PIAZZOLLA: Michelangelo '70
PIAZZOLLA: Milonga del Ángel
PIAZZOLLA: Muerte del Ángel
PIAZZOLLA: Le Grand Tango (violin and piano)
PIAZZOLLA: 'Yo soy María’from María de Buenos Aires
PIAZZOLLA: Siempre su vuelve a Buenos Aires (lyrics by Eladia BLÁZQUEZ )
PIAZZOLLA: Siempre se vuelve a Buenos Aires
PIAZZOLLA: Libertango

Intermission

Lila Zemborain – Las Cuatro Estaciones Porteñas [West Coast Poetry Premiere]

PIAZZOLLA: Las Cuatro Estaciones Porteñas
Verano Porteño (Summer)
Otoño Porteño (Autumn)
Invierno Porteño (Winter)
Primavera Porteña (Spring)

Between Angels & Demons [World Premiere Ballet]
Members of the Joffrey Ballet

PIAZZOLLA: Oblivion
PIAZZOLLA: Histoire du Tango: Concert d’aujourd’hui
PIAZZOLLA: Concierto para Quinteto

ESTACIONES PORTEÑAS / SEASONS OF BUENOS AIRES

After “Estaciones porteñas” by Astor Piazzolla

LILA ZEMBORAIN

TRANSLATED BY ROSA ALCALÁ

SUMMER 2018

Verano - Summer

Viene avanzando una mano que de a poco se acentúa en la inhalación de una caricia y se entretiene suavizando algo violento, algo terso que se acerca revirtiendo las muñecas que se estrujan y los arcos que se ensanchan de manera que las calles se presentan en tu deambular por un barrio conocido por el sol en las fachadas, y pasa un perro que no vimos cansado al medio día en estas calles desiertas, y no sabés adónde vas si no al sucucho ése en el que siempre quisiste estar enlazada a esas piernas y a esos brazos que te hacen sentir que las vueltas de la vida son otras y no este ritmo que sigue avanzando hasta mostrarte un ojo que acaricia las bases de tu sentir y se rinde a esta suavidad anodina de una piel que se estira al máximo de su flexibilidad para ensamblarse en el molde de los cuerpos que registran el calor apelmazado tan fuertemente en esta cama, en este colchón que no vas a olvidar porque el compás se adelanta en la foja cero de tus dedos y en la ensoñación que sucumbe con la fuerza de los pulsos interiores

A hand advances that bit by bit becomes accentuated in the inhalation of a caress and occupies itself with the soothing of something violent, something smooth, that approaches reverting the wrung wrists and widening the arches so the sun against facades projects the streets of a familiar neighborhood through which you are strolling, and a dog we hadn’t noticed walks by, languid in the afternoon’s deserted streets, and you have no idea where you are heading, if not that dump of an always desired entanglement with those arms and legs that make you feel life can take other turns, unlike this rhythm that continues to advance until it shows you an eye that caresses the foundations of your senses and submits to an anodyne softness of skin stretched to its limits to assemble itself into molds of bodies registering a heat so heavily matted in this bed, in this mattress you’ll never forget because the beat progresses in the square one of your fingers and in the daydream that yields with the force of internal pulses.

Otoño - Autumn

Garrote y sierra y sonido que se extiende con el golpe desparejo de un martillo en el cielo azul y lo que se oye es este aire límpido sucumbiendo a una trenza de deseos o desastres o sublimaciones o entretanto al dictamen de una pausa que no se realiza hasta que llega con el tañido de las campanas de la iglesia y ya se envuelven las piernas en un revoloteo que no se coordina ni se subordina al ritmo que tranquilamente se somete y acerca la voluntad al deseo de una voluptuosidad sencilla, al diapasón que no termina y a veces duele, pero más bien se agita y se subsume en estos pasos, en estos besos, en estas manos enlazadas en estas pulsiones que avanzan entre un cuerpo y otro y desaparecen

Garrote and saw and sound that spreads with the irregular pounding of a hammer across blue sky or what is heard is this limpid air succumbing to braids of desire or disaster or sublimation or nevertheless the ruling pause that doesn’t come until it arrives as church bells with a clang and at once entwines the legs in a turn neither synchronous nor subordinate to the rhythm that calmly submits and joins willingness to a simple voluptuous desire, to the diapason that never concludes and sometimes hurts, but rather agitates and is subsumed in these steps, in these kisses, in these hands linked in these impulses that advance through one body and another, and disappear.

