Program NotesPDF (file size) - St. Louis Symphony

CONCERT PROGRAM
May 9-12, 2013
David Robertson, conductor
Susanna Phillips, soprano
Kelley O’Connor, mezzo-soprano
Joseph Kaiser, tenor
Corey McKern, baritone
St. Louis Symphony Chorus
Amy Kaiser, director
BRUCKNER Motet: “Christus factus est”— (1884)
(1824-1896)
St. Louis Symphony Chorus
Amy Kaiser, director
Performed without pause
BERG Act III from Wozzeck, op. 7 (1917-22)
(1885-1935)
Scene 1: Marie’s room—
Scene 2: Forest path by a pool—
Scene 3: A low tavern—
Scene 4: Forest path by a pool—
Scene 5: Street before Marie’s door
Corey McKern, baritone (Wozzeck)
Susanna Phillips, soprano (Marie)
Kelley O’Connor, mezzo-soprano (Margret)
Keith Boyer, tenor (Hauptmann)
Mark Freiman, bass (Doktor)
St. Louis Symphony Chorus
Amy Kaiser, director
INTERMISSION
BEETHOVEN Symphony No. 9 in D minor, op. 125 (1822-24)
(1770-1827)
Allegro ma non troppo, un poco maestoso
Molto vivace
Adagio molto e cantabile
Presto; Allegro assai
Susanna Phillips, soprano
Kelley O’Connor, mezzo-soprano
Joseph Kaiser, tenor
Corey McKern, baritone
St. Louis Symphony Chorus
Amy Kaiser, director
23

ACKNOWLEDGMENTS
David Robertson is the Beofor Music Director and Conductor.
Amy Kaiser is the AT&T Foundation Chair.
The concert of Thursday, May 9, is underwritten in part by a generous gift from
Mr. and Mrs. Walter L. Hawkins, Jr.
The concert of Friday, May 10, is made possible with support from Merrill Lynch.
The concert of Friday, May 10, is underwritten in part by a generous gift from
Karen and Bert Condie III.
The concert of Saturday, May 11, is underwritten in part by a generous gift from
Mr. and Mrs. Stuart A. Keck.
The concert of Sunday, May 12, is underwritten in part by a generous gift from
Mr. Richard G. Engelsmann.
Pre-Concert Conversations are presented by Washington University Physicians.
These concerts are presented by the Thomas A. Kooyumjian Family Foundation.
These concerts are part of the Wells Fargo Advisors Series.
Large print program notes are available through the generosity of Mosby
Building Arts and are located at the Customer Service table in the foyer.
24

VIENNA IN TWO CENTURIES
BY PAUL SCHIAVO
TIMELINKS
1822-24
BEETHOVEN
Symphony No. 9 in
D minor, op. 125
Romantic English poet
Percy Shelley drowns in
Italy
1884
BRUCKNER
Motet: “Christus
factus est”
Edgar Degas begins series
of paintings of dancers
1917-22
BERG
Act III from
Wozzeck, op. 7
Germany suffers defeat
in World War I
Vienna, whose musical legacy to the world is
the focus of nine programs performed by the St.
Louis Symphony this season, was home to some
of the world’s great composers for more than
150 years. At no time during this period was the
Austrian capital musically still. However, it was
particularly important at three times. The first
came during the decades around 1800, when
Haydn, Mozart, Beethoven, and Schubert were
active there. Toward the end of the 19th century,
the presence of Brahms and Bruckner revived
Vienna’s standing as a center of compositional
creativity. Finally, the early decades of the 20th
century saw the emergence of what became
known as “the Second Viennese School,” whose
notable members included Alban Berg.
Our program includes work from each of
these periods of Viennese musical efflorescence.
Anton Bruckner’s motet “Christus factus est” is
an intimate piece by a composer best known for
his mighty symphonies. Alban Berg used the
radically new harmonic language of the Second
Viennese School to compose searing operas.
His masterpiece is Wozzeck, and its third act
marries a haunting scenario to ingenious
musical invention.
In contrast to both the orthodox piety of
“Christus factus est” and the tragedy of Wozzeck,
Beethoven’s Symphony No. 9 is a magnificent
expression of humanist hope and aspiration.
Beginning with intimations of struggle, the work
moves inexorably toward its jubilant conclusion,
where instruments alone no longer suffice to
express Beethoven’s sense of joy.
25

