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Publisher
Fearless Designs, Inc.
OCTOBER 2014
Editor
Kay Tull
Managing Editor
Aggie Keefe
Creative Director
Jeff Tull
Design
Kay & Jeff Tull
Leah Dienes
Production
Aggie Keefe
Leah Dienes
Contributing Writer
Scott Dowd
Printing
Clark & Riggs Printing
Features
The Artistic Spotlight
Madeline Abramson’s passion for public service has
led her to serve as board chair of The Kentucky Center
for the Performing Arts, where she is dedicated to
enriching the lives of her fellow Kentuckians across
the Commonwealth through the arts.......................................6
P
rogram...................................................................................A-1
Travel Calendar
A select guide to events worth mentioning in
New York, Chicago, Cincinnati and beyond................... ...14
Cover Photos: Teddy Abrams by O’Neil Arnold; Bob Bernhardt by Brad Cansler
Theatre Information
The Kentucky Center – (Whitney Hall, Bomhard Theater, Clark-Todd Hall,
MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway).
Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777,
or Ticketmaster*. Information Hot-Line: 502.562-0100.
© Copyright 2014
Fearless Designs, Inc.
Reproduction in
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without written
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is prohibited.
Audience ®
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Reserve wheelchair seating or hearing devices at time of ticket purchase.
Look around you right now. If the people you see look like potential
customers and clients, you should be advertising in our program guides!
Our advertisers not only get the benefit of reaching a large, captive,
affluent and educated demographic, but they also support the arts.
For more information on advertising in Audience, contact Kay Tull
at 502.581.9713. Closing dates for ad sales are approximately 30 days
prior to the date of publication.
The Audience Group provides program guides for:
• Actors Theatre of Louisville (502.584.1205)
•ÄKentucky Center Presents (502.562.0100)
•ÄKentucky Shakespeare (502.574.9900)
• Louisville Ballet (502.583.3150)
• Louisville Orchestra (502.587.8681)
• PNC Broadway in Louisville (502.584.7469)
E-mail: [email protected]
For more information, visit our web site:
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Letter
from the
Editor
Goodbye, summer; hello, fall – crisp air, hot chocolate, colorful autumn leaves and a
fresh season of performing arts in full swing! Louisville Orchestra’s new maestro, Teddy Abrams,
has taken his place on the podium and ignited musicians and audiences alike with his energy
and enthusiasm. Kentucky Center Presents brings us some of the most diverse performances
imaginable this month with So You Think You Can Dance (10/21); Scottish singer Susan Boyle
on her first U.S. tour (10/24); and hilarious stand-up comedian Brian Regan (10/25). While
Actors Theatre launches into its third production, The Last Five Years (10/7-26), PNC Broadway
in Louisville kicks off its first production of the season with I Love Lucy Live on Stage (10/7-12).
Louisville Ballet has announced its new artistic director, and we are excited to welcome
him to our performing arts community. Formerly one of The Australian Ballet’s most beloved
dancers, Robert Curran left behind his distinguished sixteen-year dancing career in 2011 to
prepare for a role beyond the stage as an artistic leader. We are thrilled that the timing was
right for him to become the head of Louisville Ballet, and we look forward to seeing where his
creativity will take the company in its next chapter. Audience will feature an in-depth interview
with Robert in February as he prepares to stage his Director’s Choice program for April.
The complete line-up of shows this season for PNC Broadway in Louisville, Actors
Theatre of Louisville, Louisville Orchestra, Kentucky Center Presents, Louisville Ballet and
Kentucky Shakespeare is at theaudiencegroup.com. Click on Audience Calendar, and from
there you can link directly to group venues for more information and to buy tickets. For news,
reviews and interviews on performing arts, visual arts, literature, news and arts education,
check out Arts-Louisville.com.
Enjoy the show!
Kay Tull
A U D I E N C E
5
T h e A r t i s t i c S p ot l i g h t
Madeline Abramson
The Kentucky Center
On
for the
by Scott
Performing Arts
Dowd
average, approximately one thousand people a day attend performances at
The Kentucky Center for the Performing Arts. Twenty-five percent of those are school children,
according to a report by Sr. Research Analyst Barry Kornstein of the University of Louisville’s
Urban Studies Institute. Kornstein’s research, published this June, also shows that of those
365,000 visitors, almost fourteen percent come from more than one hundred miles away and
included visitors from every state. The total economic impact of those attendees on our
community is more than $15,000,000 when you include The Kentucky Center’s payroll. This
is gratifying information for the staff, volunteers and board of directors, who strive to make
the institution productive and relevant. The Chair of The Kentucky Center Board of Directors,
Madeline Abramson, is a familiar face to Louisvillians. Madeline travels the state working
to improve the lives of current and future Kentuckians. It was somehow appropriate that
I caught this hardworking woman on Labor Day!
Photo by Envision Multimedia.
6
A U D I E N C E
SD: This is actually your second time to
serve as a member of The Kentucky
Center Board of Directors.
MA: Yes, I also served a term during the
Patton administration around The
Kentucky Center’s twentieth anniversary.
SD: You are a native Louisvillian, so I
suspect you have a history with The
Kentucky Center that precedes your
appointment to its board of directors.
MA: Very much so. As a matter of fact, one
of my favorite stories to tell is that my
husband – who was not yet my husband –
and I had a date on the opening night
of The Kentucky Center. That was thirtyone years ago last month, and it is still
a very special memory for the two of us.
We think about that when we attend
performances there, and we talk about
what a beautiful evening it was.
SD: What are some of the other boards
on which you have served?
MA: I’ve been on the board of directors of
StageOne, Louisville Ballet and Discover
Louisville Orchestra. I’ve been attending
performances at The Kentucky Center ever
since the place opened. Although I do not
have any artistic ability myself, both my
husband and I truly appreciate the performing arts and love to go to The Center.
SD: Your husband is quite a musician.
MA: Yes, he plays the French horn,
trumpet, guitar and piano. When he
served on the Louisville Orchestra Board,
he used to sit with former Dean of the
UofL School of Music Jerry Ball and the
late Barry Bingham, Jr., who also played.
They always called themselves the “French
horn section” of the Board.
SD: You are and always have been busy
with a variety of not-for-profits. What
made you choose The Kentucky Center?
MA: I’ve had an arts commitment of sorts
all my adult life, so an arts component
has always been part of my volunteer
experience. When I was appointed to The
Kentucky Center Board of Directors, it
opened a whole new world for me. I got
the opportunity to learn about the business
side of the arts and also to learn about
the tremendous breadth of offerings The
Kentucky Center has. Part of our mission
is to bring quality performing arts from all
over the world to our stage for the benefit
of the Commonwealth and the region. In
addition to that, our education and outreach missions cover the entire state. This
has been an invaluable experience for me
that has broadened my horizons on the
performing arts world and will, undoubtedly, have a positive impact on what I am
able to bring to other performing arts
groups as I continue to volunteer. My
experience here has also given me a deep
appreciation for what a strong economic
engine The Kentucky Center is for our
community, the Commonwealth and
other arts organizations.
SD: Let’s talk more about the broader
impact of The Kentucky Center on the
Commonwealth.
MA: We are the state’s leading performing
arts institution and, as such, have a tremendous outreach. In addition to our
education programming, we also offer
technical support to other performing
arts centers and institutions. We bring
people from all over the state and region
to our community to enjoy performances.
If you look at the legislation that created
The Kentucky Center for the Performing
Arts more than thirty years ago, there was
a clear mandate that, among other things,
we are to promote tourism and economic
A U D I E N C E
7
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development for the community and the
Commonwealth. I would submit that we
have been very successful in doing that.
SD: The Kentucky Center is fraught with
potential. How close would you say the
organization is to reaching its bounds?
MA: I think every year I have been
associated with The Kentucky Center we’ve
capitalized on our current potential. But
I don’t want us to ever reach a point at
which we feel we’ve achieved all there
is to achieve. There will always be new
opportunities and challenges and, as we
incorporate those, we will set new marks.
When our doors first opened, our offerings
were more traditional; now we offer a
much broader range of performances. We
want to offer the region a comprehensive
view of the performing arts.
SD: In years past, there have been outstanding programs like the Lonesome Pine
Special and the Walnut Street Revue. But it
does seem now that the programming at
The Center is more seamless in its effort to
represent the tastes of the entire region.
MA: One thing that we have learned over
the years is that people are not just looking
for an arts performance…they are looking
for an arts experience. So we have begun to
offer things such as music in the lobby
before and/or after shows. Now that we
have our newly remodeled bar, we see
many people lingering after the show to
discuss it with their friends over a cocktail.
We are working very hard to make every
visit a true experience.
SD: One component of the experience has
to be the amazing collection of visual arts
throughout the lobbies. Do you think there
will ever be an addition to the permanent
collection?
(Continued on page 10)
8
A U D I E N C E
L o u i s v i ll e O r c h e s t r a
Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair
Jorge Mester, Music Director Emeritus
Bob Bernhardt, Principal Pops Conductor
Jason Seber, Education and Outreach Conductor
First Violin
Michael Davis, Concertmaster
Fanny and Charles Horner
Concertmaster Chair
Caitlin Kelley, Interim Assistant
Concertmaster
National City Bank Chair
Katheryn S. Ohkubo
Cheri Lyon Kelley
Mrs. John H. Clay Chair
Stephen Taylor
Clayton Pusateri Chair,
Endowed by Joe and
Vickie Pusateri
Scott Staidle
Nancy Staidle
Barbara Meek
Patricia Fong
Open
Tamara Meinecke *
Second Violin
Robert Simonds, Principal
Claire and Lee Lenkoff Chair
Devonie Freeman
Mary Catherine Klan Violin
Chair, Endowed by Chase
Elisa Spalding
Kimberly Tichenor, Acting
Assistant Principal
Charles Brestel
Patricia Ann Jenkins
Endowed Chair
Heidi Tracy
Judy Pease Wilson
Blaise Hayden Smith
Clinton Grosz
Viola
Jack Griffin, Principal
Aegon Chair
Evan Vicic, Assistant Principal
Jacqueline R. and
Theodore S. Rosky Chair
Clara Markham
Mr. and Mrs. Charles W.