Invierno - Winter

Es triste, sí, melancólico este encuentro que nada dice de nosotros y sí de la deflagración de lo que era y lo que fue y transcurre en el brillo congelado en ese ojo que miraba lo que debía ser y eras vos que por fin te aparecías con toda esa energía que te apabulló por muchos años, y así mismo, era esa satisfacción, esa serenidad tan negra como dos gatos en la calle moviendo sus colas al unísono, y dónde estás es lo que digo, dónde te fuiste a revolotear de un lado a otro sin importar con quién o qué, si te envuelve o desenvuelve y va o viene y se ríe, y por fin avanzan por una melodía barroca en su edificación y son un baile suave y atrevido, actualizando lo que siempre está cerca cuando el cuerpo se deshace en ese paso que nunca pudiste tolerar con tus piernas ofuscadas, y entonces la duda era si estabas o no, si eras o no lo que habías prometido y aparecía nuevamente con el sonido de las campanas tan claras como alentadoras en ese despertar de lo que desespera y arrincona y acerca al riesgo que hay que diluir con caricias para encontrar refugio en una resonancia de lo que fueron golpes y besos

It’s melancholic, yes, sad, this encounter that says nothing of us and something of the deflagration of what used to be and what was, and transpires in the frozen shimmer of the eye looking at what should have been and it was you who finally appeared with all that energy that overwhelmed you for so many years and also that satisfaction, that serenity, intensely black as two cats in the street moving their tails in unison, and where are you, is what I say, where did you go, flitting from place to place with anyone or anything who’d pull you in or spin you out, come or go or laugh, and finally you progress through a baroque melody, its construction, and are a dance precise and daring, actualizing what is always near when the body dissolves in that move you once found intolerable, with your legs confused, and then that uncertainty of whether you were or weren’t there, were or weren’t what you had promised, again returning with the sound of church bells so clear as encouraging in that arousal of what despairs and corners and lures risk, which must be diluted with caresses to find refuge in the resonance of what once were blows and kisses

Primavera - Spring

Y así giran las estaciones buscando un nuevo acercarse a lo que son los cuerpos y avanza esa coreografía sin que se pueda detener, dejando que el deseo se acomode y se desacomode a este incipiente calor que aclimata a un movimiento fugaz y preciso, lento y adherido al daño que se ha ido y hace que el movimiento sea más presente y alelado y se concentre en los brazos y en los torsos y en las piernas que parecía que todo lo habían visto, pero ya no es igual la arrogancia ni la disposición sino que aparece una blandura que estalla en una instancia de alegría un acople que abre otra vez la fatalidad de aquello que estaba al alcance de la mano en toda su promesa

And that is how seasons turn looking for a new closeness to the nature of bodies, and the choreography continues, unstoppable, letting desire settle and unsettle into that incipient heat acclimating to a brief and precise moment, slow and fixed to a hurt long gone, causing the movement to feel more present and spellbinding, to concentrate in the arms and torsos and legs, which seem to have seen it all, but it’s no longer the same— that arrogance and disposition—instead a softness emerges that explodes in an instance of joy, a coupling that opens once again the misfortune of what was within hand’s reach in all its promise

About Astor Piazzolla

About Philippe Quint

About the Musicians

Rodolfo Zanetti (bandoneón)

A native of Argentina, Rodolfo Zanetti plays the bandoneón, a type of concertina particularly popular in that country and an essential instrument in most tango ensembles. Dedicated to playing tango from an early age, he joined the Mancifesta Orchestra and Tango & Punto before co-founding the Quintet Bandó, with which he made well received tours to Washington, Chicago, and New York.