ANTON BRUCKNER
Motet: “Christus factus est”
Born
September 4, 1824,
Ansfelden, near Linz, Austria
Died
October 11, 1896, Vienna
First Performance
November 9, 1884, in Vienna
STL Symphony Premiere
This week
Scoring
Unaccompanied chorus
Performance Time
approximately 5 minutes
Born
February 9, 1885, Vienna
Died
December 24, 1935, Vienna
OLD AND NEW Scored for unaccompanied
chorus, this piece is remarkable for its fusion
of old and new. On one hand, the melodic lines
generally are redolent of ancient ecclesiastical
chant, and the contrapuntal echoes between
different voices are a venerable feature of church
music. As a result, this work seems to belong not
so much to the 19th century, with its Romantic
currents, as to a timeless tradition of church
composition. At the same time, some of Bruckner’s
harmonic shifts, as well as the piercing climax to
which the music briefly rises, sound surprisingly
modern, a harbinger of the innovations of Berg
and other 20th-century composers.
ALBAN BERG
Act III from Wozzeck, op. 7
A SOLDIER’S TALE Woyzeck, the fragmentary
drama by Georg Büchner (1813-1837), was
produced in Vienna for the first time in May
1914. Among those who saw the play at this time
was Alban Berg, who found himself transfixed by
the tale of a hapless soldier in a heartless world.
Almost at once he began forming ideas for an opera
based on the play. Using the same early edition
of Büchner’s work that had been performed in
Vienna (and preserving its misspelling of the title
and title character), Berg adapted his own libretto
for the opera. Service in the Austrian army during
World War I delayed the project, and Wozzeck did
not reach completion until 1922.
The opera’s title character is a downtrodden
Everyman. Poor and unsophisticated, Wozzeck
is preyed upon by his regimental captain and
doctor and betrayed by Marie, the unwed mother
of his young child. He reacts to browbeating from
his officer and physician with stoic passivity, but
Marie’s flagrant dalliance with a handsome drum
major pushes him to despair and smoldering rage.
TRAGIC CONCLUSION As Act III opens, Marie is
in her room, reading the biblical story of Mary
Magdalene, whose position as a “fallen woman”
26

parallels her own. The scene shifts to a path near
a pond, where Marie and Wozzeck walk together.
As Wozzeck recalls their past together, Marie
grows increasingly uneasy. She tries to flee, but
Wozzeck draws a knife and kills her.
In a tavern, Wozzeck tries to drown his guilt
in drink. A folk song he sings only reminds him
of Marie, as does a song by Margret, Marie’s
neighbor. Margret notices blood on Wozzeck’s
hand, impelling him to flee.
Wozzeck returns to the pond, hoping to
retrieve his knife. There he stumbles against
Marie’s corpse. Imagining himself covered with
blood, he wades into the pond and drowns. After
the captain and doctor pass by, the scene returns
to the quiet of nature. The opera concludes
outside Marie’s house, where her son is playing.
Another child brings news that his mother is
dead. Uncomprehending, he continues playing a
hopping game.
MUSIC AND DRAMA By the time he composed
Wozzeck, Berg had largely abandoned traditional
harmony. The loss of that musical element
compelled the composer to seek new ways of
organizing his music, and in Wozzeck he did
this with remarkable ingenuity. Each scene in
the opera is based on some well-established
compositional procedure: sonata, rondo, fugue,
etc. In Act III, the scene in Marie’s room is
musically constructed as a theme with variations.
The scene of her death is built around a single
pitch reiterated—by different instruments in the
orchestra’s high, low, and middle registers—
from start to finish. The scene of Wozzeck’s
drowning unfolds through continual variation
of a complex chord.
Berg acknowledged these devices but
downplayed their importance. The essential
thing, he insisted, is the music’s role in bringing
the drama to life. “From the moment the curtain
rises until it falls for the last time,” Berg wrote,
“there must be no one in the audience who
notices all these diverse fugues and inventions,
suites and sonatas, variations and passacaglias—
no one who is aware of anything but this opera’s
idea, which transcends the fate of Wozzeck.”
First Performance
December 14, 1925, in Berlin,
Erich Kleiber conducted
members of the Berlin
Staatsoper
STL Symphony Premiere
January 7, 1949, Vladimir
Golschmann conducted
scenes from the opera, with
soprano Judith Doniger
Most Recent STL Symphony
Performance
November 17, 1967, Eleazar
De Carvalho conducted a
concert version of the full
opera, featuring soprano
Evelyn Lear (Marie), mezzosoprano
Natasha Kimmel
(Margret), and baritone John
Shirley-Quirk (Wozzeck)
Scoring
Wozzeck: baritone
Marie: soprano
Margret: mezzo-soprano
Hauptmann: tenor
Doktor: bass
chorus
4 flutes
4 piccolos
4 oboes
English horn
4 clarinets
E-flat clarinet
bass clarinet
3 bassoons
contrabassoon
4 horns
4 trumpets
4 trombones
tuba
timpani
percussion
harp
upright piano
celesta
strings
Performance Time
approximately 25 minutes
27