Hebel, Jr. Chair
Jennifer Shackleton
Jonathan Mueller
Virginia Kershner Schneider
Viola Chair, Endowed in Honor
of Emilie Strong Smith by an
Anonymous Donor
Meghan Casper
Cello
Nicholas Finch, Principal
Thomas Mattingly and Anita
Grenough Abell Memorial Chair
Joseph Caruso, Assistant Principal
Carole C. Birkhead Chair,
Endowed by Dr. Ben M. Birkhead
Christina Hinton
Dr. Edward Leo Callahan Chair
Allison B. Olsen
Frances Shapiro-Weitzenhoffer
Chair, Endowed by Esther &
Dr. David Shapiro
Deborah Caruso
Julia Preston
Bass
Bert Witzel, Principal
Patricia Docs, Acting Assistant
Principal
Robert Docs
Karl Olsen
Jarrett Fankhauser Chair,
Endowed by the
Paul Ogle Foundation
Michael Chmilewski
Flute
Kathleen Karr, Principal
Elaine Klein Chair
Donald Gottlieb
Philip M. Lanier Chair
Piccolo
Donald Gottlieb
Alvis R. Hambrick Chair
Oboe
Jennifer Potochnic, Principal
Betty Arrasmith Chair,
Endowed by the Association
of the Louisville Orchestra
Trevor Johnson, Assistant
Principal
Edgar J. Hinson III Chair
English Horn
Trevor Johnson
Clarinet
Andrea Levine, Principal
Brown-Forman Corp. Chair
Ernest Gross
Kate H. and Julian P.
Van Winkle, Jr. Chair
Bassoon
Matthew Karr, Principal
Paul D. McDowell Chair
Christopher Reid §
Horn
Jon Gustely, Principal
Edith S. and Barry
Bingham, Jr. Chair
Stephen Causey, Assistant
Principal
Diana Wade Morgen
Gary and Sue Russell Chair
Bruce Heim §
Trumpet
J. Jerome Amend, Principal
Leon Rapier Chair, Endowed
by the Musicians of the
Louisville Orchestra
James Recktenwald, Assistant
Principal
Lynne A. Redgrave Chair
Daniel Kassteen
Trombone
Donna Parkes, Principal
PNC Bank, Kentucky, Inc. Chair
Brett Shuster §
Bass Trombone
Raymond Horton
Tuba
John DiCesare, Principal
Timpani
Jim Rago, Principal
Mr. and Mrs. Warwick
Dudley Musson Principal
Timpani Chair
Percussion
John Pedroja, Principal
Mark Tate §
Harp
Mary Julian Rapier, Principal
The Humana Foundation Chair
Keyboard
Grace Baugh-Bennett §
Margaret S. Comstock
Piano Chair
* Musician On Leave
§ Auxiliary Musician
Bass Clarinet
Ernest Gross
General Dillman A. Rash Chair
A U D I E N C E
A-1
LouisviLLe orchestra 2014/15
SeaSon
Matthew
Morrison
LG&E Pops
SaT nov 15
8pm WhiTney haLL
order your tickets noW!
502-584-7777 • Louisvilleorchestra.org
A-2
A U D I E N C E
Teddy Abrams, Music Director
Jorge Mester, Music Director Emeritus
Bob Bernhardt, Principal Pops Conductor
POPS
Jason Alexander
Saturday, September 27, 2014 • 8 p.m.
Whitney Hall, The Kentucky Center
Bob Bernhardt, conductor
JASON ALEXANDER, guest artist • KEITH HARRISON, accompanist • Emily Albrink, soprano
Program
Klaus Badelt
Arr. Ricketts
Pirates of the Caribbean: The Curse of the
Black Pearl
Georges Bizet“Intermezzo” from Carmen Suite No. 1
George M. Cohan
Edvard Grieg
George M. Cohan Salute
Ase’s Death from Peer Gynt Suite No. 1, Op. 46
John WilliamsSuite from Far and Away
– Intermission –
Jason Alexander with the Louisville Orchestra
special support by
Please switch off all electronic devices before the concert begins. The use of cameras or recording devices is strictly prohibited.
A U D I E N C E
A-3
BJoobr gBee rMnehsat re dr ,t , c oc on nd du uc tc ot or r
With more than three
decades of experience
as a music director,
conductor of Pops,
and in the opera pit,
Louisville Orchestra
Principal Pops
Conductor Bob
Bernhardt continues to bring his unique
combination of easy style, infectious
enthusiasm and wonderful musicianship
to the city and orchestra he loves. Now
in his thirty-third season with the LO,
and eighteenth as Principal Pops
Conductor, he accepted the post of
Assistant Conductor in 1981 and has
worked with the Louisville Orchestra
in every season since.
He is concurrently Principal Pops
Conductor of the Chattanooga Symphony
and Opera, where he previously spent
19 seasons as Music Director, and now
is in his twenty-second year with the
company. He is also Artist-in-Residence
at Lee University.
In the past three seasons, Bob has
made his conducting debut with the
Baltimore Symphony, Dallas Symphony,
Houston Symphony, Cincinnati Pops,
Florida Orchestra, Grand Rapids
Symphony, Louisiana Philharmonic, Las
Vegas Philharmonic and Santa Barbara
Symphony, all of which were rewarded
with return engagements. He has a
continuing nine-year relationship with
the Edmonton Symphony conducting
there several times each season, and has
returned as guest conductor with the
Detroit Symphony, Seattle Symphony,
A-4
Rochester Philharmonic, Tucson
Symphony and the Boston Pops. With
the latter, he has been a frequent guest
for twenty-two years, making his debut
there in 1992 at the invitation of John
Williams and his most recent appearance
in June 2014.
This season, he will return to the
podiums of Detroit, Edmonton, Baltimore,
Santa Barbara, Louisiana and Grand
Rapids.
His professional opera career began
with the Birmingham Opera in 1979, two
years before he joined the Louisville
Orchestra. He worked with Kentucky
Opera for eighteen consecutive seasons,
including six as its Principal Guest
Conductor. With his own company in
Chattanooga, he has conducted dozens
of fully staged productions in a genre
he adores. He has also been a frequent
guest of the Nashville Opera.
Born in Rochester, New York, he
holds a master’s degree from the
University of Southern California’s School
of Music, where he studied with Daniel
Lewis. He is also a Phi Beta Kappa, summa
cum laude graduate of Union College in
Schenectady, New York, where he was an
Academic All-American baseball player.
(While not all the research is in, Bernhardt
believes that he is the only conductor
in the history of music to be invited to
spring training with the Kansas City
Royals. After four days, they suggested
to him a life in music.)
His two children, Alex and Charlotte,
live in Seattle. He and his wife, Nora, live
in Chattanooga, Tennessee.
A U D I E N C E
Jason Alexander,
Though best known
for his awardwinning, nine-year
stint as the now
iconic George
Costanza of
television’s Seinfeld,
Jason Alexander
is a man of many talents and diverse
background. Aside from that singular
performance, Mr. Alexander is a noted
entertainer, director, producer, teacher
and author, as well as an award-winning
magician, notorious poker player and
respected political and social advocate.
His career as a commercial actor
began when he was still a young teenager
and quickly moved to the New York
theater scene. He made his Broadway
debut in the Hal Prince/Stephen
Sondheim musical Merrily We Roll
Along and includes starring roles in the
original casts of The Rink, Broadway
Bound, Accomplice and his Tony Awardwinning performance in Jerome Robbin’s
Broadway. Jason also authored the
libretto for that show, which went on to
win the Tony Award for Best Musical. He
has played Off-Broadway and around the
country – most notably starring with
Martin Short in the Los Angeles
production of Mel Brook’s The Producers.
His many films include Pretty
Woman, Jacob’s Ladder, Love Valor
Compassion, Rocky and Bullwinkle,
Dunston Checks In and Shallow Hal. In
addition, he directed the feature films
For Better Or Worse and Just Looking. He
is also a distinguished television director,
overseeing episodes of Seinfeld, Til Death,
guest artist
Everybody Hates Chris, Mike and Molly,
Criminal Minds and Franklin and Bash.
He won the American Country Music
Award for his direction of Brad Paisley’s
video Cooler Online. He is a coveted
director of theater in Los Angeles and
served for five years as the Artistic
Director of the Reprise Theatre Company.
Aside from Seinfeld, Jason has
starred and guested in shows including
Friends, Two and a Half Men, Old
Christine, Criminal Minds, Monk, Franklin
and Bash, Curb your Enthusiasm, Bob
Patterson and Listen Up. He also starred
in the television films of Bye Bye Birdie,
Cinderella, A Christmas Carol and The
Man Who Saved Xmas. Additionally, his
voice has been heard most notably in
Duckman, The Cleveland Show, American
Dad, Aladdin and The Hunchback of
Notre Dame.
For his depiction of “George” on
Seinfeld, Jason garnered six Emmy
nominations, four Golden Globe
nominations, an American Television
Award and two American Comedy
Awards. He won two Screen Actor Guild
Awards as the best actor in a television
comedy despite playing a supporting role,
and in 2012 he was honored to receive
the “Julie Harris Award for Lifetime
Achievement” from the Actor’s Fund.
Mr. Alexander tours the country and
the world performing his one-man show,
An Evening With Jason Alexander and His
Hair. He resides in Los Angeles with his
wife, the talented artist Daena Title
(daenatitle.com), and his sons, Gabriel
and Noah. You can stay in touch with
Jason via Twitter (@IJasonAlexander)
A U D I E N C E
A-5
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Hailed by the New
York Times as
“delightful and
vocally strong and
versatile,” Emily
Albrink is a soprano
whose career already
sports collaborations
with venerable composers and conductors
such as James Levine, Placido Domingo,
Robert Spano, Marin Alsop, Jake Heggie
and John Musto. An alumna of the
Domingo-Cafritz Young Artist Program
at the Washington National Opera, she
has enjoyed singing numerous roles,
including Susanna in Le nozze di Figaro,
Sophie in Werther, Echo in Ariadne auf
Naxos and Frasquita in Carmen. Past
seasons have included Musetta in La
Boheme and Adina in L’elisir d’amore
with Kentucky Opera; Pamina in
Die Zauberflöte with the Baltimore
Symphony; Knoxville Summer of 1915
with the Philharmonic Orchestra of
the Americas at Alice Tully Hall; and
Evvy in the U.S. premiere of Death and
the Powers with the American Repertory
Theater and the Chicago Opera Theater.
