October 27, 2023, 7:30 PM
Hochstein Performance Hall
The Rochester Oratorio Society Chorus and Orchestra
Kevin Nitsch, Accompanist
David Hult, Concertmaster
Eric Townell, Conductor
Featuring
Ziwen Xiang, Tenor
W.A. Mozart
Mass in C Major, KV 317, “Coronation”
Kyrie
Gloria
Credo
Sanctus- Benedictus
Agnus Dei
Featuring Luanne Crosby, Soprano; Sarah Engel, Alto; Daniel McInerney, Tenor; Roy Kirvan, Baritone
Intermission
Adolphus Hailstork
I Will Lift Up Mine Eyes
A Cantata for Solo Tenor, Chorus, and Orchestra
-
- I Will Lift Up Mine Eyes
- How Long
- The Lord Is My Shepherd. Alleluia.
Featuring Ziwen Xiang, Tenor
and improvising soloists from the choir: Leah Brooks, Soprano; Cheri Trimble, Alto
L. v. Beethoven
from Christ on the Mount of Olives
Hallelujah
Table of Contents
Texts and Translations
Mozart Mass in C Major, KV 317, “Coronation”
Kyrie eleison
Kyrie eleison
Christe eleison
Kyrie eleison
Lord, have mercy on us
Christ, have mercy on us
Lord, have mercy on us
Gloria
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te.
Benedicamus te.
Adoramus te.
Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam,
Domine Deus, Rex caelestis,
Deus Pater omnipotens.
Domine Fili unigenite
Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris,
Qui tollis peccata mundi,
miserere nobis.
Qui tollis peccata mundi,
suscipe deprecationem nostram.
Qui sedes ad dexteram Patris,
miserere nobis.
Quoniam tu solus sanctus.
Tu solus Dominus,
Tu solus altissimus,
Jesu Christe.
Cum Sancto Spiritu,
In gloria Dei Patris
Amen.
Glory to God on high.
And on earth peace to men of good will.
We praise thee.
We bless thee.
We adore thee.
We glorify thee.
We give thanks to thee for thy great glory,
O Lord God, heavenly king,
God the Father almighty,
O Lord, the only begotten Son,
Jesus Christ.
Lord God, Lamb of God,
Son of the Father.
That takest away the sins of the world, have mercy on us.
That takest away the sins of the world, receive our prayer.
That sittest at the right hand of the Father, have mercy on us.
For thou alone art holy,
Thou alone art the Lord,
Thou alone art most high,
Jesus Christ.
With the Holy Ghost
In the glory of God the Father
Amen.
Credo
Credo in unum Deum.
Patrem omnipotentem,
factorem caeli et terrae,
visibilium omnium et invisibilium.
Et in unum Dominum
Jesum Christum,
Filium Dei unigenitum,
Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum, consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nostram salutem descendit de caelis.
Et incarnatus est de Spiritu Sancto ex Maria Virgine:
Et homo factus est.
Crucifixus etiam pro nobis sub Pontio Pilato:
passus, et sepultus est.
Et resurrexit tertia die, secundum scripturas.
Et ascendit in caelum: sedet ad dexteram Patris.
Et iterum venturus est cum gloria judicare vivos et mortuos:
Cujus regni non erit finis.
Et in Spiritum sanctum Dominum, et vivificantem:
Qui ex Patre, Filioque procedit.
Qui cum Patre, et Filio simul adoratur, et conglorificatur:
Qui locutus est per Prophetas.
Et unum, sanctum, catholicam et apostolicam Ecclesiam.
Confiteor unum baptisma in remissionem peccatorum.
Et expecto resurrectionem mortuorum
Et vitam venturi saeculi.
Amen.
I believe in one God,
the Father almighty,
Maker of heaven and earth,
and of all things visible and invisible.
And in one Lord,
Jesus Christ,
Only begotten Son of God,
Begotten of his Father before all worlds.
God of God, light of light,
Very God of very God.
Begotten, not made,
being of one substance with the Father: by whom all things were made.
