ANDERSON CENTER
for the Performing Arts
Haifa Symphony
Orchestra
of Israel
Principal Guest Conductor,
Boguslaw Dawidow
8 p.m. Wednesday, February 12, 2014
Osterhout Concert Theater
To enhance your enjoyment, and that of
the other patrons at the performance,
we ask you to observe the following:
• Please turn off all electronic devices during the performance.
• If you need to leave the theater during the performance, for safety reasons and to minimize distractions, an usher will escort you.
• Latecomers will be seated at the discretion of the house manager.
• Infrared hearing-assistance headsets are available. Please speak to one of the ushers.
• In case of an emergency, please remain seated. The house
manager will make a stage announcement directing patrons to
follow an usher through the nearest exit.
• Photographing or recording the performance is strictly prohibited.
• Smoking is not permitted.
Restroom facilities are located in the
Chamber Hall lobby and also behind the Box Office,
through the doors.
You are invited to visit our lounge located in the upper
Chamber Hall lobby. Beer, wine (ID required), soda and
water available.
Anderson Center for the Performing Arts
Presents
HAIFA SYMPHONY
ORCHESTRA OF ISRAEL
Boguslaw Dawidow, Principal Guest Conductor
Roman Rabinovich, Piano Soloist
Program
Carl Maria Von Weber............................................. Overture to Euryanthe
Sergei Rachmaninov....................Piano Concerto No. 2 in C minor, Op. 18
Roman Rabinovich, Pianist
Intermission
Pyotr Ilych Tchaikovsky.....................Symphony No. 6 in B minor, Op. 74
PROGRAM SUBJECT TO CHANGE WITHOUT NOTICE
Columbia Artists Management LLC
5 Columbus Circle
New York, NY 10019
Andrew S. Grossman,Senior Vice President and Senior Producer
W. Seton Ijams, Vice President
First Violins
Elia Shulman, Concert
Master
Leonid Barshtak,
Assistant Principal
Michael Yanovsky,
Assistant Principal
Ruti Bron
Gal Eckstein
Ksenia Matukhnov
Judith Picker-Saiet
Boris Polinovsky
Miriam Rapaport
Amir Samsonov
Vladimir Shmulenson
Edith Shulman
Milan Todorovich
Yana Yout
Cellos
Alexander Kotlyar,
Principal
Lev Matiukov, Assistant
Principal
Vladimir Dvorkin
Dani Goren
Eduard Kaplansy
Tatiana Kaplansky
Karin Markovich
Igor Tankevich
Second Violins
Ilya Yelin, Principal
Mark Zeiger, Assistant
Principal
Paulina Bukin
Larissa Ginzburg
Zvi Grizotzky
Alexander Gorevitch
Victor Jacob
Ilaria Lanzoni
Hanan Levin
Marian Rapaport
Yedidia Schwartz
Irena Zatz
Flutes
Rotem Bartan, Principal
Anat Nazarathy
Bar Silony
Violas
Victor Khristossof,
Principal
Lev Kissiley, Assistant
Principal
Nahum Korenblit
Liora Kosov
Nina Loeterman
Alexander Nadelson
Beate Prugel
Dor Sperber
Sergei Vasilchenko
Clarinets
Jeffrey Howard, Principal
Ira Goyfeld
Basses
Andrew Katz, Principal
Eli Kosov
Daniel Mor
Sergei Narinsky
Arie Roitman
Trumpets
Naum Birman, Principal
Erez Hudera
Armen Aslanyan
Trombones
Denis Vull, Principal
Greg Vull
Michael Vull
Tuba
Alexander Tchutko
Timpani
David Zien, Principal
Percussion
Eldad Shiloah, Principal
Yana Krichevsky
Offer Malka
Guitar
Uri Jacob
Piccolo
Bar Silony
Librarian
Zvi Grizotzky
Oboes
Mori Silvia, Principal
Arielle Alvarez-Pereyre
General Manager
Motti Eines
English Horn
Mori Silvia
Bass Clarinet
Ira Goyfeld
Bassoons
Noga Yeshurun, Principal
Zhomart Ospanov
Horns
Grigory Bukin, Principal
Jay Jackler
Yuriy Krimshtein
Anatoly Rozenfeld
Stage Managers
Anatoly Rozenfeld
Sergei Vasilchenko
Orchestra Coordinator
Grigori Bukin
Administrative Manager
Dina G. Meitner Doron
Logistics Coordinator
Offer Malka
Program Notes
Overture to Euryanthe
Carl Maria von Weber (born November 18, 1786, in Eutin, Germany; died June 5,
1826, in London)
Wagner was not the first composer to conceive of the idea of “Music Drama” —
that is, in which all the text is sung and the recitative is so interwoven with the
melodic material that a division is no longer discernible. Weber tried this in his opera
Euryanthe, but with different results. While Wagner’s operas are still performed
today, we usually hear only an occasional aria and the numerous overtures that
Weber composed.