She made her Carnegie Hall debut
singing Nuria in Ainadamar with the
Orchestra of St. Luke’s conducted by
Robert Spano.
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A-6
A U D I E N C E
Teddy Abrams, Music Director
Jorge Mester, Music Director Emeritus
Bob Bernhardt, Principal Pops Conductor
CO F F EE C l a s s i c s
C l a s s i c s SERIES
Thursday, October 16, 2014 • 10:30 a.m.
Friday, October 17, 2014 • 8 p.m.
Carmina burana
Whitney Hall, The Kentucky Center
TEDDY ABRAMS, conductor
KENT HATTEBERG, chorusmaster
Program
Charles Ives The Unanswered Question
arr. Abrams Medieval Dance from Carmina burana
Celena Shafer, soprano
Thomas Tallis Spem in alium
Vesperae solennes de confessore, K. 339
Wolfgang Amadeus Mozart V. Laudate Dominum
Caroline Shaw
Oculi Mei
Jeremy Kittel Big Fiddle
– Intermission –
CARL Orff Carmina burana
Celena Shafer, soprano
Javier Abreu, tenor
Hugh Russell, baritone
Kent Hatteberg, chorusmaster
Listen to a broadcast of this concert on Classical 90.5FM (WUOL) and WUOL.ORG on Thursday, October 30, 2014, at 8 p.m.
Please switch off all electronic devices before the concert begins. The use of cameras or recording devices is strictly prohibited.
The Louisville Orchestra is proud to recognize Hardscuffle, Inc. as its lead artistic partner for the 2013/14 Season.
A U D I E N C E
A-7
Teddy Abrams,
An unusually versatile
musician, Teddy
Abrams is a widely
acclaimed conductor
as well as an
established pianist,
clarinetist and
composer. This season
marks the beginning
of his tenure as Music Director of the
Louisville Orchestra and Music Director and
Conductor of the Britt Classical Festival. He
also serves as Resident Conductor of the
MAV Symphony Orchestra in Budapest,
which he first conducted in 2011. Teddy
recently concluded his appointment as
Assistant Conductor of the Detroit Symphony.
Active as a guest conductor, the
2014-15 season includes Teddy’s debuts with
the Louisiana and New Mexico Philharmonics
and the Kitchener-Waterloo Symphony, as
well as returns to the Indianapolis Symphony
and New World Symphony on subscription
with Joshua Bell as soloist. Recent
performances include a debut with the Los
Angeles Philharmonic and returns to The
Florida Orchestra, the Jacksonville Symphony
and the San Francisco Symphony, where he
conducted the orchestra’s summer classical
series in July 2013. From 2008 to 2011 Abrams
was the Conducting Fellow and Assistant
Conductor of the New World Symphony
(NWS) and conducted many performances,
including subscription concerts and
numerous other full and chamber
orchestra events. Abrams has conducted
the NWS in Miami Beach, Washington, D.C.,
and at Carnegie Hall, and has worked with
many other orchestras around the country.
An accomplished pianist and clarinetist,
Abrams has appeared as a soloist with a
number of orchestras – including playing
and conducting the Ravel Piano Concerto
with the Jacksonville Symphony in fall
2013 – and has performed chamber music
with the St. Petersburg String Quartet,
A-8
conductor
Menahem Pressler, Gilbert Kalish, Time
for Three and John Adams, in addition to
annual appearances at the Olympic Music
Festival. Dedicated to exploring new and
engaging ways to communicate with a
diverse range of audiences, Abrams cofounded the Sixth Floor Trio in 2008. The
Trio has performed around the country,
establishing residencies in communities
in North Carolina, Philadelphia, New York
and South Florida; Abrams and the Trio
founded and direct GardenMusic, the music
festival of the world-renowned Fairchild
Tropical Garden in Miami. Abrams
collaborated as an arranger and pianist
with Cleveland Orchestra’s principal
trombonist Massimo La Rosa for La Rosa’s
debut CD, released in October 2010.
Abrams studied conducting with
Michael Tilson Thomas, Otto-Werner
Mueller and Ford Lallerstedt at the Curtis
Institute of Music, and with David Zinman
at the Aspen Music Festival; he was the
youngest conducting student ever accepted
at both institutions. Abrams is also an
award-winning composer and a passionate
educator – he has taught at numerous
schools throughout the United States. His
2009 Education Concerts with the New
World Symphony (featuring the world
premiere of one of Abrams’ own orchestral
works) were webcast to hundreds of schools
throughout South Florida.
Abrams performed as a keyboardist
with the Philadelphia Orchestra, won the
2007 Aspen Composition Contest and was
the Assistant Conductor of the YouTube
Symphony at Carnegie Hall in 2009. He has
held residencies at the La Mortella music
festival in Ischia, Italy, and at the American
Academy in Berlin. Teddy was a proud
member of the San Francisco Symphony
Youth Orchestra for seven seasons and
graduated from the San Francisco
Conservatory of Music with a bachelor of
music, having studied piano with Paul Hersh.
A U D I E N C E
Kent Hat teburg
Kent E. Hatteberg is
Director of Choral
Activities at the
University of
Louisville, where he
conducts the
Collegiate Chorale,
Cardinal Singers and
University Chorus,
and teaches graduate and undergraduate
conducting and literature courses. He
received a bachelor of music degree in
piano and voice summa cum laude from
the University of Dubuque, and the
master’s and doctorate in choral
conducting from The University of Iowa,
where he studied conducting with Don V.
Moses and conducted the renowned Old
Gold Singers.
Named a Fulbright Scholar in 1990,
Dr. Hatteberg studied conducting and
choral-orchestral literature in Berlin,
Germany, with Uwe Gronostay, pursued
research on the works of Felix Mendelssohn,
and sang in the Berlin Philharmonic
Choir. In 1997 he conducted the world
premiere of the Gloria on the University
of Louisville campus. The Große Festmusik
was given its first modern performance at
the Konzerthaus in Berlin on November 10,
2000, with the score provided by Dr.
Hatteberg. He has lectured on Mendelssohn’s
early works in the United States and
Germany.
Dr. Hatteberg made his international
professional conducting debut in 1993 as
a guest-conductor with the Nederlands
Kamerkoor in Amsterdam. He is co-director
of the Kentucky Ambassadors of Music, a
program that affords students from across
the state of Kentucky the opportunity to
perform and tour in Europe.
Dr. Hatteberg is active nationally and
internationally as a guest-conductor,
clinician and adjudicator. He has
conducted numerous All-States and
Honor Choirs in the United States, and
recently served on the International Jury
at the Tolosa Choral Contest in Tolosa,
Spain. He serves as Chorus Master for the
Louisville Orchestra and has prepared
choruses for performances with the
Choral Arts Society, Kentucky Opera and
the Louisville Orchestra.
After fulfilling his Fulbright
Scholarship in 1990-1991, Dr. Hatteberg
served five years as Director of Choral
Activities at Sam Houston State University
in Huntsville, Texas. He conducted the
Sam Houston Chorale in performances
for the Texas Music Educators Association
(TMEA) Convention in San Antonio in
1995 and for the MENC National
Convention in Kansas City in 1996.
Dr. Hatteberg was named a
University of Louisville Faculty Scholar in
2002. In 2004 he was named the Kentucky
Music Educators Association College/
University Teacher of the Year. In 2008 he
received the Robert K. Baar Award for
Choral Excellence from the Kentucky
Choral Directors Association. The
University of Dubuque, his undergraduate
institution, awarded him the Alumni
Professional Achievement Award in 2008.
Through his work as overseer of
the Margaret Comstock Choral Endowment
Fund in the School of Music, Dr. Hatteberg
has commissioned new music, hosted
international choral ensembles in the
Margaret Comstock Concert Series,
recorded compact discs with the Cardinal
Singers, and afforded students in the
choral program the opportunity to attend
and participate in choral events
nationally and internationally.
A U D I E N C E
A-9
Celena Shafer,
After two summers
with the Santa Fe
Opera, the career of
Soprano Celena
Shafer was launched
to critical raves as
Ismene in Mozart’s
Mitridate, Re di Ponto.
Anne Midgette in the
New York Times wrote, “It takes the
debutante Celena Shafer…to show how
it should be done, singing the Oriental
princess Ismene with flair, vocal balance
and great cadenzas.”
Since then, Ms. Shafer has garnered
acclaim for her silvery voice, fearlessly
committed acting and phenomenal
technique. She spends much of her time
on the concert stage, where she appears
regularly with orchestras in New York,
Chicago, Philadelphia, San Francisco and
Los Angeles and with leading conductors
such as Christoph von Dohnanyi, Bernard
Labadie, Michael Tilson Thomas and Sir
Andrew Davis.
Her highly acclaimed 2013-2014
appearance as Constanze in Mozart’s
Abduction from the Seraglio has made
Shafer a star in her home state of Utah.
This season she will be Artist-in-Residence
for the Utah Symphony & Opera. Along
with her performance of Carmina burana
with the Louisville Orchestra this season,
Ms. Shafer also will perform Orff’s
dramatic work for the San Diego
Symphony with Ken-David Masur. She
also returns to the Phoenix Symphony for
Handel’s Messiah led by Tito Munoz.
Some of her operatic highlights
include Johanna in Sweeney Todd for the
Lyric Opera of Chicago, Aithra in Die
ägyptische Helena with the American
Symphony Orchestra recorded for Telarc,
Zerbinetta in Ariadne auf Naxos at the
Concertgebouw, Nanetta in Falstaff with
the Los Angeles Opera and Gilda in
Rigoletto with the Welsh National Opera.
She has returned several times to the
Santa Fe Opera, most recently as Miss
Wordsworth in Albert Herring.
Javier Abreu,
The commanding
tenor of Javier Abreu
has been described
by The Washington
Times as “his high,
supple lyric voice
possesses great
conviction.”
