PACIFIC SYMPHONY S SUMMER FESTIVAL 2016 AT IRVINE MEADOWS AMPHITHEATRE. presents. The Spy Who Loved Me: The Music of James Bond

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1 AUG. 21 PACIFIC SYMPHONY S SUMMER FESTIVAL 2016 AT IRVINE MEADOWS AMPHITHEATRE summer festival 2016 presents The Spy Who Loved Me: The Music of James Bond The concert begins at 7:30 p.m. ALBERT-GEORGE SCHRAM CONDUCTOR SHEENA EASTON VOCALIST SCOTT COULTER VOCALIST Theme from Mission Impossible Lalo Schifrin Theme from Get Smart Irving Szathmary Theme from The Pink Panther Henry Mancini Theme from Alfred Hitchcock Presents (Funeral March of a Marionette) Charles Gounod A View to a Kill John Barry & Duran Duran Windmills of Your Mind from The Thomas Crown Affair Michel LeGrand Against All Odds Phil Collins Sooner or Later from Dick Tracy Stephen Sondheim Whistling Away the Dark from Darling Lili Henry Mancini & Johnny Mercer I Know Him So Well from Chess Benny Anderson, Bjorn Ulvaeus & Tim Rice Separate Lives from White Nights Stephen Bishop, INTERMISSION Theme from Austin Powers (Soul Bossa Nova) Quincy Jones Theme from The Saint Edwin Astley Theme from Charlie s Angels Jack Elliott & Allyn Ferguson Pop Spy Medley: Private Eyes by Hall & Oates Hello by Lionel Richie Every Breath You Take by The Police Mack the Knife Kurt Weill Theme from James Bond Monty Norman Goldfinger John Barry, Leslie Bricusse & Anthony Newley Diamonds Are Forever John Barry & Don Black Skyfall Adele Adkins & Paul Epworth For Your Eyes Only Bill Conti & Mick Leeson This concert is generously sponsored by PACIFIC SYMPHONY PROUDLY RECOGNIZES ITS OFFICIAL PARTNERS Official Hotel Official Classical Radio Station Official Pops Radio Station Official Media Sponsor Official Television Station PacificSymphony.org (714)

2 ARTISTS meet the guest artists Equally adept at conducting classical and pops programs, Albert-George Schram has led a wide variety of repertoire for many orchestras in the U.S. and abroad. Schram is currently resident conductor of the Nashville Symphony and resident staff conductor of the Columbus (Ohio) and Charlotte symphonies. He has conducted classical, pops, holiday and educational concerts for all three orchestras. He has also served as music director of the Lubbock (Texas) Symphony and the Lynn (Fla.) Philharmonic, and has held titled positions with the Louisville and Florida philharmonic orchestras. Schram s guest-conducting roster has included the symphonies of Dallas, Charlotte, Tucson, New Orleans (Louisiana Philharmonic), Oklahoma City, Spokane, Dayton and San Antonio, among others. His conducting engagements abroad have been with the Netherlands Radio Philharmonic, the Taegu Symphony in Korea, the Orquestra Sinfonica Nacional of Bolivia, the Orquestra Sinfonica Universidad Nacional de Cuyo (in Mendoza, Argentina), the National Symphony Orchestra of Uzbekistan and the Orchester der Allgemeinen Musikgesellschaft in Luzern, Switzerland. Educated at The Hague Conservatory in his native Netherlands, Schram has also studied at the University of Calgary and the University of Washington. His teachers have included Rafael Kubelik, Franco Ferrara, Abraham Kaplan and Neeme Järvi. ALBERT-GEORGE SCHRAM CONDUCTOR Schram has worked with many distinguished artists, including pianists Lang Lang and Olga Kern and violinist Elmar Oliveira, among others. His vast performance repertoire has included the Requiems of Verdi and Berlioz, most of the standard symphonies (by Mozart, Beethoven, Tchaikovsky, Brahms, Mahler, et al.), the basic concerto repertoire, and music by such acclaimed contemporary composers as John Corigliano and Jennifer Higdon. As a pops conductor, Schram has worked with James Taylor, Art Garfunkel, Chris Botti, LeAnn Rimes, Boyz II Men, Kenny G, Olivia Newton-John, Chicago, Aretha Franklin and many others. He also has put together a variety of theme programs, including a Big Band show, a Ray Charles tribute, Home for the Holidays (a Christmas program) and a romantic evening called That s Amore., whose career has spanned four decades, was born in Bellshill, Scotland, is the youngest of six children and is the mother of two children, Jake and Skylar. Her recording career has included Gold and Platinum albums in the United States, Europe and Asia. She has sold over 20 million records worldwide, received two Grammys, and was the first and still only artist to have top five records on five major Billboard charts. In