Weber’s opera Euryanthe, based on a French theme used by several authors
(including Shakespeare in Cymbeline), had a cool reception when first produced.
This fact troubled Weber considerably, although it might have come about only
because the great opera composer Rossini was all the rage at the time and no one
could be expected to compete with him.
The themes of the overture are taken from the overture itself; however, the inherent
personal conflicts are not represented. Instead, Weber has used those themes to create
a dazzling tone painting. After an exciting introduction, the listener is introduced to
one of those peculiar strains of melody belonging solely to Weber, which soon gives
way to a more rigorous mood. A final, more somber theme is introduced before all
is tied up in coda-like manner, returning to its jovial intent.
© 1994 Columbia Artists Management Inc.
Piano Concerto No. 2 in C minor, Op. 18
Sergei Rachmaninoff (born April 1, 1873, in Semyonovo, Russia; died March 28,
1943, in Beverly Hills, Calif.)
Sergei Rachmaninoff is remembered and loved as one of the greatest pianists of the
20th century. He was born to an aristocratic family and as a child of nine entered
the St. Petersburg Conservatory. Three years later he transferred to the Conservatory
at Moscow from which he graduated with a Gold Medal in 1892. That same year
he started on a long concert tour of Russia and appeared in London in 1899 as
composer, conductor and pianist. He paid his first visit to the United States in 1909
and wrote his Third Piano Concerto for that occasion. Various inducements to stay
failed to tempt him and he returned to live in Moscow. However, in 1917 the Russian
Revolution drove him abroad and he was never to see his native country again. He
spent most of the rest of his life in the United States and Switzerland and, rather
unwillingly, continued to travel widely in Europe and America giving piano recitals.
His contribution to the piano literature is significant and, although his works are
difficult and demanding to the performer, they are particularly rewarding to the
listener and practitioner alike.
After the disastrous failure of his First Symphony upon its premiere on March 27,
1897, Rachmaninoff succumbed to a depressive, neurotic crisis that undermined
his creative endeavors for several years. Finally the composer underwent extensive
hypnotic treatment administered by a neurologist, Dr. Nikolai Dahl. Dr. Dahl was
successful in bringing the composer back into a creative frame of mind; eventually,
Rachmaninoff’s condition was somewhat alleviated, helped along by the composition
of the Second Piano Concerto in 1901. The outpouring of inspired melodies that
abound in the score certainly attests to this fact. As an expression of deep gratitude,
the work bears its dedication to Dr. Dahl. But it was not until the success of the
Second Symphony (1907) that the composer fully regained the confidence in himself
that he had been lacking.
