, MM ’74) Eleanor Goldhar and John Vollmer
Masahito and Hiromi Kagawa Bill and Robin Comer Lenore and Edward Grabowski
Michael A. Kaplan (’91) Delano Copprue† Laura J. Greenwald (DMA ’98)
Susan and Robert Kaplan Talitha W. Day Laura Hamilton (BM ’81,
Jack Katz (BM ’63) and Helga Katz Allan J. Dean (BM ’59) MM ’82, DMA ’84)
Michael Keller (BM ’71) Bill Delaney Leonard W. Hindell (BM ’64, MM ’68)
Judith Klotz Leon Lee Dorsey (MM ’86) Daniel Hirschberg
Amy Knight Michael R. and Nina I. Douglas Fung Ho (MM ’82)
Michael J. Kokola Laurel Dvorak
*Deceased †MSM Faculty/Staff Applause Society 29You can also read