addition to her recording success, Easton is a top concert attraction around the world. Easton also has a list of notable acting credits including a five-episode appearance on Miami Vice, a co-starring role opposite Stacy Keach in a John Carpenter-directed trilogy for Showtime titled Body Bags, and as a guest star in the cult syndicated series The Highlander and a starring role in UPN s Ghost Stories. Other guest roles have included Brisco County and Tech Wars, as well as a starring role in Showtime s Outer Limits. Easton also appeared as a regular on the 2005 PAX TV show Young Blades. During 2004 Easton and Brian McKnight hosted a talk show originating in Las Vegas. On Broadway, Easton starred as Aldonza/Dulcinea in Man of La Mancha opposite the late Raul Julia s Don Quixote. Throughout its year-long run the play remained one of the five top-grossing hits at the box office. She also starred on Broadway in the hit musical Grease as Rizzo. Easton has been busy with frequent appearances in Las Vegas, where she has been a major attraction for the last two decades, and she was recently inducted into the Las Vegas Hall Of Fame. SHEENA EASTON VOCALIST Seen in venues not only nationally, but internationally, Easton continues to perform her hits and fan favorites. She is most at home working with the band, but has expanded her love of the concert stage as a guest vocalist in various programs with symphonies across the nation and has made frequent appearances in The Spy Who Loved Me. This allows her to blend her romance with various styles of music: American standards, pop and Broadway. Summer Festival 2016

3 ARTISTS meet the guest artists is one of New York s most honored vocalists. For his work in cabaret, he has received five MAC Awards (Manhattan Association of Cabarets and Clubs), five Bistro Awards and two Nightlife Awards for Outstanding Vocalist and has performed at most of NYC s top rooms including Birdland, 54 Below, The Oak Room at the Algonquin and Feinstein s at The Regency, where he spent a record-setting eight months performing the revue 11 O Clock Numbers at 11 O Clock which he also co-created, directed and musically arranged. His self-titled debut CD won the 2003 MAC Award for Outstanding Recording and was chosen as the best recording of the year by TheatreMania and Cabaret Scenes magazine which pronounced it quite simply, the best these ears have ever heard. Coulter was director and star of A Christmas Carol: The Symphonic Concert in its world premiere with the Baltimore Symphony and reprised his role in the Emmy-nominated PBS production which premiered in December Since 1997, Scott has performed around the country with award-winning songwriting duo Marcy Heisler and Zina Goldrich in their many revues. While singing with Goldrich and Heisler, he was discovered by Oscar and Grammy-winning composer Stephen Schwartz who then invited him to join the revue Stephen Schwartz & Friends. That revue (starring Schwartz and Coulter along with Liz Callaway and Tony Award-winner Debbie Gravitte) has been performing all over the world since Schwartz has said, One of the greatest things that can happen to a composer is to have his music interpreted by. Coulter regularly performs in concert both as a solo artist and with a variety of legendary performers including Stephen Schwartz, Tony winner Ben Vereen and Grammy winner Sheena Easton. He has performed with symphonies all over the world including San Francisco, Baltimore, Seattle, Phoenix, Winnipeg, St. Louis and Calgary. He is also a director of many shows in New York and on tour. SCOTT COULTER VOCALIST Coulter is founder/owner of Spot-On Entertainment. He s a resident director of programming at 54 Below (Broadway s Supper Club) in NYC and is a graduate of the Cincinnati College- Conservatory of Music. On Sale NOW! America s reigning diva The Washington Post A voice that possesses the complex sweetness of wildflower honey The Toronto Star An Evening With and Pacific Symphony CARL ST.CLAIR, conductor September 13, 2016 A ONE-NIGHT-ONLY SPECTACULAR Internationally acclaimed opera superstar Renée Fleming one of the truly great voices of our time joins Pacific Symphony to inaugurate the orchestra s 10th season in the stunning Renée and Henry Segerstrom Concert Hall. The beloved soprano sings Richard Strauss Four Last Songs, along with personal and popular favorites from the opera world and Broadway stage. PacificSymphony.org Call (714) The Spy Who Loved Me