His ample
dramatic skills start the 2014-15 season
with a debut as Pirelli in Virginia Opera’s
Sweeney Todd. He returns to Nashville
Opera as Arcadio in Daniel Catan’s
Florencia en el Amazonas, to Opera Santa
Barbara as Lindoro in L’italiana in Algeri,
in addition to future contracts with
Opera Saratoga and with The Lismore
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soprano
tenor
Music Festival in Ireland. This Carmina
burana is his Louisville Orchestra debut.
Throughout his career Mr. Abreu has
garnered critical acclaim for his portrayal
of Rossini’s leading men such as Ramiro
in La cenerentola for Lyrique en Mer;
Lindoro in L’italiana in Algeri for Opera
de Oviedo; Count Libenskof in Il viaggio
a Reims for New York City Opera; the title
role in Le comte Ory for Wolf Trap Opera;
and Count Almaviva in Il barbiere di
Siviglia for The New Israeli Opera.
Also an accomplished concert singer,
the tenor sang Carmina burana with the
National Symphony, the Phoenix Symphony
and the Pennsylvania Ballet, as well as
The Messiah with the Pennsylvania Ballet,
A U D I E N C E
the Jacksonville Symphony, the Phoenix
Symphony and the Lexington Philharmonic.
He has been a featured soloist with the
Pittsburgh Symphony, the Naples
Philharmonic Orchestra and the Brazos
Valley Symphony. He is the recipient
of awards from the Metropolitan Opera
National Council Auditions and the
Macallister Awards in the same calendar
year. He also received a 2003 Richard F.
Gold Career Grant given by the Shoshana
Foundation of New York, and Third Prize
at the 2005 Liederkranz Foundation
Competition. Also, he was awarded the
Olsen Artist Debut Award by Florida
Grand Opera. Mr. Abreu made his Alice
Tully Hall debut as the tenor soloist in
Rossini’s Petite Messe Solennelle with the
Juilliard Choral Union. He was a young
artist at Seagle Music Colony and Music
Academy of the West, and an apprentice
with Central City Opera. He holds a
bachelor of arts degree from the
University of Miami. After finishing a
master of music degree at the University
of Houston, he worked as a Young Artist
with the Pittsburgh Opera Center for two
seasons. Mr. Abreu is also an alumnus of
the Juilliard Opera Center.
H u g h R u s s e ll ,
Canadian baritone
Hugh Russell
continues to receive
high praise for his
charisma, dramatic
energy and vocal
beauty. He is widely
acclaimed for his
performances in the
operas of Mozart and Rossini, and is
regularly invited to perform with
symphony orchestras throughout North
America. At the center of his orchestral
repertoire is Orff’s popular Carmina
burana, which Mr. Russell has performed
with The Philadelphia Orchestra, The
Cleveland Orchestra, Los Angeles
Philharmonic, San Francisco Symphony,
Houston Symphony, Pittsburgh
Symphony, Seattle Symphony, Toronto
Symphony and Vancouver Symphony,
among others. The New Orleans TimesPicayune said, “Baritone Hugh Russell
also grasped the theatrical nature of
baritone
Orff’s work, nearly stealing the show with
a voice that ranged from organ-deep
rumbles to flute-like falsetto – and an
acting style that drew roars of laughter as
he captured the bullishness of an
intoxicated medieval abbot.”
Mr. Russell begins the current season
in performances of Carmina burana with
the Pittsburgh Symphony. He will reprise
this work with the Detroit Symphony
Orchestra later this season. Mr. Russell
will also be heard as Taddeo in L’italiana
in Algeri in his debut with the Calgary
Opera. In the 2012-2013 season, Mr.
Russell made his debut with the Danish
Radio Symphony in performances of
Carmina burana with Rafael Frühbeck de
Burgos and for his debut with the Naples
Philharmonic. Additional performances
included Rachmaninoff’s The Bells with
the Madison Symphony Orchestra, and
his return to Opera Theatre of St. Louis
as General Stanley in The Pirates of
Penzance.
A U D I E N C E
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Program Notes
Charles Ives
The Unanswered Question
Charles Ives was born in 1874 in
Danbury, Connecticut, and died in 1954 in
New York City. He composed The Unanswered
Question in 1906 and revised it in the
1930s. The first recorded performance of
this work took place in New York in 1946
under the direction of Elliott Carter. This is
the first performance of this work by the
Louisville Orchestra. The score calls for 4
flutes, trumpet and strings, although Ives
allows for substitutions.
Harold C. Schonberg said it best: Ives
was a “bewildering combination of seer
and practical man, mystic and democrat,
sentimentalist and businessman. His
music is a constant reflection of his New
England youth: remembrances of life in
a simpler age. He yearned for the virtues
of an older, town-meeting, village-band,
transcendentalist, Emersonian America
and expressed those yearnings in the
most advanced, unorthodox, ear-splitting,
grating music composed by anybody
anywhere up to that time.” From his
childhood home in Danbury, Connecticut,
Charles Ives heard brass bands, Protestant
hymns, Stephen Foster, school fight
songs, Negro spirituals and more. It was
his peculiar gift that he grew up wanting
to hear them all at the same time.
His father, a Civil War bandmaster,
first taught Charles the rules of music, then
to break them just to see what would
happen. Charles’ desire to combine things
that weren’t supposed to be combined
prompted a composition teacher to
complain, “Ives, must you hog all the
keys?” Ives was free to innovate because
he was a very successful insurance man:
he was serious about music, but he didn’t
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have to make a living at it. He worked in
complete isolation, rarely associated with
musicians, seldom went to concerts,
never owned a radio.
The Unanswered Question is not
nearly as dissonant or jarring as some
of Ives’ other works. Still, it requires you
to (as he said) “Stand up before fine,
strong music like this and use your ears
like a man!” Ives asks the boundless
question – “Why are we here?” – with
breathtaking simplicity. He divides the
orchestra into strings, solo trumpet and
woodwinds. In his words, “The strings
play ppp throughout with no change
in tempo. They are to represent The
Silence of the Druids – Who Know, See
and Hear Nothing. The trumpet intones
The Perennial Question of Existence,
and states it in the same tone of voice
each time. But the hunt for The Invisible
Answer undertaken by the woodwinds
(and other human beings) becomes
gradually more active, faster and louder
through an animando to a con fuoco.
The Fighting Answerers, as time goes
on, and after a secret conference, seem
to realize a futility and begin to mock
The Question. After they disappear, The
Question is asked for the last time, and
The Silences are heard beyond in
Undisturbed Solitude.”
arr. TEDDY ABRAMS
Medieval Dance from Carmina burana
[Notes from the stage.]
Thomas Tallis
Spem in alium
Thomas Tallis was born ca. 1505 and
died in London in 1585. He composed this
A U D I E N C E
motet around 1570 for eight choirs of five
voices each. This is the first performance of
this work by the Louisville Orchestra.
Little is known about the early life of
Thomas Tallis – his education, musical
training, even where he was born. And
there is only a smattering of information
about his early career as an organist and
composer. But one thing we know for
certain: he was adaptable.
Tallis’ tenure at the English court
spanned the reigns of four monarchs –
and likewise spanned four changes of
the state religion. He performed and
composed for Catholic and Protestant
monarchs alike, and though he remained
an “unreformed” Catholic throughout
his life, he somehow managed to stay
out of the bitter (and sometimes bloody)
religious disputes of his day. In part this
was because he was musically adaptable,
too. The differing state religions had
differing musical requirements as well,
and he served both with equal talent.
The text of Spem in alium is
associated with matins, the canonical
hour ending at dawn; it is essentially a
profession of faith. What is remarkable
about Tallis’ setting is that it was
composed for forty independent voices.
Tallis may have composed it on a
challenge from a nobleman who had
heard a 40-voice composition from an
Italian composer: could Tallis do as well?
He responded with this piece.
He had just the right venue for its
performance in mind, too: a country
palace with an eight-sided banquet hall.
Tallis divided his voices into eight choirs
of five voices each, one for each side of
the hall, and he deployed them with the
spatial effects in mind. The piece opens
with a single voice from the first choir.
Other voices enter, one by one in an
imitative style; as the new voices enter
the old ones go silent, so the music itself
travels around the room until all eight
choirs have been engaged. Now all forty
voices sing together, briefly, and the
process is reversed, with the music
travelling from choir eight back to choir
one. After another tutti section, opposite
choirs join in antiphonal pairs, northsouth and east-west, answering back and
forth. As the ending is reached, all sing
together again.
A work with forty independent voices
could easily turn into a muddle, but
Tallis’ canny deployment of forces makes
the music clear and engaging. The
tapestry of voices is constantly evolving,
emerging and receding, creating new
combinations and new sounds at every
turn, and the tutti sections are stunning
in their effect. It is a musical experience
that is both rare and not to be missed.
Wolfgang AmadEUS Mozart
Vesperae solennes de confessore, K. 339,
Laudate Dominum
Wolfgang Amadè Mozart (he never
used “Amadeus” except when making a
joke) was born in Salzburg, Austria, in
1756 and died in Vienna in 1791. He
composed this work in 1780. Last performed
by the Louisville Orchestra in 1991 with
Albert-George Schram conducting. The
score calls for soprano solo, chorus,
bassoon, strings and continuo.
“Vespers” is the evening prayer
service in many Christian denominations
that observe the canonical hours. Although
the tradition has varied over the centuries
and according to denomination, a
Vespers as Mozart would have known
it would have contained several Psalms
and perhaps additional prayers.
No one quite knows for what
occasion Mozart composed this Vespers,
other than its intended use in the
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cathedral at Salzburg. The title implies
that it was composed for a day on which
a confessor saint was honored, but which
saint it was also remains unknown. This
Vespers contains settings of five Psalms
along with a concluding Magnificat; it is
also the source of Mozart’s incomparably
beautiful setting of Psalm 117, Laudate
Dominum.
Laudate Dominum is a hymn of
praise, and it gives thanks to God for His
mercy. Mozart’s setting is simply scored,
with an interesting twist: the bassoon is
liberated from its continuo duties to play
an obbligato part throughout. The solo
soprano sings the Psalm, followed by the
chorus singing the trinitarian doxology;
the soprano then returns for the final
“amen.” This is, simply, some of the
most sublime music ever composed.
CAROLINE SHAW
Oculi Mei
[Notes from the stage.]