Under the auspices of the Astor Piazzolla Foundation, in 2003 Zanetti directed Maria de Buenos Aires, the masterpiece of Astor Piazzolla and Horacio Ferrer. He performed as bandoneón soloist with the Choir of the National University of Cuyo (U.N.C. - Mendoza) and with the Coro de Jóvenes de la Universidad Nacional de Cuyo. In 2009, he founded El Despunte Tango Club, a traditional tango trío. In 2013, he performed as soloist in the very international wine event of Mendoza, the Fiesta Nacional de la Vendimia.

In the United States, Zanetti has performed as soloist with the Pan American Symphony Orchestra at The Kennedy Center for the Performing Arts, the Lisner Auditorium of George Washington University, the Embassy of Argentina, the Organization of American States, and other notable venues. In New York, he performed as soloist at Lincoln Center for the Performing Arts and Carnegie Hall.

In 2017, he won the First Prize as a bandoneónist at the Che Bandoneón International Competition awarded by the Argentine Tango Society at the Stowe Music Tango Festival in Vermont.

In 2018, he participated as a bandoneón player in the album Vigor Tanguero by Pedro Giraudo, which has received the Latin Grammy for best Tango Album.

Rodolfo Zanetti studied with Jorge Puebla Hilario and Alberto Iribarne on bandoneón, continuing his studies in piano with masters Monica Rizzo and Roberto Urbay at the Faculty of Arts of the National University of Cuyo, Mendoza, Argentina.

Pedro Giraudo (bass)

Latin Grammy Award winner bassist and composer Pedro Giraudo is among the most compelling tango artists today. After two decades of performing with the most important interpreters of tango, Pedro Giraudo debuted his own Tango Orchestra at Lincoln Center’s Midsummer Night Swing in July 2015 and since then has become an active cultural ambassador of this beautiful and passionate music of his native Argentina.

In 2018, his album Vigor Tanguero won a Latin Grammy Award for Best Tango Album. In 2014, Ruben Blades’ CD Tangos, on which he recorded bass, won two Grammy Awards (Best Tango Album & Best Latin Pop). Pedro Giraudo has collaborated with Pablo Ziegler, Paquito D’Rivera, and Dizzy Gillespie’s protégé William Cepeda, as well as Tango meets Jazz guests: Branford Marsalis, Kenny Garret, Regina Carter, Nestor Torres, Miguel Zenon, among many others. Pedro Giraudo has also collaborated as a performer and arranger for one of New York’s most respected institutions: The New York Philharmonic. He has been the musical director of Tango for All’s Blind, Mariela Franganillo Company’s Tango Connection and Tango Recuerdo, and performed with U.S.’s most prominent tango ensembles, including Forever Tango, Hector Del Curto’s Eternal Tango and Daniel Binelli’s Tango Metropolis. He has participated in numerous jazz and music festivals throughout North America, Europe, Latin America, the Caribbean, and Asia, and performed in venues such as The Blue Note (Japan & USA), Birdland (Austria), London’s Queen Elizabeth Hall, Jazz Festival Royale in Thailand, Kennedy Center (Washington DC), Iridium, Jazz Standard, Blue Note, Lincoln Center and Carnegie Hall (NYC).

As a composer and arranger, Giraudo leads his own jazz and tango ensembles and has been hailed by critics as one of the most creative and daring bandleaders on the scene today. His compositions combine his love of classical forms, Argentine tango, and folk music, and the spontaneity of jazz improvisation. The band, which boasts some of New York’s finest musicians, has performed regularly at the most prestigious jazz clubs in the New York City area, including the Jazz Standard, Birdland, The Jazz Gallery, Blue Note, Joe’s Pub, as well as abroad. John Murph of DownBeat described Giraudo’s music as “an opulent listening experience of modern, orchestral jazz, brimming with passionate improvisations, deliberate contrapuntal melodies and plush harmonies." Pedro Giraudo has also conducted the world renown WDR Big Band and Cologne Contemporary Jazz Orchestra.