4 NOTES Music for an Insouciant Hero Espionage is as old as history. The first spy story that many of us learn, the biblical narrative of Samson and Delilah, is hardly the oldest. But spies have a special affinity for the movies, and there is one fictional spy in particular James Bond who seems born for the silver screen. The devil-may-care 007 is the very model of the modern-day movie hero: handsome, insouciant, effortlessly sexy and seemingly indestructible. Everything about him is cinematic, from the impeccable cut of his bespoke suits (Savile Row, of course) to his sybaritic lifestyle, with its very dry, shaken-not-stirred martinis outnumbered only by beautiful women. Still going strong, the James Bond film franchise is by far the most durable in the history of the movies. It began more than half a century ago, but James himself doesn t look a day older than well, no age at all, really. Unflappably suave, he shows no signs of slowing down. But the birth of James Bond is actually one of the more improbable events in British cultural history. It took place in 1952, when Ian Fleming wrote a book called Casino Royale that wove together the strands of his own rather checkered career. At age 44, Fleming had been a journalist and stockbroker, and had worked in naval intelligence during World War II. But as his colleagues on Fleet Street might have said, he had not yet tried to write long. Still, he showed a confident and highly original way with suspense narrative as he deployed the writing skills he developed first at the aristocratic Eton College and later in studies in Germany and Austria, then professionally at the Reuters news agency. Having worked directly for the director of Naval Intelligence in the Admiralty in London, his knowledge of intelligence operations and the wilder side of international espionage was keen. And even his background in the upper reaches of world finance came in handy as he situated the action of Casino Royale in glittering Monte Carlo, with Bond working elegantly under cover. The fate of the world depended upon his ability to wear perfectly tailored clothes, hold his liquor, seduce beautiful women and play baccarat for stratospherically high stakes using other people s money with casual effortlessness. Like the spy game itself, the charismatic Mr. Bond seems always to have been with us. But what we now take for granted seemed startling in 1953, when he shattered the mold of British espionage fiction just as the seemingly permanent verities of the British Empire had been shattered by the world wars. Until then, the Dr. No (1962); Jack Lord and Sean Connery; United Artists/Photofest by michael clive Casino Royale (2006); Eva Green (Vesper) and Daniel Craig (James Bond); MGM/Columbia Pictures/Photofest prototype of the proper British literary spy was Somerset Maugham s character Ashenden a shy, diffident playwright born as Edgar Brodie, later recruited to intelligence ops by a certain Colonel R. and given the name Ashenden as his cover. In Ashenden s world we can see a reverse template for Bond s. Ian Fleming, aristocratic and well educated, arose from the same gentlemanly world as Somerset Maugham, and like Maugham, he mined his own life and experience to create his fictional master spy. But while Maugham gained his knowledge of espionage in World War I, Fleming s Bond is a creature of the Cold War and the Atomic Age a time when, as the writer Ed Sikov notes in his book about the film industry of the 1950s, Laughing Hysterically, moviegoers were deeply anxious about the brute fact of the Korean War, the resulting boom in bomb shelters, and the nationwide dissemination of pamphlets about how to remain alive in a nuclear holocaust... When we went to the movies we took our nightmares with us. Ashenden s manners, intellectualism and moral complexity seemed distant and irrelevant, and the world of Fleming s great contemporary in espionage fiction John le Carré seemed way too serious, morally complex and drably real. We wanted escapist entertainment with outlandish plots, big explosions and beautiful women. We wanted a man of action who could seduce the women, kill the bad guys and vanquish our fears. We wanted James Bond. After the first couple of entries in the James Bond film franchise From Russia with Love (1962) and Dr. No (1963) it became clear that an iconic hit song should be part of agent 007 s standard equipment. And since the films are hyperbolically intense from beginning to end, the songs, too, must be bold. A great Bond song must confront us with strong emotion, yet also tempt us with an ironic twist like the twist of lemon in Bond s martini. It also helps to have a great vocalist with a signature voice to serve it up. Summer Festival 2016