Jeremy Kittel
Big Fiddle
This is the first performance of this
work by the Louisville Orchestra.
“I wrote the piece originally for a
five-piece group of fiddle, two guitars,
piano and double bass. It began one day
when I was inspired to pick up my fiddle
and push record on my phone, seconds
after returning home from a run in
Prospect Park in Brooklyn, where I live.
I was literally still sweating in my shorts
and t-shirt, but I felt inspired, so that was
it. I had a great time improvising ideas
for about thirty minutes – but all the
material I needed for Big Fiddle turned
out to be in the first 1 1/2 minutes. I
didn’t realize that at first; I was working
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with too many ideas for a few days until
I realized it was just too much to fit into
my target 5-6 minute instrumental. So
there’s a Big Fiddle 2 lurking in my Pro
Tools [recording software] now, full of
good ideas I couldn’t fit in.
“I often like to write by layering parts
in Pro Tools and later notating; even for
a lot of counterpoint it usually works;
and so I played the guitar, piano, fiddle
and even bass part (by pitch-shifting my
viola – I don’t play bass). 1 1/2 minutes
improvising, and many days and late
nights fleshing out the material. It feels
organic, and I love the process; I imagine
it’s how sculpting feels, one tiny step
at a time.
“My intention for the piece was to hit
this cross-section of pulse, vibe, beautiful
full string sounds, old-time Appalachian
fiddle, innocence, minimalism. There’s
a kind of trancey minimalism you find
happening naturally in great old-time
fiddle and banjo music, with the tune
happening again and again, and you’d be
fine listening to it forever. The piece uses
that kind of feeling for shorter moments,
for example, underneath a solo
improvisational section.
“The name was a working title
referring to the epic quality and the use
of the double bass – but it seems to be
sticking.
“I really enjoyed writing it and hope
the fabulous Louisville Orchestra
members will enjoy playing it, and the
Louisville community hearing it, just as
much.”
Carl Orff
Carmina burana
Carl Orff was born in 1895 in Munich,
Germany, and died in 1982 in Munich. He
composed Carmina burana from 1935 to
1936, and it was first performed in
A U D I E N C E
Frankfurt under the direction of Bertil
Wetzelsberger in 1937. Last performed by
the Louisville Orchestra in February 2005
with Steven Mercurio conducting. The
score calls for soprano, tenor and baritone
soloists, large chorus, small chorus, boy
chorus, 3 flutes, piccolo, 3 oboes, English
horn, 3 clarinets, E-flat clarinet, bass
clarinet, 2 bassoons, contrabassoon,
4 horns, 3 trumpets, 3 trombones, tuba,
timpani, percussion, celeste, 2 pianos
and strings.
Carl Orff’s reputation as a composer
derives from a mere twelve works. He
wrote many more than that, but with
Carmina burana he changed his methods
of composition so radically that he
disavowed all his previous music.
“Everything I have written to date,” he
wrote his publisher, “and which you have
unfortunately printed, can be destroyed.
With Carmina burana, my collected
works begin.”
Actually, Orff’s name would still be
known among musicians and music
educators even if he had never
composed a note. Orff believed that even
very young children had latent musical
abilities. By the 1930s he had developed
a system that combined movement and
dance with musical improvisation on
simple pitched percussion instruments.
His methods were so effective that his
ideas still inform early-childhood music
education today.
Those ideas seem to have changed
his approach to composition, too. He
simplified his music greatly, and came
to believe that for music to have the
maximum impact it must be part of a
theatrical presentation including the
spoken word, singing, movement and
dance. When he first encountered the
poems of Carmina burana, he saw his
chance to put his new theories about
composition into effect.
Carmina burana means “Songs of
Beuren” and refers to a 13th-century
manuscript discovered in the Benedictine
abbey of Benediktbeuern in 1803 and
published in 1847. It is a collection of
some 250 poems left by the goliards,
itinerant clerics and scholars who
rejected what the church had become
and concerned themselves instead with
earthly delights. Today we might call
them college dropouts.
The poems are mostly in Latin, the
international language of the day, but
some are in medieval German and old
French as well. Their subject matter is
wide-ranging, with particular emphasis
on eating, drinking, gambling and
lovemaking, all peppered with a lively
distrust of authority. The theme that
binds them together is fortune, that
mysterious force that may lift us to great
heights one moment only to dash us to
the ground the next.
In fact it was the manuscript’s cover,
with its depiction of the goddess Fortuna
standing with her wheel of Fate, that
inspired Orff to read on and ultimately
compose this work. Orff creates a cover to
his own book by beginning and ending
Carmina burana with the dramatic
chorus “O Fortuna,” a mesmerizing
lament on how the “whirling wheel” of
Fortune is invariably fickle.
Three main sections follow. The first
of these is Primo vere (In Springtime),
and as the first song begins you can hear
the frost still clinging to the leaves. The
baritone soloist warms things up, and
the words and music progress from the
awakening of Nature to the awakening
of sensual desire.
Next comes In Taberna (In the Tavern),
an ode to drinking and its ability to
soften the blows of misfortune. Listen for
the tenor soloist (in his only appearance)
as the swan lamenting his presence on a
rotating spit, and the concluding song
A U D I E N C E
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that lists, in comprehensive detail, all
those who partake of drink.
The third section is Cour d’amours, or
Court of Love. It begins rather innocently,
but things become steamier as the songs
follow one another. Finally a reprise of
“O Fortuna” brings the work to a close –
the wheel has turned another full circle.
Orff’s new style of composing burst
forth fully-formed in Carmina burana.
The music may be characterized as much
by what is left out as by what is put in.
Melodic lines are simple and repeated
without variation; they may have a long
flow similar to Gregorian chant, or be
made up of short repeated motives.
Harmonies are basic and often static.
Blocks of homogeneous color are used
instead of subtler combinations.
Counterpoint and development are
simply absent.
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The ruling force is rhythm: primal,
urgent, hypnotic, it is the lifeblood of
Carmina burana. It comes in all varieties,
from free-sounding recitative-like passages
to severely regimented patterns. Much of
it flows directly from the text itself.
This is music reduced to a state more
elemental than even the neo-classicists
could imagine; it has been called
primitive by detractors and admirers
alike. It exists outside any identifiable
mainstream of music – it evolved from
no other sort of music, nor was any
school of composition founded upon it.
Yet it succeeds just as Orff intended it to,
for there are few more powerful
experiences in music than this.
~ Mark Rohr
Questions or comments?
[email protected]
A U D I E N C E
Teddy Abrams, Music Director
Jorge Mester, Music Director Emeritus
Bob Bernhardt, Principal Pops Conductor
POPS
“Satchmo”
A Tribute to Louis Armstrong
with Byron Stripling
Saturday, October 18, 2014 • 8 p.m.
Whitney Hall, The Kentucky Center
BOB BERNRHARDT, conductor
BYRON STRIPLING, guest artist
– There will be one 15-minute intermission during this performance –
Please switch off all electronic devices before the concert begins.
The use of cameras or recording devices is strictly prohibited.
A U D I E N C E
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See Bob Bernhardt’s
Byron Stripling,
With a contagious
smile and captivating
charm, trumpet
virtuoso Byron
Stripling has ignited
audiences internationally. As a soloist
with the Boston Pops
Orchestra, Stripling
has performed frequently under the
baton of Keith Lockhart, as well as being
a featured soloist on the PBS television
special Evening at Pops, with conductors
John Williams and Mr. Lockhart. Currently,
Stripling serves as artistic director and
conductor of the highly acclaimed
Columbus Jazz Orchestra.
Since his Carnegie Hall debut with
Skitch Henderson and the New York Pops,
Stripling has become a pops orchestra
favorite throughout the country, soloing
with Boston Pops, National Symphony,
Pittsburgh Symphony, Cincinnati Pops,
Seattle Symphony, Baltimore Symphony,
Dallas Symphony, Minnesota Orchestra,
Detroit Symphony, Vancouver Symphony,
Toronto Symphony and Dallas Symphony,
to name a few. He has been a featured
soloist at the Hollywood Bowl and
performs at jazz festivals throughout
the world.
An accomplished actor and singer,
Stripling was chosen, following a
worldwide search, to star in the lead role
of the Broadway bound musical Satchmo.
Many will remember his featured cameo
performance in the television movie The
Young Indiana Jones Chronicles, and his
critically acclaimed virtuoso trumpet and
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b i o o n pa g e
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trumpet/vocals
riotous comedic performance in the 42nd
Street production of From Second Avenue
to Broadway.
Television viewers have enjoyed his
work as soloist on the worldwide telecast
of The Grammy Awards. Millions have
heard his trumpet and voice on television
commercials, TV theme songs including
20/20, CNN and soundtracks of favorite
movies.
Stripling earned his stripes as lead
trumpeter and soloist with the Count
Basie Orchestra under the direction of
Thad Jones and Frank Foster. He has also
played and recorded extensively with the
bands of Dizzy Gillespie, Woody Herman,
Dave Brubeck, Lionel Hampton, Clark
Terry, Louis Bellson and Buck Clayton in
addition to The Lincoln Center Jazz
Orchestra, The Carnegie Hall Jazz Band
and The GRP All Star Big Band.
Stripling enjoys conducting seminars
and master classes at colleges, universities,
conservatories and high schools. His
informative talks, combined with his
incomparable wit and charm, make
him a favorite guest speaker to groups
of all ages.
Stripling was educated at the Eastman
School of Music in Rochester, New York,
and the Interlochen Arts Academy in
Interlochen, Michigan. One of his
greatest joys is to return, periodically, to
Eastman and Interlochen as a special
guest lecturer.
A resident of Ohio, Stripling lives in
the country with his wife, Alexis, a former
dancer, writer and poet; and their
beautiful daughters.
A U D I E N C E
LOUISVILLE ORCHESTRA
LG&E Neighborhood Series
musicwithoutborders
The Louisville Orchestra is strengthening its ties to the community by
expanding the number of performances offered outside of Whitney
Hall and the Brown Theatre. In 2014-15, and beyond, patrons will have
the opportunity to hear the Orchestra in more venues in and around
Louisville, grouped in ensembles large and small, and performing a
broader repertoire. And all at an accessible price. We look forward to
seeing you in your neighborhood very soon!