LUDWIG VAN BEETHOVEN
Symphony No. 9 in D minor, op. 125
Born
December 16, 1770, Bonn
Died
March 26, 1827, Vienna
First Performance
May 7, 1824, in Vienna.
Beethoven, who was by
this time almost completely
deaf, was nominally the
conductor; the orchestra
and chorus followed Michael
Umlauf, music director of the
Austrian imperial theater.
STL Symphony Premiere
December 21, 1928, with
soprano Helen Traubel,
contralto Viola Silva, tenor
Laurance Wolfe, baritone
Jerome Swinford, Apollo-
Morning Choral Clubs, Emil
Oberhoffer conducting
Most Recent STL Symphony
Performance
May 10, 2009, with soprano
Heidi Grant Murphy, mezzosoprano
Jennifer Dudley,
tenor Brandon Jovanovich,
bass-baritone Jonathan
Lemalu, St. Louis Symphony
Chorus under the direction
of Amy Kaiser, David
Robertson conducting
THE SYMPHONIST SILENT Between 1800 and
1812, Beethoven transformed the symphony as
no other composer had or has done. His first two
works of this kind, written in 1800 and 1802,
summarized the Classical-period symphony,
which had been his inheritance from Mozart and
Haydn, the great symphonists of the late 18th
century. With his Symphony No. 3, the epochal
Sinfonia eroica of 1804, Beethoven expanded
both the musical and emotional scope of the
genre, imparting to it the heroic spirit that would
become a hallmark of 19th-century Romanticism.
The works that followed proved Beethoven’s
symphonic style capable of expressing all that he
found in nature, both the nature of the Vienna
woods and human nature, in others and in his
tempestuous self.
Then, beginning in 1813, no symphony
came from Beethoven’s pen for more than a
decade. Much of this period saw a marked
decrease in the composer’s output and his
progressive withdrawal from most social
contact. He was, during this time, embroiled in
emotional and legal turmoil engendered by the
custody of his troubled nephew. Moreover, he
was now almost completely deaf and bereft of
intimate companionship.
These difficult personal circumstances
might alone have explained the relative silence of
the recently so prolific composer. But the work
of Beethoven’s final years suggests that he was
passing through a creative crisis as well, for when
the flow of compositions at last resumed, the
music was distinct from anything their author
had done before.
INNOVATION AND CONTINUITY In his late
compositions, Beethoven seems to be reaching
in opposite directions at once. His tone is more
intimate, more personal, yet the scale on which
his ideas take form has once again expanded.
There is a greater feeling of maturity in his
musical utterances, but his melodies often have
the simplicity of folk tunes. And although he
clearly is formulating new concepts of musical
28