5 NOTES The Listener s Guide to Bond s World and Bond Songs If a song invites us to visit a musical world for a while, a Bond song takes us into a gleaming fantasy of romance and adventure. Bond s world is packed with action and populated by beautiful, eager women. The alcohol is copious, the gadgets ingenious and the epically evil bad guys bent on world domination. But ah, those women! More than just looks, they also possess special skills that make them formidable antagonists or allies expertise that suggests the possibility of other skills reserved for the bedroom. Bond s amazing gadgetry is most often lethal; though Fleming himself never owned an Aston Martin, he gave one to Bond and equipped it with rocket launchers and a passenger ejector seat. Bond s assignments and his fabulous gear are issued by his boss, M, most recently played by Dame Judi Dench in a prescient characterization that anticipates the icy competence of Angela Merkel and Theresa May, the new prime minister of Great Britain. As for Bond s famous martinis, shaken, not stirred (no serious aficionado of fine spirits would actually shake them), killjoy academics calculate that Fleming s narratives depict Bond consuming 1,150 units of alcohol in 88 days of work, an average of 92 units per week four times the medically recommended maximum. Then there are Bond s weird, ruthless antagonists villains who seem to think that world domination is the only salve for their wounded psyches. In the words of the English music-hall ditty, they kill for power because Daddy never bought them a bow-wow. Now, about those songs: No pressure, Mr. or Ms. Composer, but a Bond song is expected to be a hit, with musical impact to match the movie s spectacular action on the geopolitical battlefield and in the bedroom. It takes a special kind of singer to provide this kind of gripping vocalism, and the biggest stars of the day have been recruited to the cause. Some renditions have become iconic pop interpretations: Shirley Bassey s Goldfinger, Tom Jones Thunderball, Nancy Sinatra s You Only Live Twice and Live and Let Die by Paul McCartney and Wings, to name just a few. Our musical expectations click into gear and our detailed mental picture of Bond s world automatically surrounds us with the first few notes of these songs. We know the musical ingredients: emotional intensity, dramatic phrases that build to rich climaxes and suggestive lyrics that use puns to conflate all of Bond s abilities as a covert agent and a lover. Loudness big emotions and big, forte phrases are a must. When Carly Simon crooned Nobody Does It Better with smoky ardor, she sounded like the first woman who ever said baby, you re the best. But frankly, nobody ever did it better than Sheena Easton, whose rendition of For Your Eyes Only accomplished the impossible: Simultaneously big and intimate, it imbues a standard phrase in the espionage lexicon with smoldering double-meaning. of London from streetwalkers to the police chief s daughter, and no matter how closely he s pursued, a woman is always nearby to help him out. In the movie version by Peter Brook, Laurence Olivier is a compelling Macheath. In pre-world War II Germany, The Beggar s Opera served as the basis for The Threepenny Opera, by composer Kurt Weill and playwright Bertolt Brecht with Elisabeth Hauptmann. The Ballad of Mack the Knife comes from this acidly satirical play with music. Not surprisingly, its success made it a target of the Nazis and forced its creators and Lotte Lenya, Brecht s wife, to flee Germany for the U.S. Here, in a legendary 1950s New York production of Threepenny (translated from the original Die Dreigroschenoper), the outlaw Mackie Messer (knife) became Mac the Knife. (Lenya would go on to play Rosa Klebb in the early Bond film From Russia With Love.) Live and Let Die (1973); Roger Moore and Jane Seymour; United Artists/Photofest With swing versions by Louis Armstrong (1956) and Bobby Darin (1959), The Ballad of Mack the Knife became a jazz-pop standard simple yet sophisticated, and somehow hypnotic. But have you listened carefully to those lyrics? They convey the menace