Who for us men and for our salvation came down from heaven.
And was incarnate by the Holy Ghost of the Virgin Mary:
And was made man.
And was crucified also for us under Pontius Pilate:
suffered, and was buried.
And the third day He rose again according to the scriptures.
And ascended into heaven, and sitteth at the right hand of the Father
And He shall come again with glory to judge the living and the dead:
His kingdom shall have no end.
And [I believe in] the Holy Ghost, Lord and giver of life:
Who proceedeth from the Father and Son.
Who with the Father and Son
together is worshiped and glorified:
Who spake by the Prophets.
And in one holy catholic and apostolic church.
I acknowledge one baptism for the remission of sins.
And I look for the resurrection of the dead
And the life of the world to come. Amen.
Sanctus
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Holy, Holy, Holy
Lord God of hosts.
Heaven and earth are full of thy glory.
Hosanna in the highest.
Blessed is he who cometh in the name of the Lord.
Hosanna in the highest.
Agnus Dei
Agnus Dei, qui tollis peccata mundi:
Miserere nobis.
Agnus Dei, qui tollis peccata mundi:
Miserere nobis.
Agnus Dei, qui tollis peccata mundi:
Dona nobis pacem.
Lamb of God, that takest away the sins of the world,
Have mercy on us.
Lamb of God, that takest away the sins of the world,
Have mercy on us.
Lamb of God, that takest away the sins of the world,
Grant us peace.
Program Notes
In January 1779 Mozart returned to his native city of Salzburg after having been away for sixteen months. He was about to turn 23 and he had no desire to be back in Salzburg, but all efforts to find a position elsewhere had failed. At the moment he had no place to go but home. Here, the job of organist for the Archbishop’s court was open; Mozart applied and was accepted, and he took up his tasks of performing and composing sacred music as required.
The first piece he composed in his new position is known today as his Coronation Mass. The name is not Mozart’s, and for a while it was believed that the mass was written for the ceremonial crowning of a statue of the Virgin Mary in the church of Maria-Plain, near Salzburg. That theory has been discredited, but the mass was actually performed for the coronation of Francis II as Holy Roman Emperor in 1792. The imperial court continued to use the mass for royal coronations and other festive occasions, and that is surely the source of the name. Mozart himself signed the completed score on 23 March 1779, which makes it likely that the mass was intended for the Easter service of that year (April 4 in 1779). It is certainly a festive composition, and it was the very first of his masses to appear in print.
Mozart had written numerous masses before the Coronation Mass, but this far exceeds his earlier efforts in its melodic charm. The chorus is the standard SATB, with SATB soloists as well. The orchestra, which used the usual horns, oboes, violins, and basso continuo (organ and one or more bass instruments such as cello, bassoon, or double bass), also included trumpets and timpani, which were reserved for ceremonial occasions such as Easter. Curiously–to modern ears at least–is the lack of violas, but the Archbishop’s orchestra had none of these. The ATB chorus parts would normally have been doubled by trombones, which were never used in symphonies at the time but were frequently used in sacred music. Mozart’s choice of C Major as the basic key of the mass was very purposeful, as trumpets at the time sounded good only in a small number of keys.
Liturgical requirements meant that the mass could not be very long, and as a result none of the movements are subdivided except for the Sanctus, which has a separate section for the Benedictus (soloists) and Osanna (chorus). Mozart avoids any arias for the soloists (too theatrical and too long), but he does open the Agnus with a long solo for the soprano–a melody that he will later re-use in Marriage of Figaro (the Countess’s aria “Dove sono”). Mozart also avoids the fugues that usually close the Gloria and Kyrie movements–a disappointment to choral singers! But he still managed to create lots of variety with practices such as shifts in texture from homorhythm to imitation, switches between chorus and soloists, the highlighting of dramatic dynamic contrasts, and use of the minor mode at key textual points such as the Crucifixus in the Credo. Thanks to Mozart’s prodigious gift for melody, the mass never flags in inspiration.