design and harmonic syntax, he takes pains to
incorporate such anachronisms as fugal textures
in his compositions.
Nowhere are the contradictions that
informed Beethoven’s late music more evident
than in his Symphony No. 9, completed in
1824. And nowhere, in either his own earlier
symphonies or those of other composers, are
there precedents for the grandeur and fervor of
this work, or for the extraordinary conception of
the symphony’s choral finale.
But while the Symphony No. 9 seems in
many ways sui generis, it also represents an
extension and culmination of various artistic
concerns that had preoccupied Beethoven
throughout his career. The triumph of the spirit,
the psychological progression from pathos to
joy that had been the theme of the Third and
Fifth Symphonies, the opera Fidelio and the
Egmont Overture, found its greatest expression in
Beethoven’s final symphonic essay.
Even the use of Friedrich Schiller’s ode An
die Freude, the “Ode to Joy,” as the basis of the
finale stems from Beethoven’s youth. As a young
man he had sketched a setting of these verses,
and the idea of completing it never left him. Thus,
the Ninth Symphony was as much fulfillment as
breakthrough, a work that crowned Beethoven’s
efforts to articulate in music the 19th century’s
great humanist vision, even while it opened new
vistas in the field of symphonic composition.
Scoring
2 flutes
piccolo
2 oboes
2 clarinets
2 bassoons
contrabassoon
4 horns
2 trumpets
3 trombones
timpani
percussion
strings
solo soprano, alto, tenor and
bass voices
chorus
Performance Time
approximately 65 minutes
Program notes © 2013 by Paul Schiavo
29

DAVID ROBERTSON
BEOFOR MUSIC DIRECTOR AND CONDUCTOR
David Robertson and the
St. Louis Symphony return
to Carnegie Hall with a
concert performance of
Britten’s Peter Grimes in
November 2013.
David Robertson has established himself as
one of today’s most sought-after American
conductors, and has forged close relationships
with major orchestras around the world through
his exhilarating music-making and stimulating
ideas. In fall 2012, Robertson launched his
eighth season as Music Director of the 133-yearold
St. Louis Symphony. In January 2014, while
continuing as St. Louis Symphony music director,
Robertson also will assume the post of Chief
Conductor and Artistic Director of the Sydney
Symphony in Australia.
In September 2012, the St. Louis Symphony
and Robertson embarked on a European tour,
which included appearances at London’s BBC
Proms, at the Berlin and Lucerne festivals, and
culminated at Paris’s Salle Pleyel. In March
2013 Robertson and his orchestra returned
to California for their second tour of the
season, which included an intensive three-day
residency at the University of California-Davis
and performance at the Mondavi Center for the
Performing Arts, with violinist James Ehnes as
soloist. The orchestra also performed at venues
in Costa Mesa, Palm Desert, and Santa Barbara,
with St. Louis Symphony Principal Flute, Mark
Sparks, as soloist.
In addition to his current position with the
St. Louis Symphony, Robertson is a frequent
guest conductor with major orchestras and
opera houses around the world. During the
2012-13 season he appears with prestigious U.S.
orchestras such as the New York Philharmonic,
Los Angeles Philharmonic, and San Francisco
Symphony, as well as internationally with the
Royal Concertgebouw Orchestra, Vienna Radio
Symphony Orchestra, Israel Philharmonic, and
Ensemble Intercontemporain.
Born in Santa Monica, California, David
Robertson was educated at London’s Royal
Academy of Music, where he studied horn
and composition before turning to orchestral
conducting.
30