hidden just over your shoulder. Is it Mackie, with his lethal switchblade? A video game? Or the brute fact of oppression, war and violence flaring when we least expect it? Michael Clive is a cultural reporter living in the Litchfield Hills of Connecticut. He is program annotator for Pacific Symphony and Louisiana Philharmonic, and editor-inchief for The Santa Fe Opera. Look There Goes Mac the Knife! What s a scoundrel like Mac the Knife doing alongside James Bond, a quintessential good guy? The Ballad of Mack the Knife traces its lineage back to one of James Bond s most illustrious forebears: the amoral, charismatic highwayman Macheath who was captain of a gang of thieves in John Gay s 1728 musical satire The Beggar s Opera, an anti-opera that interpolated popular operatic arias and folk songs of the day. Macheath and Bond have much in common, especially their infallible way with women. Mackie has seduced every woman in his district THANK YOU TO OUR SPONSOR Jaguar Land Rover Aston Martin Newport Beach are proud ongoing sponsors of Pacific Symphony. Nestled along Jamboree Road in Newport Beach, the dealership is dedicated to serving the local community with excellent product and customer service. Experience the All-New Jaguar F-PACE crossover or Range Rover Sport at their award-winning facility today. For more information, please call (949) or visit The Spy Who Loved Me

6 CARL meet the music director The season marks Music Director Carl St.Clair s 27th year leading Pacific Symphony. He is one of the longest tenured conductors of the major American orchestras. St.Clair s lengthy history solidifies the strong relationship he has forged with the musicians and the community. His continuing role also lends stability to the organization and continuity to his vision for the Symphony s future. Few orchestras can claim such rapid artistic development as Pacific Symphony the largest orchestra formed in the United States in the last 50 years due in large part to St.Clair s leadership. During his tenure, St.Clair has become widely recognized for his musically distinguished performances, his commitment to building outstanding educational programs and his innovative approaches to programming. Among his creative endeavors are: the opera initiative, Symphonic Voices, which continues for the sixth season in with Verdi s Aida, following the concert-opera productions of La Bohème, Tosca, La Traviata, Carmen and Turandot in subsequent seasons; and the highly acclaimed American Composers Festival, which, now in its 17th year, celebrates the 70th birthday of John Adams with a performance of The Dharma at Big Sur, featuring electric violinist Tracy Silverman, followed by Steven Boyers Ellis Island: The Dream of America. St.Clair s commitment to the development and performance of new works by composers is evident in the wealth of commissions and recordings by the Symphony. The season features commissions by pianist/composer Conrad Tao and composer-in-residence Narong Prangcharoen, a follow-up to the recent slate of recordings of works commissioned and performed by the Symphony in recent years. These include William Bolcom s Songs of Lorca and Prometheus ( ), Elliot Goldenthal s Symphony in G-sharp Minor ( ), Richard Danielpour s Toward a Season of Peace ( ) Philip Glass The Passion of Ramakrishna ( ), and Michael Daugherty s Mount Rushmore and The Gospel According to Sister Aimee ( ). St.Clair has led the orchestra in other critically acclaimed albums including two piano concertos of Lukas Foss; Danielpour s An American Requiem and Goldenthal s Fire Water Paper: A Vietnam Oratorio with cellist Yo-Yo Ma. Other commissioned composers include James Newton Howard, Zhou Long, Tobias Picker, Frank Ticheli and Chen Yi, Curt Cacioppo, Stephen Scott, Jim Self (Pacific Symphony s principal tubist) and Christopher Theofanidis. In , St.Clair led the orchestra s historic move into its home in the Renée and Henry Segerstrom Concert Hall at Segerstrom Center for the Arts. The move came on the heels of the landmark season that included St.Clair leading the Symphony on its first European tour nine cities in three countries playing before capacity houses and receiving extraordinary responses and reviews. From , St.Clair was general music director for the Komische Oper in Berlin, where he led successful new productions such as La Traviata (directed by Hans Neuenfels). He also served as general music director and chief