Teddy Abrams conducts Beethoven
Oct 9 Middletown United Methodist Church • 7:30pm
Oct10 St. Stephen Church • 7:30pm
The Firebird • Teddy Abrams, conductor
Oct 23 St. Francis In The Fields Episcopal Church • 7:30pm
Oct 24 Ogle Center, IUS • 7:30pm
Oct 25 Congregation Adath Jeshurun • 8pm
Teddy Abrams: Schubert & Mendelssohn
Nov 21 St. Francis In the Fields Episcopal Church • 7:30pm
Nov 22 Ogle Center, IUS • 7:30pm
Nov 23 Congregation Adath Jeshurun • 3pm
Amadeus! • Bob Bernhardt, conductor
Jan 9 St. Francis In the Fields Episcopal Church • 7:30pm
Jan 10 Ogle Center, IUS • 7:30pm
Jan 11 Congregation Adath Jeshurun • 3pm
Flute Virtuoso Kathy Karr • Jason Seber, conductor
Feb 7 Middletown United Methodist Church • 7:30pm
Feb 12 Congregation Adath Jeshurun • 7:30pm
Tickets on sale now!
All tickets $20.
$15 when you order 4 or more concerts!
Visit LouisvilleOrchestra.org or call 502.587.8681
Sponsored by
A U D I E N C E
A-19
Thank You for Supporting the Louisville Orchestra’s 2013-14 Season
$100,000 + up
$50,000 - $99,999
$15,000 - $49,999
The Gheens
Foundation, Inc.
William M. Wood
Foundation
$7,500 - $14,999
$2,500 - $7,499
Gary and Sue
Russell
In Kind
CD Colonial Designs
of St. Matthews
Florist of the Louisville Orchestra
Special thanks to our partners at The Kentucky Center for their continued support.
The Galt House Hotel & Suites is the preferred hotel of the Louisville Orchestra.
A-20
A U D I E N C E
L o u i s v i ll e O r c h e s t r a C o n t r i b u t o r s
The Louisville Orchestra gratefully acknowledges the following donors of record for the period
July 1, 2013 through September 1, 2014.
$250,000 +
Founders Circle
Christina Lee Brown
$100,000 - $249,999
Virtuoso Circle
Mr. and Mrs. David A. Jones, Sr.
Association of the Louisville
Orchestra
$75,000 - $99,999
Maestro Circle
$25,000 - $74,999
Platinum Baton Guild
Brooke and Matthew Barzun
Mr. Owsley Brown, III
Mr. and Mrs. George S. Gibbs, III
Augusta and Gill Holland
John and Ingrid Johnson
Mr. Todd P. Lowe and
Ms. Fran C. Ratterman
Mr. and Mrs. Gary M. Russell
Mr. and Mrs. James S. Welch, Jr.
$15,000 - $24,999
Gold Baton Guild
Bob and Nora Bernhardt
Mr. and Mrs. Charles W. Hebel, Jr.
Mr. and Mrs. James O. King
Estate of Mrs. S. Arnold Lynch
Mr. and Mrs. Guy Montgomery
Mr. and Mrs. Warwick Musson
Mrs. Jane Feltus Welch
Dr. and Mrs. Richard Wolf
$10,000 - $14,999
Sterling Baton Guild
Mrs. Kendra D. Foster and
Mr. Turney P. Berry
Mr. David A. Jones, Jr. and
Mrs. Mary Gwen Wheeler
Dr. Virginia Keeney
Mr. John E. King
Mr. Joseph A. Paradis, III
Mr. and Mrs. Bruce J. Roth
Mrs. Denise Schiller
$5,000 - $9,999
Bronze Baton Guild
Mr. and Mrs. Steve Bailey
Mrs. Edith S. Bingham
Mr. and Mrs. David C. Daulton
Mrs. Elizabeth W. Davis
Dr. and Mrs. Charles E. Dobbs
Mr. and Mrs. Thomas E. Dunham
Mr. and Mrs. Vincenzo Gabriele
Mrs. Thelma Gault
Mr. and Mrs. John S. Greenebaum
Frank and Paula Harshaw
Mr. Robert B. Horner
Don and Ann Kohler
Mr. and Mrs. Bill Lamb
Mr. and Mrs. Arthur J. Lerman
General Dillman Rash Fund
Rev. Alfred R. Shands, III
Mr. and Mrs. Joseph E. Shiprek
Mr. and Mrs. Kevin Wardell
Mr. and Mrs. Joseph Hays Wimsatt
Mr. and Dr. Robert Wimsatt
Dr. Shiao Y. Woo and
John H. Shaw-Woo
Anonymous
$3,000 - $4,999
Conductor’s Patron
Frank Abell Fund
Dr. Frederick Albrink
Mrs. Janice Purcell-Basu and
Mr. Joy Basu
Mr. William F. Burbank
Ms. Laura Douglas
Mr. and Mrs. Donald Finney
Mr. and Mrs. Andrew Fleischman
Mr. and Mrs. Owen C. Hardy
Mr. and Mrs. Jay D. Harris
Mr. and Mrs. Willis W. Hobson
Mr. Anthony Kern
Mr. and Mrs. John Malloy
Andrew Kipe and Norman Morse
Dr. and Mrs. Joseph E. Kutz
Mr. and Mrs. David Laird
Mr. and Mrs. Tom Partridge
Mr. and Mrs. Norman Pfau
Mr. and Mrs. John Smart
Woodrow M. and Florence G.
Strickler Fund
$1,500 - $2,999
Concertmaster Patron
Mr. and Mrs. Irving W. Bailey, II
Ms. Elizabeth M. Bernstrom
Ms. Ruth Brinkley
Mrs. Evelyn T. Cohn
David and Cynthia Collier
Mrs. John G. Dietrich
Dr. and Mrs. Christopher Doane
Mr. and Mrs. William L. Ellison, Jr.
Dr. Vilma Fabre
Mr. and Mrs. Randall Fox
Mr. and Mrs. Erik Furlan
Mr. and Mrs. John R. Gregory
Mr. and Mrs. Matthew Hamel
Mrs. Barbara B. Hardy
Dr. Susan J. Herlin
Mr. Robert E. Kulp, Jr.
Mrs. Philip Lanier
Dr. Eugene March and
Dr. Lynn Gant March
Mrs. Carolyn Marlowe
Ms. Mary Means
Mr. and Mrs. Richard W. Morgen
Mr. and Mrs. Fred Pirman
Mrs. David Potter
Mr. and Mrs. David Ray
Kenneth and Beulah Rogers
Mr. Michael Rudd
Mr. and Mrs. Kenneth L. Sales
Reverend Edward W. Schadt
Mr. and Mrs. Robert Steen
Mr. Edward Stopher
Dr. Gordon D. Strauss and
Dr. Catherine Newton
Mr. and Mrs. Michael Von Hoven
A U D I E N C E
Mrs. Mary Ellen Wiederwohl and
Mr. Joel Morris
Anonymous
$500 - $1,499
Player’s Patron
Dr. and Mrs. James Appleberry
Dr. and Mrs. Joe F. Arterberry
Ms. Susan H Baker
Mr. and Mrs. Thomas H. Barton
Ms. Lynne Baur
Mrs. Mary J. Beale
Mr. and Mrs. William D. Beaven
Reverend and Mrs. Harlan
Beckemeyer
Mr. and Mrs. John T. Bondurant
Dr. and Mrs. Lawrence H. Boram
Mr. and Mrs. Steven Breckner
Dr. and Mrs. Paul Brink
Mr. and Mrs. Gary Buhrow
Mr. and Mrs. William P. Carrell
Mr. Lindy Casebier
Ms. June Creek
Mr. and Mrs. Gordon B. Davidson
Dr. and Mrs. John W. Derr, Jr.
Ms. Judith Ann Dickson
Mr. and Mrs. James M. Doyle
Mr. and Mrs. George F. Duthie
Rev. John G. Eifler
Mrs. Jean W. Frazier
Dr. Margaret Fonda
Mr. and Mrs. Sheldon G. Gilman
Mr. Don J. Glaser
Ms. Mary Louise Gorman
Dr. and Mrs. Laman A. Gray
Ms. June Hampe
Mr. and Mrs. William Hancock
Mr. and Mrs. Spencer E. Harper, Jr.
Mr. Carl Helmich
Dr. George H. Herbener
Dr. Frederick Hilton
Mr. and Mrs. Paul Hollingsworth
Mr. and Mrs. David Hyslop
Mr. and Mrs. Breck Jones
Mr. and Mrs. Daniel N. Klinck
Dr. and Mrs. Forrest. Kuhn
Mr. and Mrs. Karl D. Kuiper
Mr. Michael Kusmanbarr
Mr. and Mrs. Lewis Lancaster
Mrs. Helen Lang
Mr. and Mrs. Samuel M. Levine
Dr. Daniel McAninch
Tonya and Steve McSorley
Cantor David Lipp and
Rabbi Laura Metzger
Ms. Julie Morton
Mr. and Mrs. Ken Loomis
Mrs. Eileene J. MacFalls
Mr. and Mrs. Stewart McCombs
Mrs. Virginia MacKin
Mr. and Mrs. Robert Montgomery
Ms. June E. Morris
Mr. and Mrs. Ronald J. Murphy
Dr. and Mrs. Alton E. Neurath, Jr.
Dr. and Mrs. David H. Neustadt
Mr. and Mrs. Edwin Olliges
Mr. and Mrs. Anthony Passafiume
A-21
Mrs. William P. Peak
Ms. Kathleen Pellegrino
Mr. and Mrs. John Pohl
Mr. Stephen Reinhardt
Dr. John Roberts
Kenneth and Beulah Rogers
Mr. and Mrs. Theodore S. Rosky
Dr. and Mrs. William M. Schreiber
Ms. Alleine Schroyens
Ms. Tamina Singh
Dr. Arthur J. Slavin
Dr. Janet L. Smith
Mrs. Carole Snyder
Dr. and Mrs. Paul E. Tipton
Mrs. Rose Mary Toebbe
Mr. and Mrs. James R. Voyles
Mr. and Mrs. William W. Weber
Mr. and Mrs. Orme Wilson
Mrs. Evelyn C. Wolford
$250 - $499
Patron
Ms. Mary Kay Ballard
Ms. Susan Barry
Ms. Pamela Blair
Dr. and Norbert Burzynski
Mrs. Kathryn D. Christopherson
Ms. Caroline Christian
Ms. Faith Cirre
Mr. and Mrs. George F. Coleman
Mrs. Richard L. Conklin
Mr. and Mrs. Arthur O. Cromer
Mr. and Mrs. Leonidas D. Deters, Jr.