SUSANNA PHILLIPS
Alabama-born soprano Susanna Phillips,
recipient of the Metropolitan Opera’s 2010
Beverly Sills Artist Award, continues to establish
herself as one of today’s most sought-after
singing actors and recitalists. In the 2012-
13 season Phillips took the stage of the Met
for her fifth consecutive season, this time to
perform Donna Anna in Mozart’s Don Giovanni,
conducted by Edward Gardner. Her opera season
in New York City continued with her return to
the Perlman stage at Carnegie Hall for a special
concert performance, portraying Stella in André
Previn’s A Streetcar Named Desire opposite Renée
Fleming—a role which she will then perform at
Lyric Opera of Chicago. Phillips also made her
solo recital debut at Carnegie Hall this season,
presenting a program with accompanist Myra
Huang in Weill Recital Hall.
Other 2012–13 operatic highlights include
Phillips’s return to Santa Fe Opera as the
Countess in The Marriage of Figaro, and a concert
production of Idomeneo at the Ravinia Festival
under the direction of James Conlon. Symphonic
appearances include Mozart’s Requiem with
the Baltimore Symphony Orchestra, the
Lord Nelson Mass with Music of the Baroque
in Chicago, Knoxville: Summer of 1915 with
Alabama Symphony, performances with Musica
Sacra led by Kent Tritle at Alice Tully Hall, and
Paul Moravec’s Blizzard Voices with the Oratorio
Society of New York at Carnegie Hall.
Born in Birmingham, Alabama and raised
in Huntsville, Susanna Phillips is grateful for the
ongoing support of her community in her career.
She sang Strauss’s Four Last Songs and gave her
first concert performances in the title role of Lucia
di Lammermoor with the Huntsville Symphony.
Susanna Phillips most recently performed
with the St. Louis Symphony in April 2012.
Susanna Phillips sings
the role of Ellen Orford
in St. Louis Symphony
performances of Peter
Grimes at Powell
and Carnegie halls in
November 2013.
31

KELLEY O’CONNOR
Zachary Maxwell StertZ
Kelley O’Connor opened
the St. Louis Symphony’s
2011-12 season performing
Stravinsky’s Les Noces.
Possessing a voice of uncommon allure, musical
sophistication far beyond her years, and intuitive
and innate dramatic artistry, the Grammy Awardwinning
mezzo-soprano Kelley O’Connor has
emerged as one of the most compelling performers
of her generation. During the 2012-13 season, the
California native’s impressive calendar included
John Adams’s The Gospel According to the Other
Mary in a world premiere staging by Peter Sellars
performed in America and Europe with the Los
Angeles Philharmonic under Gustavo Dudamel’s
baton, and a role debut as Suzuki in Madama
Butterfly in a new production by Lillian Groag at
Boston Lyric Opera.
Concert appearances of the season
included Peter Lieberson’s Neruda Songs both
with Christoph Eschenbach and the National
Symphony Orchestra and with Robert Spano
and the Toronto Symphony Orchestra, Debussy’s
La Damoiselle élue and the Duruflé Requiem with
Donald Runnicles and the Atlanta Symphony
Orchestra, Beethoven’s Symphony No. 9 with
Manfred Honeck and the Pittsburgh Symphony,
Louis Langrée and the Cincinnati Symphony, and
with Leonard Slatkin and the Detroit Symphony,
as well as Lieberson’s The World in Flower with
Grant Gershon and the Los Angeles Master
Chorale. The artist is pleased both to return to the
City of Birmingham Symphony Orchestra with
Edward Gardner conducting a program of Elgar’s
Sea Pictures and Britten’s Spring Symphony and to
debut with the Netherlands Radio Philharmonic
Orchestra with Adams’s The Gospel According to
the Other Mary led by Markus Stenz.
Last season, O’Connor brought “her smoky
sound and riveting stage presence” (The New York
Times) to performances as Ursule in Berlioz’s
Béatrice et Bénédict with Opera Boston, and to her
signature role as Federico García Lorca in a Peter
Sellars staging of Golijov’s Ainadamar at Teatro
Real in Madrid.
Kelley O’Connor most recently performed
with the St. Louis Symphony in September 2011.
32