conductor of the German National Theater and Staatskapelle (GNTS) in Weimar, Germany, where he led Wagner s Ring Cycle to critical acclaim. He was the first non-european to hold his position at the GNTS; the role also gave him the distinction of simultaneously leading one of the newest orchestras in America and one of the oldest in Europe. In 2014, St.Clair became the music director of the National Symphony Orchestra in Costa Rica. His international career also has him conducting abroad several months a year, and he has appeared with orchestras throughout the world. He was the principal guest conductor of the Radio Sinfonieorchester Stuttgart from , where he completed a three-year recording project of the Villa Lobos symphonies. He has also appeared with orchestras in Israel, Hong Kong, Japan, Australia, New Zealand and South America, and summer festivals worldwide. CARL ST.CLAIR WILLIAM J. GILLESPIE MUSIC DIRECTOR CHAIR In North America, St.Clair has led the Boston Symphony Orchestra (where he served as assistant conductor for several years), New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic and the San Francisco, Seattle, Detroit, Atlanta, Houston, Indianapolis, Montreal, Toronto and Vancouver symphonies, among many. A strong advocate of music education for all ages, St.Clair has been essential to the creation and implementation of the Symphony s education and community engagement programs including Pacific Symphony Youth Ensembles, Heartstrings, Sunday Casual Connections, OC Can You Play With Us?, arts-x-press and Class Act. Summer Festival 2016

7 ABOUT pacific symphony In Pacific Symphony, currently in its 38th season, celebrates the 10th anniversary as the resident orchestra of the Renée and Henry Segerstrom Concert Hall. Led by Music Director Carl St.Clair, who is in his 27th season, the Symphony is the largest orchestra formed in the U.S. in the last 50 years and is recognized as an outstanding ensemble making strides on both the national and international scene, as well as in its own community of Orange County. Presenting more than 100 concerts and events a year and a rich array of education and community engagement programs, the Symphony reaches more than 300,000 residents from school children to senior citizens. The Symphony offers repertoire ranging from the great orchestral masterworks to music from today s most prominent composers, highlighted by the annual American Composers Festival. Five seasons ago, the Symphony launched the highly successful opera initiative, Symphonic Voices. It also offers a popular Pops season, enhanced by state-of-the-art video and sound, led by Principal Pops Conductor Richard Kaufman, who celebrated 25 years with the orchestra last season. Each Symphony season also includes Café Ludwig, a chamber music series; an educational Family Musical Mornings series; and Sunday Casual Connections, an orchestral matinee series offering rich explorations of selected works led by St.Clair. Founded in 1978 as a collaboration between California State University, Fullerton (CSUF), and North Orange County community leaders led by Marcy Mulville, the Symphony performed its first concerts at Fullerton s Plummer Auditorium as the Pacific Chamber Orchestra, under the baton of then-csuf orchestra conductor Keith Clark. Two seasons later, the Symphony expanded its size and changed its name to Pacific Symphony Orchestra. Then in , the orchestra moved to Knott s Berry Farm for one year. The subsequent four seasons, led by Clark, took place at Santa Ana High School auditorium where the Symphony also made its first six acclaimed recordings. In September 1986, the Symphony moved to the new Orange County Performing Arts Center, where Clark served as music director until 1990, and from , the orchestra has additionally presented a Summer Festival at Irvine Meadows Amphitheatre. Ten years ago, the Symphony moved into the Renée and Henry Segerstrom Concert Hall, with striking architecture by Cesar Pelli and acoustics by Russell Johnson and in 2008, inaugurated the hall s critically acclaimed 4,322- pipe William J. Gillespie Concert Organ. The orchestra embarked on its first European tour in 2006, performing in nine cities in three countries. The season continues St.Clair s commitment to new music with commissions by pianist/ composer Conrad Tao and composer-in-residence Narong Prangcharoen. Works commissioned and performed by the Symphony include the release of William