Ms. Susan Ellison
Mr. Walter Feibes
Mr. and Mrs. Clyde Foshee
Mr. Ed Garber
Ms. Christine Gault
Dr. and Mrs. Lawrence Gettleman
Dr. Mary Harty
Mr. Marc T. Haynes
Ms. Mi Rye Hwang
Dr. Arthur Isaacs and
Ms. Joyce Loeser
Ms. Margie Kommor
Mr. and Mrs. Alan L. Kunkel
Dr. and Mrs. Allan Lansing
Dr. and Mrs. Leonard Leight
Ms. Nancy Marnett
Ms. Joanne Milo
Mr. Charles Moore
Mrs. Robert Nash
Dr. Naomi J. Oliphant
Ms. Donna Peak
Ms. Joan Pike
Mr. and Mrs. Julius E. Raith
Mr. and Mrs. Robert Reed
Mr. and Mrs. Mark Richardson
Dr. Kay Roberts
Ms. Eleanor R. Robins
Mr. and Mrs. Michael Ryan
Mr. and Mrs. E. Halsey Sandford
Mr. and Mrs. David C. Scott
Brandon and Courtney Schadt
Cary Shields
Mr. and Mrs. John Sinai
Mr. and Mrs. Richard E. Smith
Mr. and Mrs. Donald L. Sodrel
Mr. Richard Stephan
Dr. Gerald F. Sturgeon and Dr.
Patricia Sturgeon
Mrs. & Mr. Kathleen Towsley
Ms. Zada Wagaman
Mr. and Mrs. Ronald M. Walford
Ms. Patricia Walker
Mr. Dennis Walsh
Mr. and Mrs. William Walsh, III
Mr. and Mrs. John H. Welch
Ms. Maria L. Whittington
Mr. and Mrs. Raleigh K. Wilson
Mrs. Susan H. Wilburn
Mr. James I. Wimsatt and Ms.
Rebecca S. Beal
Dr. John C. Wright and Dr. Kay
Roberts
Ms. Susan Zepeda and Dr. Fred
Seifer
Robert S. Whitney Legacy Society
Individuals who have generously
made estate plans for the Louisville
Orchestra.
Ms. Doris L. Anderson
Mr. and Mrs. Stanley L. Crump
Mrs. Janet R. Dakan
William J. Ehrig
Don J. Glaser
Anita Ades Goldin
Mr. and Mrs. Charles W. Hebel, Jr.
Carl E. Langenhop
Mrs. Philip Lanier
Mr. and Mrs. Arthur J. Lerman
Dr. Naomi J. Oliphant
Mr. Paul R. Paletti, Jr.
Rev. Edward W. Schadt
Estate of Louise Tachau Schulman
Mr. and Mrs. Douglas Summers, Jr.
Dr. Peter Tanguay and
Margaret Fife Tanguay
Rose Mary Rommel Toebbe
Dr. and Mrs. Richard S. Wolf
Anonymous
MATCHING GIFTS
Dow Corning for Edward Sprague
General Electric for Walter and
Maud Baker, Filomena Farley,
Theodore Groene, Diane Aprile
Hoosel, Jacquelyn B. Metzler,
Richard and Louise Prycha, Mr.
and Mrs. K. C. Reifsteck, J. and
Carol Rosenkrans, Kim Shapiro
and Gerald Wells
Kindred Healthcare for Ms. Barbara
Baylis
YUM! Brands, Inc. for Gary and
Virginia Buhrow
COMMUNITY PARTNERS
Axxis
Colonial Designs of St. Matthews
Gohmann Asphalt & Construction
Jefferson County Public Schools
Leap Frog Interactive, Inc.
Louisville Public Media
O’Neil Arnold Photography
Phoenix Lighting and Sound
Psi Iota Xi National Sorority, Inc.
Psi Iota Xi Sorority, Zeta Iota
Chapter
SCH Realty
Strothman & Company PSC
Thrifty Car and Truck Rental
Vincenzo’s
Vintage Printing
The Voice-Tribune
WDRB Fox 41
FOUNDATION PARTNERS
Barr Foundation
Irvin F. and Alice S. Etscorn
Foundation
Gheens Foundation
Paradis Foundation
RLR Charitable Foundation
Louis T. Roth Foundation
Lyndon and Helen Schmid
Charitable Foundation
Arthur K. Smith Family Foundation
Sutherland Foundation
William M. Wood Foundation
Wimsatt Family Foundation
Louisville Orchestra Partnership
in Arts and Culture
211 Clover Lane
Corbett’s: An American Place
Le Relais
Porcini Restaurant
U of L Physicians Group
The Village Anchor
Vincenzo’s Italian Restaurant
The Louisville Orchestra Partnership for Arts and Culture
The Louisville Orchestra gratefully acknowledges the following partners for
their five-year commitment of financial support. Please join us by expressing
your gratitude when visiting these establishments.
The Bristol Bar and Grille • 211 Clover Lane •
Corbett’s: An American Place • Le Relais • Porcini Restaurant •
University of Louisville Physicians Department of Radiation Oncology •
The Village Anchor • Vincenzo’s Italian Restaurant
A-22
A U D I E N C E
LOUISVILLE ORCHESTRA 2014-15 BOARD OF DIRECTORS
Executive Committee
James S. Welch, Jr., President
Chuck Maisch, Immediate Past President
Andrew Fleischman, General Counsel/Secretary
Kendra Foster, Co-Chair Development
Susan Von Hoven, Co-Chair Development
Paula Harshaw, Chair Education
Tom Partridge, Chair Finance
Bruce Roth, Chair Nom. and Governance
Mary Ellen Wiederwohl, Member at Large
Winona Shiprek, Chair Special Events
Christina Brown, Member at Large
Carol Hebel†, Member at Large
Ingrid Johnson, Member at Large
John Malloy, Member at Large
Gloria Bailey, ALO President
Board of Directors
Mrs. Janice Purcell-Basu Mr. Vincenzo Gabriele Mr. Don Kohler, Jr.
Mrs. Carole Birkhead†
Mrs. Paula Harshaw Mrs. Mary Jane Kutz
Mrs. Ruth Brinkley
Mr. Will Hobson
Mrs. Nancy Laird
Mr. Lindy Casebier*
Dr. Virginia Keeney† Mr. Arthur Lerman
Dr. Christopher Doane
Mr. James King, Jr. Mr. Todd Lowe
Mrs. Ritu Furlan
Mr. John E. King
Mr. Guy Montgomery
Mr. Nicolas Raubertas
Mr. Kenneth Sales
Mrs. Denise Schiller
Mrs. Kim Tichenor*
Mr. Robert Wimsatt
Dr. Shiao Woo
*denotes Ex-Officio
† denotes Life Member
ASSOCIATION OF THE LOUISVILLE ORCHESTRA, INC.
Executive Officers
Gloria Bailey, President
Nancy Laird, Immediate Past President
Carol Whayne, Vice President, Communication
Mona Newell, Vice President, Education
Peg Irvin, Dottie Nix, Vice Presidents, Hospitality
Margaret Horlander, Vice President, Membership
Tim Tomes, Vice President, Public Relations and
President Elect
Winona Shiprek, Anne Tipton,
Vice Presidents, Ways and Means
Carolyn Marlowe, Recording Secretary
Sue Bench, Corresponding Secretary
Ann Decker, Treasurer
Jo Ann Gammon, Paula Harshaw,
President’s Appointments
Board of Directors
Janet Ames
Rita Bell
Sally Brink
Carolyn Bruce
June Creek
Barb Dunham
Janet Falk
Jeanne Ferguson
Margie Harbst
Carol Hebel
Deanna Heleringer
Jeanne James
Marcia Murphy
Caarolyn Neustadt
Donna Peak
Roycelea Scott
Ruth Scully
Nancy Seitz
Mollie Smith
Judy Wayne
LOUISVILLE ORCHESTRA STAFF
Andrew Kipe, Executive Director
Tonya McSorley, Chief Financial Officer
Robin Koch Howard, Director of Development
Deanna Hoying, Director of Education & Community Engagement
Carla Givan Motes, Director of Patron Services & Ticket Operations
Lindsay C. Vallandingham, General Manager
Michelle Winters, Director of Marketing
Callie Chapman, Creative Manager
Kim Davidson, Receptionist/Accounts Payable Clerk
Adrienne Hinkebein, Personnel Manager
Mary Hudson, Development Assistant
Mike Kistner, Financial Consultant
Nathaniel Koch, Development Manager
Andrew Llewellyn, Operations Manager
Brandon Neal, Education Coordinator
Heather O’Mara, Public Relations Manager
Angela Pike, Receptionist
Bill Polk, Stage Manager
Cheri Reinbold, Staff Accountant
Edward W. Schadt, Major Gifts Officer/Director of
Planned Giving
Erika Voss, Librarian
Shane Wood, Patron Services Coordinator
CaSandra Zabenco, Senior Staff Accountant
A U D I E N C E
A-23
A-24
A U D I E N C E
UNDENIABLY BRILLIANT
KET.org
A U D I E N C E
9
MA: I think many of us who have been
going in and out of the building since it
opened more than thirty years ago don’t
really take the time to stop and appreciate
this significant art collection. We do have
volunteers who provide art tours, and we
want the public to understand that we
really are a home for visual arts as well
the performing arts. We don’t have any
plans currently to add to the permanent
collection, but we do have some works on
loan from the Speed Museum. We have
also been working with groups such as
ArtWithoutWalls to bring temporary
exhibits, like E.V. Day’s installation Diva’s
Ascending. That was made possible by the
generosity of Steve Wilson and Laura Lee
Brown, and we would like to do more of
this type of thing.