Two years after the mass was finished, Mozart had broken free of Salzburg and moved to Vienna to try his fortune. Here, opportunities for him to write sacred music were almost nonexistent. We are fortunate to have this gem of a mass as a souvenir of his final years in Salzburg.
Rochester native Adolphus Hailstork has created a gem of a different kind in his cantata I Will Lift Up Mine Eyes for chorus, solo tenor, and chamber orchestra. The three movements set three psalms texts: Psalm 21 (I will lift up mine eyes), Psalm 13 (How long, O Lord?), and Psalm 23 (The Lord is my shepherd). Hailstork is in good company with his overall plan, as Stravinsky’s Symphony of Psalms (written for the Boston Symphony Orchestra) and Bernstein’s Chichester Psalms (written for the 1965 Chichester Choral Festival) likewise present three-movement settings of psalms. Hailstork’s own piece was written in memory of Undine Smith Moore, a leading black composer of vocal music.
The opening movement sets the uplifting text of Psalm 21 in a briskly moving ABA formal structure, with the solo tenor introducing the main motive. The more lyrical B section sings of the “maker of heaven and earth” before we return to the opening music, first with new text and then with the original “I will lift up mine eyes” to provide a strong closing for the movement.
The second movement’s pleading text calls forth a dramatically different mood that is powerfully affecting. The bright C major of the first movement has given way to a plaintive G minor, and the movement opens with a slowly pulsing note on D that will undergird almost the entire movement. This constant D is most prominent in the horn, but it appears in other instruments and the voices as well. After the instrumental introduction, the chorus enters wordlessly, at first humming and then with a gentle crooning on “ooo.” The solo tenor begins with the text that will be stated again and again, the constant question of “how long, O Lord, how long?” A dramatic soliloquy for the tenor, reaching up to high C on “give light to my eyes” is followed by a section using gospel-style improvisation (the solo tenor, plus choir soloists from the alto and soprano sections) over the choral cries of “how long, O Lord?” Hailstork surprises the listener by supplying a partial answer at the end of the movement, when the music shifts to C major and the chorus brings back the music and text for “I will lift up mine eyes to the hills whence cometh my help.”
The final movement provides the real answer to the second movement’s plea, as it sets the immensely comforting 23rd Psalm. It opens with a chordal alleluia that is not part of the psalm text but is a joyous reminder of divine praise (Stravinsky does the same thing at the beginning of his third movement). Multiple alleluias are then sprinkled over the score while the solo tenor takes up the actual psalm text. Hailstork is building all of this over a gospel vamp, a two-measure repeated accompaniment that retains its harmonic identity while gradually evolving its melodic and rhythmic specifics. As the tempo gradually increases, Hailstork ups the gospel flavor when the choir starts the psalm text by using syncopation, triplets, syllabic text-setting, lots of repeated notes, and close harmony as to restate short motives again and again.
The gospel jubilee stops only when Hailstork brings back “I will lift up mine eyes”–both music and text–to complete the unification of the cantata. But the final word is “Alleluia” again, first majestically and fortissimo, and then slowly and gently fading away in the chorus as the tenor’s last Alleluia soars above all others.
Tonight’s concert ends with one more Alleluia: the closing “Hallelujah” chorus from Beethoven’s oratorio, Christus am Ölberg (Christ on the Mount of Olives). The work was premiered on 5 April 1803 in a concert that also included Beethoven’s first symphony, his second symphony, and his third piano concerto–concerts were much longer in those days! The work represents many firsts for Beethoven: his first public outing as a vocal composer, his first work on a sacred theme, and his first (and as it turns out, his last) oratorio.