Work on the Piano Concerto No. 2 in C minor, Op. 18 occupied Rachmaninoff, on
and off, from the summer of 1900 to the spring of 1901. The concerto was given
its premiere performance by the Philharmonic Society of Moscow on October 14,
1901, with the composer at the piano. The work proved to be one of his greatest and
the performance was a tremendous success, catapulting Rachmaninoff’s fame, both
as a composer and as a pianist. Three years later, the Second Piano Concerto was
awarded the Glinka Prize; since then it has been heard more often than any other of
Rachmaninoff’s large-scale works.
Marked Moderato, the first movement is ushered in by a ten-measure introduction
for the soloist in which full chords grow in intensity until, at last, the passionate
first theme emerges in the strings. After a brief orchestral interlude, the more tender,
almost feminine second theme is introduced by the piano. Both themes are further
expounded in the “free,” almost song-like development section that ensues, although
there is a definite, marked emphasis on the main theme. In the coda that concludes
the movement, the main theme is embellished by intriguing passagework from the
soloist.
The slow movement, Adagio sostenuto, begins with a gentle, hymn-like introduction
of sustained harmonies in the muted strings. An atmosphere of surpassing peace
and beauty is projected in the lyrical and musing melody for woodwinds and horns.
The piano first provides understated accompaniment to the melody before taking
over the haunting theme. The tempo quickens for a short, scherzo-like development
section, but this is brought short by the beautiful cadenza for the soloist, which in
turn leads back to the elegance of the movement’s opening theme. In the vast and
contemplative coda, the piano interpolates a new theme before winding down with
broad chords and flowing arpeggios to the quiet conclusion of the movement.
The Allegro scherzando final movement, which takes the form of a modified rondo
structure, is notable for its rhythmic motifs and the complex and sparkling writing
for the piano. It commences with a 20-measure orchestral preface to the theme that
the piano introduces. This leads to the statement by the cellos of the famous second
theme (which in 1946 was lifted for the popular song hit, “Full Moon and Empty
Arms”). The two themes are elaborated in subsequent sections, including an exciting
fugato episode. The orchestra majestically proclaims the rhapsodic second theme
one last time, supported by piano chords, before a short but exciting coda brings the
work to its brilliant conclusion.
©1995 Columbia Artists Management Inc.
Symphony No. 6 in B minor, Op. 74 (“Pathétique”)
Piotr Ilyich Tchaikovsky (born May 7, 1840, in Votkinsk, Russia; died November
6, 1893, in St. Petersburg)
During the year 1892, Tchaikovsky embarked on a European conducting tour that
was cut short due to homesickness and a general feeling of depression. It was at this
time that the composer devised a plan for a “Programme Symphony”; this, however,
was not realized and was temporarily abandoned in favor of a new symphony in
E-flat major — what is now referred to as Symphony No. 7, a work which was
never completed and which has been somewhat reconstructed from the material
employed in the Piano Concerto No. 3. The following year, on February 15, 1893,
the composer began what was to become his valedictory work, the Symphony
No. 6 in B minor, Op. 74 (“Pathétique”). Tchaikovsky admitted that there was
a program — not a specific story, but certainly an idea — behind the music of the
Sixth Symphony; nonetheless, he refused to tell what it was, only saying, “Let him
guess it who can.”
There have been plenty of guessers as to the composer’s programmatic intentions,
most of them guided by the work’s nickname, “Pathétique.” And even though the
appellation was attached, not by the composer but by his brother Modest after the
work’s first performance, it may indeed be surmised to be indicative of its hidden
program. The answer may have finally arrived in the middle of our century when
a sheet of music paper was discovered among some sketches by the composer. In
Tchaikovsky’s own handwriting, it read: “The ultimate essence of the plan of the
symphony is LIFE. First movement — all impulsive passion, confidence, thirst for
activity. Must be short. (Finale DEATH — result of collapse.) Second movement
love; third disappointments; fourth ends dying away (also short).” Through
research it has been established that the sheet comes from 1892, and it is, in all
likelihood, the aforementioned, abandoned plan for a symphony. By 1893, the plan
was much modified; among these modifications was Tchaikovsky’s decision that
the finale would be a long-drawn Adagio. Another modification seems to be the
expression of “disappointment” in the second movement as opposed to the third.