SD: That was a great addition to The
Kentucky Center lobby and it speaks to
The Center’s willingness to collaborate.
MA: We want to be seen as a leader in
collaborating and working with other arts
organizations and other organizations in
general. The fact that we are the home
for the IdeaFestival is a great example
of that ability to reach beyond the stage.
We think, from a cultural standpoint,
this is the perfect kind of partnership and
is another place where our volunteers
really come to the fore. We simply
wouldn’t be able to capitalize on these
kinds of opportunities without their
dedication. They donate thousands of
hours every year, not only serving as
ushers and assisting people in the use of
our accessibility services, but also leading
tours and working in the administration
offices. I’m very proud that we have this
cadre of volunteers, some of whom have
been with us since The Center opened.
10
SD: Some of them have become iconic
figures. Mr. Blue, of course, is no longer
with us but, for decades, he and his pipe
were fixtures at nearly every performance.
He helped to create that experience you
referred to earlier.
MA: Yes, Jay and Joanne Abraham just
retired, but they had volunteered as a
couple for many years. Sometimes I think
our patrons don’t always realize the
extent of that commitment and just how
important it is to our operation.
SD: You mentioned accessibility, and I
think it also important to remind patrons
and potential patrons about the services
available.
MA: We have actually received national
awards for our access services. Our staff
regularly consults with other arts centers
around the Commonwealth and around
the country. We want to ensure that all
people, regardless of their individual
needs, have the opportunity to enjoy a live
performance. We have a number of
enhancements available for patrons who
have mobility, hearing or visual challenges.
SD: You have had the opportunity to
travel around the country. What does
having an institution such as The Kentucky
Center do to enhance the state’s cache?
MA: As I’ve said, The Kentucky Center is
not only a cultural treasure – it is an
economic development engine. Over the
years, my husband has and still does work
on recruiting businesses to Louisville and
the Commonwealth. These businesses
come here and they look at the fact that we
have a professional, full-time orchestra,
ballet, opera and children’s theatre. There
are not many communities our size around
the country that can boast the scope and
quality of those cultural offerings. Those
A U D I E N C E
Visit Museum Row on Main
Louisville’s Cultural Corridor
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kentuckycenter.org
are, of course, the resident companies
of The Kentucky Center. But just down
the street we also have Actors Theatre of
Louisville. One of our board members,
Chris Todoroff, is senior vice-president
and general counsel at Humana, which is
just across Main Street. He came here
from the northeast about six years ago.
He talks about the fact that, almost as a
rule, he brings potential recruits over to
The Kentucky Center as a selling point
for the community. I think it is very
important for people looking at our
community and our state to know that
we have this beautiful center and that we
place a high value on arts and culture.
SD: Last year you named Kim Baker to
the presidency of The Kentucky Center.
What kind of leadership are you and the
board anticipating from her?
MA: We could not be more thrilled that
Kim is the leader of The Kentucky Center.
We conducted a nationwide search and
unanimously selected Kim for a variety
of reasons: her passion for the arts; her
knowledge of the community, The Center
and its programs; and she was a graduate
of the first Governor’s School for the Arts!
A U D I E N C E
11
Place Your Business
in the Spotlight!
For more information, performance
schedules and advertising rates,
call 502.581.9713 or
visit theaudiencegroup.com.
News!
Reviews!
Interviews!
Arts-Louisville.com
is the go-to web site for anything
that concerns, informs or
affects the arts in Louisville:
performing arts,
visual arts,
literary arts,
arts education,
and a full arts calendar.
News, Reviews and Interviews™
12
I’ve already seen such tremendous
evidence of her ability to collaborate with
other arts organizations. She’s a leader and
a convener and is wonderful at bringing
diverse groups of people to the table to
find new ways to work together. She is also
very innovative in the ways she finds to
keep The Kentucky Center relevant now
and for the next generations of arts-goers.
SD: She is part of a group of new leadership in the arts community.
MA: Yes, there are also new leaders at
Louisville Ballet, Louisville Orchestra and
the Fund for the Arts. There is new energy
and a new way of looking for opportunities
to work together that is creating a very
exciting buzz throughout the community.
SD: The Kentucky Center is not a member
agency of the Fund for the Arts, though
your resident companies are. Where does
funding for The Center come from?
MA: We are a state agency and receive
an allocation from the state budget. The
Center receives a portion of the tax on
hotel and motel rooms because of our
ability to promote tourism and economic
development. Then we have earned
income from the shows we produce and
the leases with our resident companies.
We also have a separate foundation that
is able to raise funds to support our statemandated mission to lead and enrich the
artistic, educational and economic vitality
of the region. This includes membership
support and donations from people who
believe in what we are doing in this
community and throughout the
Commonwealth. We are constantly
looking for ways to maximize our revenue
while remaining true to our mission. SD: Are there additional benefits to
becoming a Kentucky Center member?
A U D I E N C E
MA: We try to make them feel appreciated
with special ticket-buying opportunities
and other perks like an exclusive ticketing
hot line, pre-sales, priority seating,
discounts on select seats, waived handling
fees and VIP hospitality. Anyone who is
interested in learning more about
individual memberships can find out
more on the website.
SD: And that helps fund the parts of your
mission that don’t generate revenue.
MA: Right. Contributions help support
our statewide non-profit mission.
Programs such as the Governor’s School
for the Arts, school programs, ArtsReach
(that we offer through the community
centers) and our Arts in Healing program
aren’t money makers, but they are
essential to fulfilling our mission.
SD: The Arts in Healing program is still
relatively new.
MA: That program was created to provide
the healing power of the arts to the
community and the Commonwealth.
Numerous studies have shown that people
who are undergoing stressful times in their
lives – whether it is acute, such as treatment in a hospital, or chronic, such as
living in a long-term care facility – respond
very positively to the visual and performing
arts in terms of meeting their wellness
milestones. Our goal is to bring those
arts into facilities such as the VA, Jewish
Hospital, Frazier Rehab, Nazareth Home
and similar institutions for the benefit of
those patients and residents. It has been
tremendously well received.
SD: The Kentucky Center begins a new
decade of service this year after celebrating its thirtieth season in 2013. What are
your goals?
MA: My goal, and my hope, is to encourage even more people to patronize The
Kentucky Center and arts organizations in
general. I think it is very important that this
generation carry on the strong support of
the arts so that the arts will remain strong,
healthy and viable for the next
generations of our community.
For more information on The Kentucky
Center for the Performing Arts – its mission,
performance schedules, facility, art
collection, resident companies, education
and community programs, volunteer
training, as well as ways in which you
can support your arts center – go to
kentuckycenter.org or call (502) 562-0100.
FALL FASHION
ENCORE
$10 Off
Purchase of $50 or more
Valid Saturday, October 25th 10 AM - 6 PM OR
Sunday, October 26th 10 AM - 5 PM
We used to be at the
Fairgrounds—now we
have our own space!
NEARLY NEW SHOP
1250 Bardstown Rd., Mid City Mall, Lower Level
A U D I E N C E
13
T
r a v e l
C
a l e n d a r
New Openings on Broadway
A Delicate Balance
Edward Albee’s Pulitzer Prize-winning play about
upper-middle-class suburbanites (Glenn Close and
John Lithgow) trying to maintain their composure
in the face of destabilizing houseguests. John
Golden Theatre, 252 W. 45th St., 800.432.7250.
Disgraced
Ayad Akhtar’s Pulitzer Prize-winning drama is an
examination of a modern Muslim-American struggling to define his identity in a post-9/11 America.
Lyceum Theatre, 149 W. 45th St., 800.432.7250.
It’s Only A Play
An all-star cast (Matthew Broderick, Nathan Lane,
Megan Mullaly, F. Murray Abraham, Stockard
Channing) await reviews after their opening
night performance. Gerald Schoenfeld Theatre,
236 W. 45th St., 800.432.7250.
Side Show
The true story of the legendary Siamese twins,
Daisy and Violet Hilton, who were once the
highest paid performers on the vaudeville circuit.
St. James Theatre, 246 W. 44th St., 800.432.7250.
The Country House
2014-2015 SEASON
In an adaptation of Chekhov’s The Seagull, Donald
Margulies’ new play stars Blythe Danner as the
matriarch of a brood of actors who have gathered
at their summerhouse. Samuel J. Friedman
Theatre, 261 W. 47th St., 800.432.7250.
The Curious Incident of the
Dog in the Night-Time
When 15-year-old Christopher falls under
suspicion for killing his neighbor’s dog, he sets
out to identify the true culprit, which leads to
an earth-shattering discovery. Ethel Barrymore
Theatre, 243 W. 47th St., 800.432.7250.
The Elephant Man
This true-life story of the horribly deformed
John Merrick stars Bradley Cooper, Patricia
Clarkson and Alessandro Nivola. Booth Theatre,
222 W. 45th St., 800.432.7250.
The Real Thing
Kimiye Corwin in
Love’s Labour’s
Lost, 2014.
Photo by Richard
Tyler Rowley.
A revival of Tom Stoppard’s classic comedy
about the complexities of marriage stars Ewan
McGregor and Maggie Gyllenhaal. American
Airlines Theatre, 236 W. 42nd St., 212.719.1300.
TICKETS ON SALE NOW!
502.584.1205 | actorstheatre.org
14
The River
A remote cabin on the cliffs, a man and a woman,
and a moonless night. Hugh Jackman returns to
Broadway in a bewitching new drama. Circle in
the Square Theatre, 235 W. 50th St., 800.432.7250.
AA UU DD I I EE NN CC EE
life
With each new first, we give
more people a second chance at
KentuckyOne Health’s Rudd Heart and Lung Center at Jewish Hospital was
first in Kentucky to perform heart transplants and open heart surgery, first with
ventricular assist devices, first with transcatheter aortic valve replacement.
We perform the most technologically advanced heart procedures in the region.
That’s why we’ve just been selected by US News and World Report as
the best hospital for cardiology and heart surgery in Kentucky.
Here, with each new first, we give more people a second chance at life.
See all of our primary first procedures at KentuckyOneHealth.org/Heart.
Jewish Heart Care and Saint Joseph Heart Institute
are now known as KentuckyOne Health Heart and Vascular Care.
KentuckyOne Health. The one name in heart care.
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