Although the libretto is attributed to Austrian writer Franz Xavier Huber (1755–1814), it’s highly likely that Beethoven also helped shape the text, as the language is very similar to his letters from same the time. The oratorio’s story, taken from the Gospels, is that of Christ’s time of prayer on the Mount of Olives, where he prayed to God the Father that he could avoid his predestined fate. An angel is sent to comfort him, and after Christ’s acceptance of his destiny, soldiers come to arrest him and lead him to torture and, ultimately, crucifixion (the latter two events not part of the libretto). But because crucifixion means (in Christian theology), eventual resurrection, the opening of the gates of Paradise (closed since the expulsion of Adam and Eve), and the salvation of humanity, the oratorio closes with a jubilant Hallelujah praising Christ in recognition of his sacrifice. While the oratorio is rarely performed as a whole these days, the final Hallelujah has retained its deserved popularity and is a fitting conclusion to tonight’s performance.
Honey Meconi
Those interested in reading more about these pieces are invited to visit the following website:
https://thechoralsingerscompanion.com
Ziwen Xiang, Tenor
Chinese-born tenor Ziwen Xiang’s voice has been described as possessing a remarkably sweet, spinning, warm tone”, ideal for the lyric stage. Ziwen has performed with the Metropolitan Opera Guild, New York City Opera, China National Opera, Turkish State Opera, and Teatro Regio di Parma.Under the auspices of those company, he was heard in operas and concerts in many countries across Asia and Europe. In the United States, Xiang has sung with the Verismo Opera of New Jersey at Carnegie Hall’s Weill Recital Hall, and at the Stern Auditorium stage with MidAmerica productions. In 2018, he sang Rinuccio in Gianni Schicchi with the Metropolitan Opera Guild. He made his New York City Opera debut in the world premiere of Stonewall by Ian Bell and Mark Campbell. In 2021, he played Rodolfo in Puccini’s La Bohème in a movie co-produced by More Than Music LTD Hong Kong, Tri-Cities Opera, and Opera Omaha, which was broadcast by Boston Lyric Opera. Later that year, Xiang performed the role of Don Ottavio in Don Giovanni with Light Opera of New Jersey. He made his debut with the Phoenicia International Festival of the Voice as Beppe in Pagliacci in August 2022. In September 2022, he returned to New York City Opera as Arturo in Donizetti’s Lucia di Lamermoor. Mr. Xiang just performed the role of Ferrando in Cedar Rapids Opera’s production of Mozart’s Cosí Fan Tutte. Operatic performances to his credit include La Rondine (Prunier), Rigoletto (Duke), Otto Nicolai’s The Merry Wives of Windsor (Fenton), and Donizetti’s Don Pasquale (Ernesto). On the concert stage he has been heard as tenor soloist in Mozart’s C Minor Mass. He sang Bach’s Cantata BWV 140, and Handel’s Messiah at Co-Cathedral of St. Joseph in NYC.
The Rochester Oratorio Society
The Rochester Oratorio Society (est. 1945) annually presents 2-6 performances of stimulating and gratifying music for chorus and orchestra. Guest conductors such as Leonard Bernstein, Erich Leinsdorf, David Zinman, Uri Segal, and Christopher Seaman have led its concerts. At present, the ROS seeks to illuminate provocative intersections between music and society by programming music to commemorate events such as the Emancipation Proclamation, Lincoln’s birth, and the NY Women’s Suffrage Centennial. We also support youth, under-resourced persons, emerging artists, and local organizations through our many outreach activities. Multimedia performances interweaving visual art, spoken word, and dance are a hallmark of our seasons. The Rochester Oratorio Society melds high artistry with intense community engagement. It has premiered works locally such as Berlioz’s Requiem and Britten’s War Requiem and is best known for its performances of Handel’s Messiah. The ROS has toured in Italy, the UK, Eastern Europe, and China, where they were the keynote ensemble at the 9th International Cultural Festival preceding the 2008 Beijing Olympics. Our music formed a feature episode of WXXI’s televised “Voices” series. We have maintained a lengthy relationship with the Rochester Philharmonic Orchestra and we collaborate with the region’s finest vocalists, instrumentalists, ensembles and artists. ROS supports composers locally and abroad by commissioning and premiering new music. It brings music well outside the concert hall, traveling to colleges, libraries, schools, and even street corners. Our education initiatives complement our support for early-career vocalists through the nationally acclaimed Rochester International Vocal Competition, presented annually by ROS since 2007.