His discography includes Impulso Tanguero (Tiger Turn 2021), An Argentinian in New York (Zoho Music 2018), Vigor Tanguero (Zoho Music 2018), Cuentos (Zoho Music 2015), Córdoba (Zoho Music 2011), El Viaje (2009) , Desconsuelo (2005), Mr Vivo (2002) and Destiny of Flowers (2000). Córdoba won 2011 Latin Jazz Corner’s: Latin Jazz Large Ensemble Album Of The Year, Latin Jazz Boundary Breaking Album Of The Year, South American Jazz Album Of The Year, and Latin Jazz Composition Of The Year; while El Viaje won 2010 Best Latin Jazz Album Of The Year, and Best Latin Jazz Large Ensemble Album Of The Year, as well as Best Latin Jazz Composition.

In 2020, Pedro Giraudo received a fellowship from the New Jersey State Council on the Arts. In 2013, he was commissioned by Música de Cámara to compose a piece for string orchestra which was presented in May 2014. In 2008, Giraudo was awarded a composer’s commission through the Jazz Gallery in New York, for a new work for his large ensemble; and in 2010, he was commissioned by the JazzReach initiative to compose a new work for their Big Drum/Small World main-stage program.

He has played bass on dozens of recordings for the world’s leading labels including Sony, Warner, Nonesuch, Naxos, and Harmonia Mundi, as well as for independent projects, and on movies including Oliver Stone’s Wall Street II. He is also the principal bassist of the Música de Cámara String Orchestra. Pedro Giraudo is endorsed by the gold standard in string makers, D’Addario, and the outstanding Keeley Electronics.

Ahmed Alom (piano)

Cuban-born pianist Ahmed Alom is an uniquely versatile, classically trained pianist who since his arrival to New York City, has become one of the leading young figures in piano performance.

Aside of winning of the First Prize at the XXI Xalapa Piano Competition and the National Chamber Music Competition, both in Mexico, the Maria Clara Cullell Piano Competition in Costa Rica and the UNEAC Piano Competition in Havana, Ahmed also won prizes at the Yamaha sponsored Cuevas International Piano Competition in Mexico, the Bradshaw and Buono Competition and the Slatkin/Composers Competition at Manhattan School of Music, both in New York. Also in this city, he was a finalist of the 66th Chopin Kosciuszko Foundation Competition, recipient of the Munz Foundation Competition, and 1st Prize at the Young Musicians Competition.

He made his orchestral debut at age 17 with Mark Belenko conducting the Mexican Philharmonic Orchestra at Nezahualcoyotl Hall, performing Rhapsody in Blue by George Gershwin.

His repertoire ranges from works by Bach and Scarlatti, to avant-garde piano music. Recently in 2019, Ahmed gave two recitals in Havana, premiering works by George Perle and Elliott Carter at Ignacio Cervantes Hall, including a full Chopin program, the Second Concerto in F minor Pp. 21, in collaboration with the Havana Chamber Orchestra and conductor Daiana Garcia.

Ahmed is also a jazz and Latin jazz pianist. He has appeared in festivals in the United States, Canada, Mexico, Spain, Costa Rica and Cuba, and he has performed with Paquito de Rivera (Jazz at Lincoln Center), Edwin Perez (Global Fest, NPR Tiny Desk), the MSM Afro Cuban Jazz Band, and Pedrito Martinez Group (RADIO WBGO, ExitZero Jazz Festival).

In 2018, he joined Latin Grammy winner Pedro Giraudo Tango Quartet. With them, he has performed for The Kauffman Center for the Performing Arts, The City College of New York, Brooklyn Public Library, Chesapeake Symphony Orchestra, Temple University, among others. He is an active collaborator of the PanAmerican Symphony Orchestra, playing at D.C. Tango Festival, and their series of concerts under the guidance of conductor Sergio Buslje.

His discography includes appearances in Edwin Perez´s Street Corner Chronicles, Rudyck Vidal Latin Jazz Trio: Abriendo Ciclos, and the latest album by Pedro Giraudo Tango Quartet: Impulso Tanguero.