These disappointments may well have stemmed from two events in the composer’s
life: the failed and tormented marriage to Antonina Milyukova, a union into which
he was goaded, despite self-awareness of his sexual orientation, by her repeated
threats of suicide; the other in Nadezhda von Meck’s inexplicable withdrawal as the
composer’s long-time patroness, correspondent and confidante.
Although it should not be assumed that Tchaikovsky’s Pathétique Symphony was
originally intended as a swan song, it indeed serves this function as it was the last
work he wrote (works with opus numbers higher than 74 were actually composed
at an earlier date and published posthumously). The symphony received its premiere
performance on October 28, 1893, with the composer conducting the Kirov
Orchestra in St. Petersburg. Nine days later, the composer died, presumably by selfinflicted arsenic poisoning (not by drinking unboiled water and thereby contracting
cholera, as has been popularly expounded); this, apparently, he did at the behest of a
court of honor to avert a scandal involving the nephew of a Russian aristocrat, thus
avoiding the tarnishing of his “school uniform.”
The Pathétique Symphony is Tchaikovsky’s most profoundly pessimistic work; it
begins as if enshrouded in darkness and deepest despair and in this same tone it ends.
The first movement is ushered in by a somber Adagio introduction. From the lowest
depths of the orchestral palette, a solo bassoon intones a sad theme, the first four
notes of which foreshadow the motif of the main theme of the first movement proper;
this creates from the start the aura of melancholy that is so characteristic of the work
as a whole. A contrasting, tender second theme is soon heard on the muted strings,
eventually leading into the Allegro non troppo that constitutes the main body of the
movement. The development is concerned for the most part with the main theme;
as the tempo quickens, the theme is tossed about from one instrumental choir to the
other, becoming successively more fragmented. In due time the emotional intensity
reaches its peak, but the movement ends in the same grief-stricken mood with which
it commenced, including a quotation from the music of the Russian Orthodox
Requiem. The coda is notable for its masterful transformation of the stormy first
theme into a lyrical one; a solemn cadence for the brass over falling pizzicato scales
on the strings brings the movement to its resolution.
Just as one of the middle movements in the composer’s preceding symphony is made
up of a waltz, so is the second movement of his sixth; however, by casting this —
essentially — Scherzo movement in the asymmetrical 5/4 meter, and thus impeding
the flow of the normally jovial dance, this particular waltz acquires a curious limp
which lends an air of idiosyncratically serene melancholy. The principal theme of the
Allegro con grazia section is a song-like melody announced by the cellos. Marked con
dolcezza e flebile (“sweetly and plaintively”) the Trio section introduces a new theme
in the violins; here the composer exploits some of the harmonic tension exhibited in
the outer movements by pitting the theme against an incessantly beating pedal point
in the timpani, bassoons and basses. After a return to the waltz section, a coda,
combining the theme of the waltz with that of the Trio, concludes the movement.
Coming in the unusual form of a march, the third movement was unprecedented;
Gustav Mahler was to follow this example in his own symphonies a decade later.
Bearing the tempo marking of Allegro molto vivace, the movement begins softly
as a busy triplet figure is heard alternating between strings and woodwinds. This
leads to the march figure that grows stronger at each moment until the ever-whirling
figuration that began the movement disappears and the triumphant theme is heard
unimpeded in the entire orchestra. Angry beats from the percussion underline and
strengthen its progress. In contrast to the preceding movement, here the composer
seems to be recollecting past moments of joy and glory; however, towards the end
of the movement, these triumphs and joyful remembrances appear to be marred by
the adversities of life as the persistent march, in its exultant brass sonorities, is heard
against conflicting scale passages between woodwinds and strings. The intensity of
this conflict increases to the very end.