JOSEPH KAISER
Starring as Tamino in the Kenneth Branagh
film adaptation of The Magic Flute, conducted
by James Conlon and released in 2007, Joseph
Kaiser is recognized by audiences for his beauty
of tone, intelligence of programming, and innate
sense of style and elegance. He is internationally
acclaimed as one of the most gifted artists of
his generation and enjoys success in opera,
oratorio, and concert throughout North
America and Europe.
Kaiser’s 2012-13 season began with
performances as Flamand in Strauss’s Capriccio
at the Opéra National de Paris in a production
by Robert Carsen and conducted by Philippe
Jordan. Operatic engagements also included
Houston Grand Opera’s mounting of the
Francesca Zambello production of Showboat as
the leading man Gaylord Ravenal, Dominick
Argento’s The Aspern Papers at the Dallas Opera,
Tamino in Robert Carsen’s production of The
Magic Flute with Sir Simon Rattle conducting the
Berlin Philharmonic at Teatro Real in Madrid,
semi-staged performances of Capriccio at the
Royal Opera House, Covent Garden led by Sir
Andrew Davis, and Christof Loy’s production of
Gluck’s Alceste at the Vienna State Opera in the
role of Admète. Concert engagements included
Beethoven’s Symphony No. 9 with the Toronto
Symphony conducted by Jiří Bělohlávek.
His concert schedule has included
performances of the Berlioz Requiem under
Marek Janowski with the combined forces of the
Tonhalle-Orchester Zürich and the Orchestre
de la Suisse Romande as well as with Donald
Runnicles, both with the Atlanta Symphony
Orchestra and the Berliner Philharmoniker;
Beethoven’s Symphony No. 9 with Christoph von
Dohnányi and the Boston Symphony Orchestra,
with Ivor Bolton and the Wiener Symphoniker,
and with Christoph Eschenbach and the Chicago
Symphony Orchestra; Stravinsky’s Pulcinella
with Roberto Abbado and the Saint Paul
Chamber Orchestra; and Mendelssohn’s Elijah
with Yannick Nézet-Séguin and the Orchestre
Métropolitain du Grand Montréal.
Dario acoSta
Joseph Kaiser makes his St.
Louis Symphony debut with
these performances.
33

COREY MCKERN
Corey McKern makes his
St. Louis Symphony debut
this week.
Award-winning baritone Corey McKern continuously
earns critical acclaim and accolades in
every appearance he makes. This season, engagements
included his debut with Austin Lyric
Opera as Silvio in I Pagliacci, his role debut as
Dandini in La Cenerentola with Nashville Opera,
the Count in The Marriage of Figaro with Syracuse
Opera, Anthony in Sweeney Todd with Pensacola
Opera, King Henry II in Becket with Long Island
Masterworks, and Papageno in The Magic Flute
with Opera Omaha and Opera Birmingham.
With the Santa Fe Opera he has performed
Marcello in La bohéme, Masetto in Don Giovanni,
Pallante in Agrippina, The Shoes for the Santo Nino,
and the First Shepherd in Daphne. As house
favorite at Opera Birmingham he has performed
as Enrico in Lucia di Lammermoor, Escamillo in
Carmen, Ping in Turandot, Figaro in The Barber of
Seville, and the Count in The Marriage of Figaro.
An active concert performer, McKern made
his Carnegie Hall debut in the Fauré Requiem,
and recently returned to the prestigious concert
hall for John Rutter’s Mass of the Children
and Mozart’s Requiem. Other recent concert
engagements include Mahler’s Rückert-Lieder
with the Missoula Symphony, and performances
with the New Choral Society in Handel’s Messiah,
Brahms’s Ein deutsches Requiem, and Orff’s
Carmina burana, which he also performed with
the Yakima Symphony Orchestra and with the
San Juan Symphony in Colorado. His oratorio
credits include Vaughan Williams’s Dona Nobis
Pacem and a concert of operetta highlights with
the Indianapolis Symphony.
McKern is a former grant recipient from the
Sullivan Foundation, as well as the first place
winner of Opera Birmingham, Shreveport Opera,
and Mobile Opera competitions. He holds a
Master of Music degree from Indiana University,
and Bachelor of Music Education from
Mississippi State University. He is also a graduate
of the Seattle Opera Young Artist Program.
34