Eric Townell, Artistic Director
Eric Townell became the third music director of the Rochester Oratorio Society in 2006. An international award-winning conductor of opera, choral and orchestral repertoire, Eric has been a frequent guest conductor for the Rochester Philharmonic Orchestra. He has led professional productions nationwide and internationally for the past three decades. Eric previously held artistic posts in Milwaukee, Madison and Stevens Point, Wisconsin, and served as Artistic Director of Rochester Lyric Opera for four seasons. Eric is concurrently Artistic Director of the Finger Lakes Choral Festival. He is the host of “In the Spotlight,” produced and distributed statewide by Penfield Television.
Kevin Nitsch, Accompanist
Kevin Nitsch is a pianist, collaborator and teacher in the Rochester area. Kevin is a member of the piano faculty at Nazareth College of Rochester, is vocal coach at SUNY Geneseo and is the Music Director at the Baptist Temple in Brighton. Kevin performs regularly with Rochester Oratorio Society, Finger Lakes Opera, and Lyric Opera. In celebration of Beethoven’s 250th birth year, Kevin anticipates performing the five piano concertos in the Fall of 2020.
Kevin holds a BM in Piano Performance from the University of Missouri-Kansas City Conservatory of Music, and a MM and a DMA in Performance and Literature in Piano Performance from the Eastman School of Music.
Kevin lives in Penfield with his wife, Brenda and enjoys hiking, biking and kayaking. He is a certified yoga instructor and finds pianobenchasana to be his favorite pose.
ROS CHORUS
Sopranos
Laura Anders
Sara Anthony
Tania Beghini
Barbara Bissell-Erway ♪
Elizabeth Brault
Leah Brooks
Laurel Buckwalter
Caris Burton
Miriam Cowans
Luanne Crosby
Beth Cross-Wilhelm
Karen Crummins
Lisa deBlieck ♪
Karen Dey ♪
Sharon Dumbleton
Amy Ewell ♪
Nancy Fink
Maria Foti
Paulette Gissendanner
Liane Grasso
Diane Hamilton
Lilith Hart ♪
Shari Holzer ♪♪♪♪♪
Cora Jackson ♪♪♪
Rebecca Johnson
Beth Keefer
Jane Keller
Suzan Keng
Katelyn Kochalski
Katie Kovacs (Choral Scholar)
Barbara Lakeberg
Jo Ann Lampman ♪♪♪♪♪
Annette Leopard
Ruth Mance
Francine McAndrew
Lillian Miller
Leta Mueller ♪♪♪
Mary Ann Nazzaro ♪♪♪
Susan Reindel
Ann Robinson ♪
Elise Rosenfeld ♪♪♪♪
Judith Schewe
Annabelle Schroeder
Katherine Schumacher ♪♪♪
Maura Slon
Kelly Smeltzer
Jessica Steidle
Cynthia Towler
Emma Wade (Choral Scholar)
Vicky Wadsworth
Katherine Walter
Denise Yarbrough
Altos
Cecelia Allchin
Debbie Loo Anderson ♪♪
Dianne Bailey
Angela Bartlow
Sarah Blood
Afua Boahene
Lynn Brussel ♪♪
Donna Budgeon ♪
Jane Capellupo ♪♪♪♪♪
Jenifer Cheney ♪
Mary Ellen Coleman
Carol Elliott ♪♪♪♪♪
Sarah Engel
Sue Geier
Maryellen Giese ♪♪
Kathleen Green ♪
Barbara Hellwig ♪♪♪
Carol Herford
Jenny Horn ♪
Carole Huther ♪♪♪
Lois Johnson
Nina Koski
Rev. Lisa Lancaster
Anna Lieser
Sue Lione
Honey Meconi
Larisa Melder
Sandy Moncrief