The last movement, once again, is not the traditional type of brilliant finale; the
requiem-like manner of this concluding Adagio lamentoso seems to point to the
finality of death. The strings announce the despairing first theme immediately. The
nobility of the consoling second theme that is presented by violins and violas, over
a syncopated horn figure, contrasts the painful chord progression of this theme.
The themes seem to be of opposite natures yet they bear close musical relation,
being originated from the same basic thought. These themes are worked up to an
enormous climax which eventually recedes until a fateful clash of the gong brings
back the second theme; this time, however, the once consoling theme is now cast
in the sad minor mode, thus extinguishing the last ray of light and hope in the
proceedings. For its final measures, the symphony returns to the somber abyss of
despair from which it initially emerged, reflecting that same mood of comfortless
melancholy in which Tchaikovsky found himself at the end of his life — one rich in
success but full of pain, trials and tribulations.
© 1996 Columbia Artists Management Inc.
Haifa Symphony Orchestra of Israel
Founded in 1950, the Haifa Symphony Orchestra (HSO) has been the focal point
of musical life in Haifa and northern Israel and, more recently, has expanded its
activities throughout the country. World-acclaimed Maestro Noam Sheriff, one of
Israel’s most versatile musicians, is the HSO’s music director.
Over 5,000 subscribers of all ages attend six subscription programs: the Classical
Series, the Vocal Series, Haifa Proms, Friday Morning Classics, the Children’s Series
and the Chamber Music Series. The orchestra also offers annual opera productions
for the benefit of our northern Israeli audience.
The orchestra produces numerous community programs, including the Chazanut
series (Jewish music), popular concerts such as “Abbey Road” with Jeremy Kaplan,
“Sounds of America” with the Hebrew Soul Singers from Dimona and performances
at city festivals and events such as light music concerts in the park, Independence
Day and Memorial Day concerts. The HSO takes part in the “Kadma” and “Israeli Notes” programs, which educate
today’s youngsters to become the audiences of tomorrow. This program provides
informal meetings and concerts at elementary schools followed by a concert with the
full orchestra at the Haifa Auditorium. For many of the 2,500 children, this is their
first exposure to classical music. The orchestra also holds master classes uniquely
designed for young creative musicians.
The orchestra has a policy of encouraging and promoting original Israeli music and
of giving an opportunity for Israeli soloists and conductors to perform.
The HSO received the Prime Minister’s Award for being the leading performer of
original Israeli compositions in Israel. Boguslaw Dawidow, Prof. h. c.
Principal Guest Conductor, Haifa Symphony Orchestra of Israel
Principal Guest Conductor, Bogota Symphony Orchestra
General Music Director, Chopin Chamber Orchestra
Internationally renowned for his musical knowledge, immense enthusiasm and
extraordinarily charismatic stage presence, Maestro Boguslaw Dawidow is a
“conductor of a great stature, musically speaking, with a clear beat and marvelous
rapport with the Orchestra . . . produced a truly magnificent Viennese sound . . .
with romance and humor in hand . . .”(Gazette, USA); with “[as] precise and clear
baton technique as we’ve ever seen . . .”(The Washington Times, USA) and “a great
Slavic soul . . .”(Wiener Zeitung, Austria).
Maestro Dawidow served as both the general director and the music director of
the Opole Philharmonic of Poland from his appointment in September 1999 until
2012, during which time he was closely involved in forming the philharmonic’s
artistic shape and raising its international stature. In 2010 he received the title of
professor honoris causa. Since 2008 he has been represented by Columbia Artists
Management Inc.
Born in Sopot, Poland, he studied conducting under Bohdan Wodiczko in Warsaw
and Krzysztof Missona in Krakow, later continuing his conducting studies in Vienna
and Italy. The most significant influence on his musical personality came from the
legendary composer and conductor Leonard Bernstein.