Throughout his career, Ahmed was coached in Cuba, with piano teachers deeply influenced by Russian musical education: Beatriz Olivera, Hortensia Upmann, Leonardo Gell, Ninowska Fernandez, and Svetlana Logounova.

He has performed in masterclasses taught by Luca Chiantore, John Salmon, William Wolfram, Richard Goode, and Kirill Gerstein. He has studied contemporary music with Anthony de Mare and chamber music with Sylvia Rosenberg.

He was awarded the Viola B. Marcus Scholarship (since 2017) and the Flavio Varani Scholarship for pianists (2020), to continue his studies in the Bachelor of Music program at Manhattan School of Music in New York, under the tutelage of Dr. Solomon Mikowsky

Federico Díaz (guitar)

Born in Mendoza, Argentina, Federico Díaz is an upcoming versatile musician of the new generation of guitarists with a multi-faceted career as a performing artist, arranger and composer in the classical and Argentinian music worlds. His performances have taken him to distinguished festivals and concert halls across the U.S., Europe, and Latin America. His passion for chamber music lead him to collaborate with musicians such as Lionel Cottet, Daniel Binelli, Juan Falú, Bruno Cavallaro, Juan Pablo Navarro, among others. He has recorded for Sony Classical and Epsa Music. Federico studied at prestigious institutions such as National University of Cuyo, University Mozarteum Salzburg, Hochschule für Musik Hanns Eisler, and Manhattan School of Music. His former teachers include Eliot Fisk, Ricardo Gallén and David Starobin. Currently, he is finishing a doctor of performing arts degree, at the Graduate Center of City University of New York, under the guidance of Frederic Hand.

About Juana Luna

Juana Luna

Vocalist

Joffrey Balley Company Artists

Artist Representation

GENERAL MANAGEMENT FOR PHILIPPE QUINT
Wittenberg Artists

JOFFREY BALLET
Joffrey Tower
10 East Randolph Street
Chicago, Illinois 60601

Philharmonic Society of Orange County Donor Listing

The Philharmonic Society of Orange County gratefully acknowledges the following donors for their generous support of the Fund for Music during the past twelve months. These contributions make up the difference between the income generated from ticket sales and the actual cost of bringing the world’s finest orchestras, soloists and chamber ensembles to Orange County and inspiring 160,000 K-12 students each year with quality music programs. Gifts range from $60 to more than $100,000, and each member of the Philharmonic Society plays a valuable role in furthering the mission of this organization.

Youth Music Education Program Sponsors

The Crean Foundation

Chapman University

The Davisson Family Fund for Youth Music Education

The William Gillespie Foundation

Thomas J. Madracki Memorial Endowment

Orange County Community Foundation

Pacific Life Foundation

Gail and Robert Sebring

U.S. Bank

Wells Fargo

Anonymous

Season Sponsors

Donna L. Kendall and the Donna L. Kendall Foundation

Anonymous

Judith and Howard Jelinek/Jelinek Family Trust

The Segerstrom Foundation

Series Sponsors

Donna L. Kendall Foundation

Dr. and Mrs. Howard Jelinek/Jelinek Family Trust, Eclectic Orange Series

Henry T. and Elizabeth Segerstrom Foundation

Steven M. Sorenson MD and the IBEX Foundation

Philharmonic Circle ($100,000+)

The Committees of the Philharmonic Society

The William Gillespie Foundation

Donna L. Kendall and the Donna L. Kendall Foundation

Dr. and Mrs. Howard Jelinek/Jelinek Family Trust

Philharmonic Foundation

Mr. James J. Brophy

Barbara Roberts

Maestro Circle ($50,000+)

Sam B. and Lyndie Ersan

Mr. and Mrs. Jerry Kohl

Mr. and Mrs. William F. Podlich

Gail and Robert Sebring

Ms. Dea Stanuszek

Chairman's Circle ($25,000+)