Dorothy Needler ♪
Morgan Nikolov
Janis Pavia
Virginia Payne ♪♪♪
Patricia Sanborn ♪♪♪
Molly Sanchez ♪
Ursula Scholz
Nancy Schreiber ♪
Elizabeth Seely
Grace Seiberling ♪
Mary Avis Seitz
Deborah Sullivan
Robin Townell ♪
Cheri Trimble
Monica Tyne
Beth Urai
Patricia Van Dussen ♪♪♪
Betty Wells ♪
Jenessa Wheeler
Susan Woodhouse
Tenors
John Buckwalter
Evan Burnett
Joseph Davila
Richard Johnson
Richard Gudgel
Colleen Knapp
Stanley Lapa
Greg Madejski
Daniel McInerney ♪♪
Charles Meyer ♪
Jeff Moran
Simone Picciolo ♪♪
Jeffery Snarr
Keith Van Nostrand
Samuel Wersinger
Virginia Wohltmann ♪♪♪♪
Basses
Brandon Bartlett
Alan Bartlow, Sr. ♪♪
Philip Burke
Timothy Coleman
Douglas Constable ♪♪♪♪
Steven Crosby
Stephen Crandall
Peter Gaess ♪
Scott Griswold
Christian Haller ♪♪
Harry Hellwig ♪♪♪
Frederick Jefferson
Stanley Jones
Roy Kirvan
Roger Leighton
Robert Leopard
Eric Logan
Luciano Pagano (Choral Scholar)
David Prener
Stephen Schaefer
Robert Slon
Steven Smith ♪♪
Rick Sterns
Warren Tessier
Sumner Tessier
Rob White
Ted White
Ben Willmott
Jeffrey Wright ♪♪
___________
10 Year Member ♪
20 Year Member ♪♪
30 Year Member ♪♪♪
40 Year Member ♪♪♪♪
50 Year Member ♪♪♪♪♪
ROS ORCHESTRA
Flute, Diane Smith
Oboe, Judith Ricker
Clarinet, Margaret Quackenbush
Bassoon, Martha Scholl
Horn, Peter Kurau
Trumpet, Roy Smith
Trombone, Ben Dettelback
TImpani, Kristen Shiner McGuire
Percussion, Jillian Pritchard
Violin I, David Hult
Violin II, Margaret Leenhouts
Viola, Joanne Lowe
Cello, Joan Kinsella
Bass, Eric Polenik
Kevin Nitsch, Keyboard
ROS BOARD OF DIRECTORS – OFFICERS
Jeff Moran, President
Ben Wilmott, Vice President
Daniel McInerney, Secretary
Kara Dwyer, Treasurer
BOARD MEMBERS
Phillip Burke
Luanne Crosby
Kara Dwyer
Peter Gaess
Jenny Horn
Nicole Prahler
Katherine Clark Walter
Ben Willmott
STAFF
Eric Townell, Artistic Director
Jo Ann Lampman, Registrar
Kathleen Green, Financial Operations Manager
COMMITTEE CHAIRS/KEY VOLUNTEERS
Choral Scholars and Choral Fellows | Maryellen Giese
Development Committee | Jenny Horn
Education and Community Outreach | Molly Sanchez
Event and Fundraising Committee | Sue Geier
Executive Committee | Jeff Moran
Governance Committee | Carole Huther
Marketing and Public Relations Committee | Sarah Stage
Membership Committee | Katherine Clark Walter
Production Management Committee | Donna Budgeon/Patrick Walter
Play YOUR part in the Rochester Oratorio Society
The Rochester Oratorio Society invites you to join us in helping to ensure our continuing legacy of providing audiences with high quality live choral music through support of the ROS Endowment at the Rochester Area Community Foundation.
The ROS Endowment provides significant income each year to support current operating costs. Cash donations to the Endowment in any amount are always welcome, or donate directly to the ROS Endowment via the Rochester Area Community Foundation web site at www.racf.org.