In the 1980s Maestro Dawidow founded the Chopin Chamber Orchestra in Krakow,
Poland, with which he toured throughout Europe and South America in 2009 and
2011. From 1991 to 1995 he was a resident conductor of the Polish Chamber
Philharmonic Orchestra, touring with them around Europe in 1993, 1994 and 1995
as well as recording close to 20 CDs. From 1994 to 2002 he served as artistic director
and principal conductor of the Russian National Academic Symphony Orchestra in
Tomsk, one of Russia’s oldest orchestras, established in 1879. They have toured
extensively in Europe in 1995, 1996, 1997 and 1999 and in China in 1997, 1998
and 1999.
Maestro Dawidow has cooperated on a regular basis with other orchestras and opera
institutions around the world in such places as Paris, Vienna, Berlin, Rome, Zürich,
Moscow, London, Haifa, Leningrad, Buenos Aires, São Paulo, Mexico, the United
States and in the Far East in Seoul, Beijing, Hong Kong and Shanghai. In 2011 he
and the Opole Philharmonic Orchestra performed a highly successful U.S. concert
tour organized by Columbia Artists Management Inc., embracing 46 concerts in
19 states — one of the longest tours by any European orchestra. The concert tour
received critical acclaim and a great public reception.
Apart from numerous archive audio and TV recordings, Maestro Dawidow has also
made many CD recordings, including recordings of the Brahms Symphonic Cycle
and works by Tchaikovsky, Szymanowski and Elsner, recorded in recent years with
the Opole Philharmonic.
Because of his exceptional musical talents, wide range of musical experience and
management skills, he received the 2002 Man of the Year Award from the American
Biographical Institute in New York in honor of his musical accomplishments on
both sides of the Atlantic and extending to the Far East and Africa.
Roman Ravinovich, Pianist
The Israeli pianist Roman Rabinovich, “whose mature, self-assured playing belies
his chronological age” (San Francisco Classical Voice), was the top-prize winner and
winner of four additional prizes at the 2008 Arthur Rubinstein International Piano
Master Competition and the first-prize winner at the 2007 Animato Competition.
Since his Israel Philharmonic debut under the baton of Zubin Mehta when he was
10, Rabinovich has performed as a soloist with most Israeli orchestras as well as
the Ensemble Orchestral de Paris, Buffalo Philharmonic, Ann Arbor Symphony,
Delaware Symphony, Dohnanyi Orchestra and many other orchestras and was
praised for his “vivacity and virtuosity” and “impeccable clarity of execution.” He
has performed throughout Europe and the United States in such prestigious venues as
Lucerne Festival, Davos Festival, Leipzig’s Gewandhaus, Wigmore Hall, Carnegie’s
Weill Hall and Zankel Hall as well as Great Hall of Moscow Conservatory and
Millennium Stage at the Kennedy Center. In 2009 the French TV channel Mezzo
recorded his recital and since then it has been broadcasted in numerous countries in
Europe and Asia.
Rabinovich is also an avid chamber musician; his partners have included Daniel
Hope, Ralph Kirshbaum and Miriam Fried. He recently recorded ballets by Ravel,
Prokofiev and Stravinsky for the Orchid Classics label.
2013-14 SEASON
Soweto Gospel Choir
February 23, 2014 3pm
This award-winning group was formed in 2002 to celebrate
the unique and inspirational power of African gospel music.
Moscow Festival Ballet
April 7, 2014 8pm
Excerpts from The Sleeping Beauty, Cinderella and Don
Quixote are just a few of the selections showcased for the
evening under the direction of the legendary principal dancer
of the Bolshoi Ballet, Sergei Radchencho.
Snarky Puppy
(2014 Grammy winner, Best R&B Performance)
March 13, 2014 8pm
Snarky Puppy is an instrumental jazz fusion band whose
style is described as something between a collective and
a garage band. (Jazz Touring Network)
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Selma Spector
Robin and Hal Terr
Marian E. Tewksbury
Nicholas A. Thompson
Andrei Zhirnov
Your interest and financial support enables Binghamton University’s
Anderson Center for the Performing Arts to continue as a premier presentation house of the
region. If you would like to be included in the above listing, it is not too late to participate.