AMY KAISER
AT&T FOUNDATION CHAIR
One of the country’s leading choral directors,
Amy Kaiser has conducted the St. Louis
Symphony in Handel’s Messiah, Schubert’s Mass
in E-flat, Vivaldi’s Gloria, and sacred works by
Haydn and Mozart as well as Young People’s
Concerts. She has made eight appearances as
guest conductor for the Berkshire Choral Festival
in Sheffield, Massachusetts, Santa Fe, and at
Canterbury Cathedral. As Music Director of the
Dessoff Choirs in New York for 12 seasons, she
conducted many performances of major works at
Lincoln Center. Other conducting engagements
include concerts at Chicago’s Grant Park Music
Festival and more than fifty performances with the
Metropolitan Opera Guild. Principal Conductor
of the New York Chamber Symphony’s School
Concert Series for seven seasons, Kaiser also led
many programs for the 92nd Street Y’s acclaimed
Schubertiade. She has conducted over twenty-five
operas, including eight contemporary premieres.
A frequent collaborator with Professor Peter
Schickele on his annual PDQ Bach concerts
at Carnegie Hall, Kaiser made her Carnegie
Hall debut conducting PDQ’s Consort of Choral
Christmas Carols. She also led the Professor in
PDQ Bach’s Canine Cantata “Wachet Arf” with
the New Jersey Symphony.
Kaiser has led master classes in choral
conducting at Indiana University Jacobs School
of Music, served as faculty for a Chorus America
conducting workshop, and as a panelist for the
National Endowment for the Arts. An active
guest speaker, Kaiser teaches monthly classes for
adults in symphonic and operatic repertoire and
presents “Illuminating Opera” for four weeks in
April at Opera Theatre of St. Louis.
Amy Kaiser has prepared choruses for the
New York Philharmonic, Ravinia Festival, Mostly
Mozart Festival, and Opera Orchestra of New
York. She also served as faculty conductor and
vocal coach at Manhattan School of Music and
the Mannes College of Music. An alumna of Smith
College, she was awarded the Smith College
Medal for outstanding professional achievement.
Amy Kaiser directs the
St. Louis Symphony Chorus
in Britten’s Peter Grimes,
Bach’s Christmas Oratorio,
Verdi’s Requiem, and Orff’s
Carmina burana in the
2013-14 season.
35

ST. LOUIS SYMPHONY CHORUS 2012-2013
Amy Kaiser
Director
Leon Burke, III
Assistant Director
Gail Hintz
Accompanist
Susan Patterson
Manager
Nancy Davenport Allison
Rev. Fr. Stephan Baljian
Stephanie A. Ball
Nick Beary
Rudi J. Bertrand
Annemarie Bethel-Pelton
Paula N. Bittle
Jerry Bolain
Michael Bouman
Richard F. Boyd
Keith Boyer
Pamela A. Branson
Bonnie Brayshaw
Marella Briones
Daniel P. Brodsky
Buron F. Buffkin, Jr.
Leon Burke, III
Cherstin Byers
Leslie Caplan
Maureen A. Carlson
Victoria Carmichael
Mark P. Cereghino
Jessica Klingler Cissell
Rhonda Collins Coates
Timothy A. Cole
Derek Dahlke
Laurel Ellison Dantas
Deborah Dawson
Zachary Devin
Mary C. Donald
Stephanie M. Engelmeyer
Ladd Faszold
Jasmine J. Fazzari
Heather Fehl
Robin D. Fish, Jr. Shelly Ragan Pickard
Alan Freed
Sarah Price
Mark Freiman
Valerie Reichert
Amy Garcés
Kate Reimann
Amy Gatschenberger David Ressler
Lara Gerassi
Gregory J. Riddle
Megan E. Glass
Patti Ruff Riggle
Susan Goris
Stephanie Diane
Karen S. Gottschalk Robertson
Jacqueline Gross Terree Rowbottom
Susan H. Hagen Paul N. Runnion
Clifton D. Hardy Jennifer Ryrie
Nancy J. Helmich Susan Sampson
Ellen Henschen Patricia Scanlon
Jeffrey E. Heyl
Mark V. Scharff
Lori Hoffman
Samantha Nicole Schmid
Matthew S. Holt Paula K. Schweitzer
Allison Hoppe
Lisa Sienkiewicz
Heather Humphrey Janice Simmons-Johnson
Kerry H. Jenkins John William Simon
Madeline Kaufman Charles G. Smith
Jennifer Klauder Shirley Bynum Smith
Elena Korpalski Joshua Stanton
Paul V. Kunnath Adam Stefo
Kendra Lee
David Stephens
Debby Lennon
Benna D. Stokes
Gregory C. Lundberg Greg Storkan
Gina Malone
Maureen Taylor
Jamie Lynn Marble Michelle D. Taylor
Jan Marra
Justin Thomas
Lee Martin
Natanja Tomich
Alicia Matkovich Pamela M. Triplett
Daniel Mayo
David R. Truman
Rachael McCreery Greg Upchurch
Elizabeth Casey McKinney Robert Valentine
Scott Meidroth
Kevin Vondrak
Claire Minnis
Samantha Wagner
Brian Mulder
Nancy Maxwell Walther
Johanna Nordhorn Keith Wehmeier
Duane L. Olson Nicole C. Weiss
Nicole Orr
Dennis Willhoit
Heather McKenzie Paul A. Williams
Patterson
Mary Wissinger
Susan Patterson Susan Donahue Yates
Matt Pentecost
Carl S. Zimmerman
Brian Pezza
36