Colburn Foundation

The Crean Foundation

Mr. John D. Flemming and Mr. Mark Powell

Margaret M. Gates- in memory of family

Ann and Gordon Getty Foundation

Ms. Joan Halvajian

Valerie and Hans Imhof

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Mr. and Mrs. Douglas H. Smith

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Anonymous

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Helen and Fritz Lin

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Elaine and Carl Neuss

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Ms. Daren Zumberge

Honorary Life Members

Frieda Belinfante

in memoriam

Jane K. Grier

John M. Rau

Listing as of 4/12/2022

The Philharmonic Society deeply appreciates the support of its sponsors and donors and makes every effort to ensure accurate and appropriate recognition. Contact the Development Department at (949) 553-2422, ext. 233, to make us aware of any error or omission in the foregoing list.

DONORS TO THE PHILHARMONIC FORWARD CAMPAIGN

The Philharmonic Society’s campaign is the first of its kind in the organization’s history. It will grow the Society’s endowment—providing greater opportunities for the presentation of the world’s leading orchestras and other musical performances while expanding our educational and community outreach—and also establish a current needs fund for organizational sustainability and flexibility. We are proud to recognize those who are helping secure the Society’s future with a gift to the Philharmonic Forward Campaign. We are grateful for their support, which will help fuel the Society’s growth and provide a legacy of incomparable music and superb music education programs in perpetuity.

Donna L. Kendall and Douglas H. Smith

Co-Chairs

$1,000,000+

Mr. James J. Brophy

Donna L. Kendall and the Donna L. Kendall Foundation

Mr. and Mrs. Robert Sebring

Anonymous

$500,000+

Richard Cullen and Robert Finnerty

James and Judy Freimuth

$250,000+

The Davisson Family Fund for

Youth Music Education

Margaret M. Gates—In memory

of family

Mr. and Mrs. Milton S. Grier, Jr.

Mr. and Mrs. Douglas H. Smith

$100,000+

Pete and Sabra Bordas

David and Suzanne Chonette

Karen and Don Evarts

Milli and Jim Hill

Marlene and Chris Nielsen

Richard and Deborah Polonsky

Diane and Michael Stephens

Anonymous

$50,000+

Mr. Douglas T. Burch, Jr.*

Dr. and Mrs. Richard D. Campbell

Erika E. Faust*

Mrs. Joanne C. Fernbach

Joan Halvajian

Elaine and Carl Neuss

Marcia Kay Radelet

Mr. and Mrs. Philip E. Ridout

Ms. Dea Stanuszek

Dr. Daniel and Jeule Stein

$25,000+

Mr. William P. Conlin* and Mrs. Laila Conlin

Mr. and Mrs. Donald French

Mr. and Mrs. Peter Fuerbringer

Mr. and Mrs. Noel Hamilton

Dr. and Mrs. Chase Roh

Up to $24,999

Eleanor and Jim Anderson

John W. Benecke

Mr. and Mrs. Jim Burra

Ana and Ron Dufault

Hung Fan and Michael Feldman

First American Trust

Kimberly Dwan Bernatz

Mr. John D. Flemming and Mr. Mark Powell

Duke Funderburke

Carolyn and John Garrett

Karin Easter Gurwell

Maralou and Jerry M. Harrington

Mrs. Alice E. Hood

Huntington Harbour Philharmonic Committee - Marina Windjammer Group

Judith and Kevin Ivey

Ms. Lula Belle Jenkins

Doris and Jim Kollias

Mrs. Elizabeth C. Kramer

Mr. and Mrs. Richard Lewis

Mr. and Mrs. Thomas Madracki

Mr. and Mrs. Anthony Mastrangelo

Mr. and Mrs. Herbert Michel

Charles Mosmann

Carl Neisser

Joan Rehnborg

Dr. and Mrs. Henry Sobel

Dr. and Mrs. Julio Taleisnik

Marti and Walter Unger

Gayle Widyolar, M.D.