Bolcom s Songs of Lorca and Prometheus in In , Elliot Goldenthal released a recording of his Symphony in G-sharp Minor, written for and performed by the Symphony. In , the Symphony released Richard Danielpour s Toward a Season of Peace and Philip Glass The Passion of Ramakrishna; in , Michael Daugherty s Mount Rushmore in all three commissioned and performed by the Symphony. The Symphony has also commissioned and recorded An American Requiem by Danielpour and Fire Water Paper: A Vietnam Oratorio by Goldenthal featuring Yo-Yo Ma. Other recordings have included collaborations with such composers as Lukas Foss and Toru Takemitsu. Other leading composers commissioned by the Symphony include Paul Chihara, Daniel Catán, James Newton Howard, William Kraft, Ana Lara, Tobias Picker, Christopher Theofanidis, Frank Ticheli and Chen Yi. PACIFIC SYMPHONY In both 2005 and 2010, the Symphony received the prestigious ASCAP Award for Adventurous Programming. Also in 2010, a study by the League of American Orchestras, Fearless Journeys, included Pacific Symphony as one of the country s five most innovative orchestras. The Symphony s award-winning education programs benefit from the vision of St.Clair and are designed to integrate the orchestra and its music into the community in ways that stimulate all ages. The Symphony s Class Act program has been honored as one of nine exemplary orchestra education programs by the National Endowment for the Arts and the League of American Orchestras. The list of instrumental training initiatives includes Pacific Symphony Youth Orchestra, Pacific Symphony Youth Wind Ensemble and Pacific Symphony Santiago Strings. The Symphony also brings the gift of music to Orange County communities through its many programs including arts-x-press, Class Act, Heartstrings, OC Can You Play With Us?, Santa Ana Strings, Strings for Generations and Symphony in the Cities. The Spy Who Loved Me

8 MEET the orchestra CARL ST.CLAIR MUSIC DIRECTOR William J. Gillespie Music Director Chair RICHARD KAUFMAN PRINCIPAL POPS CONDUCTOR Hal and Jeanette Segerstrom Family Foundation Principal Pops Conductor Chair ROGER KALIA ASSISTANT CONDUCTOR Mary E. Moore Family Assistant Conductor Chair NARONG PRANGCHAROEN COMPOSER-IN-RESIDENCE FIRST VIOLIN Vacant Concertmaster, Eleanor and Michael Gordon Chair Paul Manaster Associate Concertmaster Jeanne Skrocki Assistant Concertmaster Nancy Coade Eldridge Christine Frank Kimiyo Takeya Ayako Sugaya 20 Ann Shiau Tenney Maia Jasper Robert Schumitzky 30 Agnes Gottschewski Dana Freeman 30 Grace Oh Angel Liu Marisa Sorajja SECOND VIOLIN Bridget Dolkas* Elizabeth and John Stahr Chair Yen-Ping Lai Yu-Tong Sharp Ako Kojian Ovsep Ketendjian Linda Owen Phil Luna 30 MarlaJoy Weisshaar Alice Miller-Wrate Shelly Shi Chloe Chiu VIOLA Vacant* Catherine and James Emmi Chair Meredith Crawford** Carolyn Riley 20 John Acevedo 30 Erik Rynearson Victor de Almeida Julia Staudhammer Joseph Wen-Xiang Zhang Pamela Jacobson Adam Neeley Cheryl Gates Margaret Henken CELLO Timothy Landauer* Catherine and James Emmi Chair Kevin Plunkett** John Acosta Robert Vos László Mezö Ian McKinnell M. Andrew Honea Waldemar de Almeida Jennifer Goss Rudolph Stein BASS Steven Edelman* Douglas Basye** Christian Kollgaard David Parmeter Paul Zibits 30 David Black Andrew Bumatay Constance Deeter 30 PICCOLO Cynthia Ellis OBOE Jessica Pearlman Fields* Suzanne R. Chonette Chair Ted Sugata ENGLISH HORN Lelie Resnick CLARINET Joseph Morris* The Hanson Family Foundation Chair David Chang BASS CLARINET Joshua Ranz BASSOON Rose Corrigan* Elliott Moreau Andrew Klein Allen Savedoff 30 CONTRABASSOON Allen Savedoff 30 FRENCH HORN Keith Popejoy* Mark Adams Russell Dicey TRUMPET Barry Perkins* Susie and Steve Perry Chair Tony Ellis David Wailes BASS TROMBONE Kyle Mendiguchia TUBA James Self* 30 TIMPANI Todd Miller* PERCUSSION Robert A. Slack* Cliff Hulling HARP Mindy Ball* Michelle Temple PIANO CELESTE Sandra Matthews* PERSONNEL MANAGER Paul Zibits 30 LIBRARIANS Russell Dicey Brent Anderson PRODUCTION STAGE MANAGER Will Hunter STAGE MANAGER & CONCERT VIDEO TECHNICIAN William Pruett FLUTE Benjamin Smolen* Valerie and Hans Imhof Chair Sharon O Connor Cynthia Ellis TROMBONE Michael Hoffman* David Stetson * Principal ** Assistant Principal On Leave The musicians of Pacific Symphony are members of the American Federation of Musicians, Local 7. Celebrating 30 or 20 years with Pacific Symphony this season. Summer Festival 2016