AUDIENCE INFORMATION
BOX OFFICE HOURS
Monday-Saturday, 10am-6pm; Weekday
and Saturday concert evenings through
intermission; Sunday concert days
12:30pm through intermission.
TO PURCHASE TICKETS
Box Office: 314-534-1700
Toll Free: 1-800-232-1880
Online: stlsymphony.org
Fax: 314-286-4111
A service charge is added to all
telephone and online orders.
SEASON TICKET EXCHANGE POLICIES
If you can’t use your season tickets,
simply exchange them for another
Wells Fargo Advisors subscription
concert up to one hour prior to your
concert date. To exchange your tickets,
please call the Box Office at 314-534-
1700 and be sure to have your tickets
with you when calling.
GROUP AND DISCOUNT TICKETS
314-286-4155 or 1-800-232-1880 Any
group of 20 is eligible for a discount on
tickets for select Orchestral, Holiday,
or Live at Powell Hall concerts. Call
for pricing.
Special discount ticket programs are
available for students, seniors, and
police and public-safety employees.
Visit stlsymphony.org for more
information.
37
POLICIES
You may store your personal
belongings in lockers located on the
Orchestra and Grand Tier Levels at a
cost of 25 cents.
Infrared listening headsets are available
at Customer Service.
Cameras and recording devices are
distracting for the performers and
audience members. Audio and video
recording and photography are strictly
prohibited during the concert. Patrons
are welcome to take photos before the
concert, during intermission, and after
the concert.
Please turn off all watch alarms, cell
phones, pagers, and other electronic
devices before the start of the concert.
All those arriving after the start of the
concert will be seated at the discretion
of the House Manager.
Age for admission to STL Symphony
and Live at Powell Hall concerts
vary, however, for most events the
recommended age is five or older. All
patrons, regardless of age, must have
their own tickets and be seated for all
concerts. All children must be seated
with an adult. Admission to concerts is
at the discretion of the House Manager.
Outside food and drink are not
permitted in Powell Hall. No food or
drink is allowed inside the auditorium,
except for select concerts.
Powell Hall is not responsible for
the loss or theft of personal property.
To inquire about lost items, call
314-286-4166.
POWELL HALL RENTALS
Select elegant Powell Hall for your next
special occasion.
Visit stlsymphony.org/rentals
for more information.

POWELL HALL
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
WHEELCHAIR LIFT
BALCONY LEVEL
(TERRACE CIRCLE, GRAND CIRCLE)
WHEELCHAIR LIFT
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
GRAND TIER LEVEL
(DRESS CIRCLE, DRESS CIRCLE BOXES,
GRAND TIER BOXES & LOGE)
MET BAR
TAXI PICK UP
DELMAR
MET BAR
TAXI PICK UP
DELMAR
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
BOUTIQUE
ORCHESTRA LEVEL
(PARQUET, ORCHESTRA RIGHT & LEFT)
BOUTIQUE
KEY
KEY
LOCKERS
LOCKERS
WOMEN’S RESTROOM
WOMEN’S RESTROOM
MEN’S MEN’S RESTROOM RESTROOM
ELEVATOR
WIGHTMAN
WIGHTMAN
GRAND
GRAND FOYER
FOYER
CUSTOMER
SERVICE
CUSTOMER
SERVICE
TICKET LOBBY
TICKET LOBBY
BAR SERVICES
BAR SERVICES
HANDICAPPED-ACCESSIBLE
HANDICAPPED-ACCESSIBLE
FAMILY FAMILY RESTROOM RESTROOM
38