Sandi Wright-Cordes

U.S. Bank

Anonymous

*Deceased

LEAVE A LEGACY

Estate gifts allow our long-time subscribers and donors to leave an enduring legacy that helps ensure the long-term financial strength of
the Philharmonic Society of Orange County. Please consider including us in your will, as either a percentage of your estate or a fixed amount. Doing so will support our commitment of presenting world-class programming and music education that enriches the cultural life of Orange County for generations to come.

For more information, please contact (949) 553-2422, ext. 233, or email support@philharmonicsociety.org.

LEGACY CIRCLE MEMBERS

Mr. and Mrs. James Alexiou

Dr. and Mrs. Julio Aljure

Diane and John Chimo Arnold

Estate of Edra E. Brophy*

Mr. James J. Brophy

Mr. Douglas T. Burch, Jr.*

Mr. William P. Conlin* and

Mrs. Laila Conlin

Pamela Courtial*

Mr. Warren G. Coy

Richard Cullen and Robert Finnerty

Mr. Ben Dolson*

Camille and Eric Durand Trust*

Karen and Don Evarts

Erika E. Faust*

James and Judy Freimuth

Ms. Carol Frobish*

The William Gillespie Foundation

Mr. and Mrs. Milton S. Grier, Jr.

Mr. Edward Halvajian*

Ms. Joan Halvajian

Ms. Marie Hiebsch*

Mildred and James* Hill

Mr. and Mrs. Lawrence Hull

Mr. Leonard Jaffe

Judith* and Howard Jelinek

Dr. Burton L. Karson

Donna L. Kendall

Hank and Bonnie Landsberg

Mrs. Carla Liggett

Dr. William Lycette

Mr. and Mrs. Herbert Michel

Mr. and Mrs. Bart Morrow

Mr. and Mrs. Michael D. Nadler

Eva Cebulski Olivier

Mrs. Frank M. Posch*

Marcia Kay Radelet

Marjorie Rawlins*

Mrs. Ladislaw Reday*

Elaine M. Redfield*

Mr. Richard M. Reinsch*

Mr. and Mrs. Stephen L. Salyer

Mr. and Mrs. Robert Sebring

Mr. H. Russell Smith*

Ms. Dea Stanuszek

Diane and Michael Stephens

Vas Nunes Family Trust*

Betty M. Williams*

Anonymous

*Deceased

Bold type indicates gifts of $50,000 or more.

Please call the Philharmonic Society Development Department if you have included either the Philharmonic Society or the separate Philharmonic Foundation in your will or trust so that we may honor you as a member of the Legacy Circle. For more information, call

(949) 553-2422, ext. 233, or visit www.PhilharmonicSociety.org/Support and click on Secure the Future

ESTERHAZY PATRON

The Philharmonic Society is proud to recognize our dedicated patrons who have made a multi-year Esterhazy Patron pledge. We are grateful for their support, which has been largely responsible for enabling us to present the world’s most acclaimed symphony orchestras, chamber ensembles and soloists.

Esterhazy Patrons

Mr. and Mrs. James Alexiou

Mr. and Mrs. Darrel Anderson

A. Gary Anderson Family Foundation

Mr. Gary N. Babick

Ms. Tricia Babick

Mrs. Alan Beimfohr

Mr. and Mrs. John Carson

Cheng Family Foundation

Mrs. William P. Conlin

Mr. Warren G. Coy

Marjorie and Roger Davisson

Mr. and Mrs. Jack Delman

The Dirk Family

Dr. and Mrs. Christopher Duma

Mr. and Mrs. Rodney Emery

Catherine Emmi

Sam and Lyndie Ersan

Mr. and Mrs. Howard Freedland

Margaret M. Gates—In memory of family

Mr. and Mrs. Milton S. Grier, Jr.