Planned gifts to The Rochester Oratorio Society are a wonderful way to strengthen our organization today, while providing you, our donor, with options that fit your wealth management plans. A planned or deferred gift, along with the accompanying benefits to you, is arranged during your lifetime, but the gift to the Rochester Oratorio Society is deferred to a future date. The most common planned gift is a bequest, which allows you to make a significant contribution that may not be possible during your lifetime, and protects your family, loved ones, and the organization you care about.
The Rochester Oratorio Society Notable Guild recognizes those loyal and generous music lovers who have chosen to include the Rochester Oratorio Society in their bequests or other long-range charitable giving plans. By including ROS in your will and becoming a member of the Notable Guild, you are giving the joy and inspiration of great choral ensemble music to Rochester’s future generations.
To inform the Rochester Oratorio Society of your gift, or for additional information, please request our endowment brochure, call us at (585) 473-2234, or learn more at: https://rossings.org/support-ros/planned-giving/
Patrons
This listing acknowledges donations received January 1, 2022 to September 30, 2022.
Thank you for your support!
Production Sponsor ($1000 and above)
Jane Capellupo
Carol Elliott
Mark & Linda Hopkins
Karen Kral
Elise Rosenfeld
Jon & Kathy Schumacher
Enterprise Sponsor ($250 – $499)
Kathleen Barbehenn
Suzanne Gouvernet
Kathleen & Russ Green
Roc Insurance Services, Inc.
Mr. and Mrs. Christian Haller
Adrian & Jennifer Horn
Jeffrey Moran & Barbara Quine-Moran
Rollie Townell
Lauri VanHise
Patron Sponsor ($100 – $249)
Anonymous
Susan Basu
Robert Booher
Donna Budgeon
Katherine Ciesinski
W.J. Clicquennoi
Mary Ellen & Timothy Coleman
Mary DeMarsh
Maryellen Giese
Shari Holzer
Karin Kaminker
Rose-Marie B. Klipstein
Jo Ann Lampman
Daniel & Pamela McInerney
Virginia Payne
David & Susan Prener
Jon & Kathy Schumacher
Eric Townell
Monica Tyne
Vicky Wadsworth
Program Sponsor ($500 – $999)
K. Sue Geier
Sandy & Richard Moncrief
Mary Ann Nazzaro
John Ninfo II
Thomas & Jeanne Verhulst
Ben & Kristen Willmott
Virginia Wohltmann
Betty Wells & Jeffrey Wright
Rehearsal Sponsor ($50 – $99)
Kathleen Cloonan
Mary Ellen Coleman
Robert Crystal
Mary Anne Guariglia
Diane & Ed Hoener
Carole Huther
Jack & Paula Mansur
Dorothy Needler
Gary Rossi
Patricia Sanborn
Nancy Schreiber
Ms. Kate Shannon
Sarah Stage
Music Sponsor ($10 – $49)
Dianne Bailey
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Sarah Engel
Scott Griswold
Linda Haynes
Pru Kirkpatrick
Ruth Mance
Ms. Leta Mueller
Ms. Rosemary Zuck Mummert
Joan O’Brien
Patricia Van Dussen
Lewis B. Ward-Baker
Susan Woodhouse
In Honor Of Eric Townell
Philip Kasey and Polly Kasey
In Memory Of Carolyn Dunne Gray
Ann Areson
Monica Guenther
Pamela Kramer
Jack and Paula Mansur
Daniel and Pamela McInerney
Stephen North
Thomas Perry
S. E. Power
Sherrie Russell-Brown
Rob Ruth
In Memory Of Jane Jeszenka
Monica Guenther
In Memory Of Judith Van Ness
Norman Cox
Monica Guenther
Grace Seiberling
Marcia Van Ness
In Memory Of Louis J Malucci
Kathleen and Russ Green
Mary Anne Guariglia
Kathryn Girardat Hart
Adrian and Jennifer Horn
Charles Johnson
James Koon
Ray and Grace Obalis
Marilyn Polvino
Nancy Schreiber
Doreen Stanley
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