For more information call 777-6802 or visit www.giving.binghamton.edu and select “Binghamton Fund
for the Anderson Center for the Performing Arts” from the pull-down menu.
Anderson Center for the Performing Arts
House Operations, Fall 2013
We wish to express our sincere appreciation
to the following staff and volunteers:
House Managers
15 years of service or more
Mary Jo Dee
Shirley Rodgers
Darrell Stone
10 - 15 years of service
Steven Bard
5 - 10 years of service
Debra Hamilton
Janice Knight
5 years of service or less
Mary Anne Gallagher
Susan Pitely
Michael Vanuga
ARTSCORPS Volunteers
20 years of service
Louise Bystricky
Sylvia Diamond
Arlene Garfield
Joyce Haber
Elisabeth Hayes
Dorothy Martens
Eric Neff
15-19 years of service
Nancy Agranoff
Dick Misulich
Jan Misulich
10-14 years of service
Helen Amidon
Sandra Card
Carol Herz
Robert Peterson
Martha Petrush
Ann Robilatti
Glenda Rowse
Daniel Sniezek
Norma Thomas
Frank Thomas
Jill Yaples
ARTSCORPS Volunteers
5-9 years of service
Vicky Benarick
Craig Bowen
Laurie Bowen
Al Buchinsky
Monica Chiao
Gene Clarke
Pat Farthing
Carol Finch
Jackie Kenefick
Chip Kinne
Nancy Korba
Felina Leonard
Josephine Merrette
Augie Mueller
Joan Mueller
Arlene Niemeyer
Susan Niu
Barbara Pasterchik
Liana Railsback
Nancy Reddy
Suzanne Ruminski
Nina Tai
Barbara Wahila
I-Fang Wu
Melanie Yaworski
Kris Zduniak
5 years of service or less
Sandra Balzhiser
Carolyn Blake
Pat Breneman
Cynthia Carden
Dan Carden
Yalitza Coss
Stephanie Crawford
Deirdre Dwyer
Kathleen French
Michael French
Cinda Gausman
Patrick Giblin
Kathleen Grasso
Jim James
Vera James
Ellen Jenner
Darryl Jenson
Deborah Jones-Bolan
Pamela Kroft
John MacDonald
Cathie Makowka
Antoinette Mansfield
Charles Mansfield
Mary Ellen McCane
Carol McCarthy
Nancy McGee
Kim Meeker
Joseph Merrette
Ed Misulich
Tammy Nist
Diane Pilgrim
Barbara Pochily
Dennis Powell
Edward Rantanen
Patricia Rantanen
Christopher Roma
Rosalie Sloat
Peggy Sniezek
Linda VonEsch
Carol Weissmann
Deborah Wensel
Judy Wentz
Janice Whipple
Cori Williamson
Homer Wood
Care of uniforms of the ARTSCORPS is provided through a grant from
Resciniti Dry Cleaners, 140 Beethoven Street, Binghamton, New York,
bringing Greater Binghamton a family tradition of quality service since 1924.
In Memoriam
The Anderson Center would like to dedicate
the 2013–14 Season
to former producer/director
Floyd R. Herzog
(1936–2013)
Anderson Center for the Performing Arts
Administration
Gary Pedro
Executive Director
Patricia J. Benjamin
Assistant to the Executive Director
Annette M. Burnett
Operations Director
Rosanne Norris
Marketing Director
Steven D. Machlin
Technical Director
Daniel Sonnen
Assistant Technical Director
Casey Korchynsky
House Operations Director
June Christensen
Box Office Manager
Roxanne D. Eggleston
Box Office Assistant
www.binghamton.edu
anderson.binghamton.edu