Maralou and Jerry M. Harrington

Dr. Howard J. Jelinek

Mr. and Mrs. Mark Chapin Johnson

Dr. Siret Jurison

Donna L. Kendall Foundation

Mr. and Mrs. Venelin Khristov

Mr. and Mrs. Roger Kirwan

Capt. Steve Lutz and Shala Shashani Lutz

Professor Robert and Dr. Adeline Yen Mah

Mrs. Michael McNalley

Drs. Vahe and Armine Meghrouni

Mrs. Michael D. Nadler

Elaine and Carl Neuss

Mr. Thomas Nielsen

Milena and Milan Panic

Helen Reinsch

Barbara Roberts

Mrs. Michelle Rohé

Mr. and Mrs. Stephen L. Salyer

Elizabeth Segerstrom

Mr. and Mrs. Douglas H. Smith

Mrs. Elaine Weinberg

Mr. and Mrs. George Wentworth

Bobbitt and Bill Williams

Anonymous

Philharmonic Society Board of Directors

OFFICERS
John Flemming, Chairman, CEO
Sabra Bordas, Vice Chair
Donna L. Kendall, Deputy Board Chair
Stephen Amendt, Secretary / Treasurer

EXECUTIVE COMMITTEE
John W. Benecke, Development
Sabra Bordas, Nominating
Hung Fan, Laguna Beach Music Festival
JoAnn Fuerbringer, Orange County Youth Symphony
Jane K. Grier, Member at Large
Elaine P. Neuss, Artistic and Marketing
Douglas H. Smith, Member at Large
Jean Felder, President, The Committees

BOARD OF DIRECTORS
Jim Brophy
Gary Capata
Margaret M. Gates
Barbara Roberts
Dr. Steven Sorenson
Kim Weddon
Kathryn Wopschall

PRESIDENT & ARTISTIC DIRECTOR
Tommy Phillips

Philharmonic Society Administrative Staff

DEVELOPMENT
Susan Totten, Interim Vice President of Development
Halim Kim, Senior Director of Development
Okairy Calderon, Patron Stewardship and Special Events Manager
Paige Frank, Development Associate

MARKETING AND PUBLIC RELATIONS
Jean Hsu, COO / Vice President of Communications
Marie Songco-Torres, Senior Marketing & Public Relations Manager

ARTISTIC OPERATIONS
Drew Cady, Production Coordinator
Kathy Smith, Piano Technician

EDUCATION
Sarah Little, Vice President of Education and Community Engagement
Courtney McKinnon, Manager of Volunteer and Education Services
Jennifer Niedringhaus, Education and Operations Associate

FINANCE
Roan Alombro, Vice President of Finance
Jessica Cho, Finance Associate / HR Administrator

PATRON SERVICES
Jonathan Mariott, Director of Patron Services
Angelica Nicolas, Marketing & Patron Services Associate / Board Liaison
Randy Polevoi, Musical Concierge

About Philharmonic Society of Orange County

Founded in 1954 as Orange County’s first music organization, the Philharmonic Society of Orange County presents national and international performances of the highest quality and provides dynamic and innovative music education programs for individuals of all ages to enhance the lives of Orange County audiences through music.

For more than 65 years the Philharmonic Society has evolved and grown with the county’s changing landscape, presenting artists and orchestras who set the standard for artistic achievement from Itzhak Perlman, Gustavo Dudamel, Yo-Yo Ma, and Renée Fleming to the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony Orchestra, and many others. In addition, the Philharmonic Society celebrates multi-disciplinary performances under its Eclectic Orange brand and embraces music from a wide range of countries with its World Music performances. Its celebrated family concerts introduce children to classical music with creative and inspiring performances, instilling music appreciation for future generations.

The Philharmonic Society’s nationally recognized Youth Music Education Programs, offered free of charge, engage more than 100,000 students annually through curriculum-based music education programs that aim to inspire, expand imaginations, and encourage learning at all levels. These programs are made possible by the Committees of the Philharmonic Society comprised of 700 volunteer members who provide more than 90,000 hours of in-kind service each year.

As a key youth program, the exceptional Orange County Youth Symphony and String Ensemble provide top-tier training to the area’s most talented young musicians through multi-level ensemble instruction, leadership training, touring opportunities, challenging professional repertoire, and performances in world-class venues. The Philharmonic Society also promotes life-long learning by connecting with colleges and universities to conduct masterclasses and workshops and providing pre-concert lectures to introduce audiences to program selections.

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