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Wishing a great season &

many more!

Dearpatrons:

Welcome to our 57th concert sea-son.Asyoulookthroughthepagesof this program bookwe hope thatyou will find the fourconcerts to be com-pellingandsatisfying,and in one instance,most unusual. Thisunusualpresentation---for indeed it is notreally a concert perse---is something weareveryproudof.Wehope youwill join usas we bring you forthefirsttimeascreen-ingofoneofthegreatclassicsofthesilentmovieera,com-plete with its original music score.ThisisourNovemberoffering,anditisFritzLang’sextraordinarysciencefiction/fantasy classic Metropolis.Thisiscertainlyadeparturefromourusual concert fare, butwe felt that,asanadjunct toour regularmotionpicture music concerts, this wouldbroadenyourhorizonsandgiveyouan unparalleled opportunity to seehowimageandmusiccanfittogeth-ertoproduceaunifiedwhole.Makenomistakeaboutit:thisisaneventofmajor significance in theDetroit-areamoviescene,anditmayprovetobeauniquefilmexperienceforallofus.PleasenotethatthiswilltakeplaceonaSaturdayeveninginsteadofourusualSundayafternoontime.

As for theother three concerts,wewillhaveourmuch-anticipated thirdDownriver Idol presentation inFeb-ruary,andanexcitingprogramofop-eraexcerptsinApriltoendthesea-

son. The first concertwill be special as well,andwillintroducetoyouthewonderful talentsofJeffery Zook from theflute section of the De-troitSymphonyOrches-traplayingconcertosbyMozartandVivaldi.Be-fore thisconcert Jefferywill be holding a teach-ing seminar for areaflutists, and this will bea wonderful opportunity

for young players to learn and getadvicefromafineseasonedprofes-sional.

This then is our slate of concertsfor2011-2012,and thereshouldbesomething for everybody to enjoy.Wethankyouforbeingwithusthisseason and for all of your supportovertheyears. Wecouldnothavedoneitwithoutyou.

CharlesGreenwellMusic Director and Conductor

Message from the Music Director

2011 - 2012Season At A Glance

TheIncredibleFlutistwithJefferyZook

BackstagePass3

METROPOLIS!

DownriverIdol

Fantasia&DownriverIdolFinals

October 2, 2011 • 3:00 p.m. • Flat Rock H.S. Community Auditorium

March 24, 2012 • 5-10PM • Wyandotte Arts Center

November 19, 2011 • 7:30 p.m. • Heinz Prechter Auditorium

Idol Prelims3Days:Friday-Sunday,January13-15,2012

Idol Semi-FinalsFebruary3,2012•FlatRockH.S.CommunityAuditorium

(see Downriver Idol page for more information)

February 26, 2012 • 3:00 p.m. • Flat Rock H.S. Community Auditorium

OperaGreatsApril 22, 2012 • 3:00 p.m. • Flat Rock H.S. Community Auditorium

Starting TimeTheSouthernGreatLakesSymphonymakeseveryefforttobeginconcertsontime.Houselightswillbedimmedtoindicatethattheconcertisabouttobeginorresume.Yourcooperation ingettingtoyourseats inatimelymannerwillhelptokeeptheconcertsontime.Sometimes,longlinesattheboxofficewillforceustodelaythestarttime.Purchasingofticketsonlineatwww.sgls.orgorbycallingtheSGLSofficepriortoconcertdateswillhelpalleviatethoselines.

UshersTheushersarevolunteersfromtheOvertureSociety.Theyarenotemploy-ees.Ifyouwouldliketobecomeanusherforfutureevents,pleasenotifyanusher.

Late SeatingLatecomerswillbeseatedatthediscretionofthehousemanagement,atanappropriatepausebetweenmusicmovementsorworks.

Cell PhonesObviously,thesoundofacellphoneorpagergoingoffduringaconcertisdistractingtoboththeaudienceandthemusicians.Pleaseturnoffallcellphonetypedevicespriortocomingintotheauditorium.

Smoke-free PolicyAs the Flat Rock CommunityAuditorium is on the grounds of a publicSchool,thereisnosmokinganywhereonthecampus.Thankyouforyourcooperationinthismatter.

Can’t Attend a Concert?Please don’t let your tickets go unused. If you cannot use your tickets,pleasepassthemontofamilyorfriends,orreturnthemtotheboxofficesosomeoneelsemayenjoythisfantasticmusic.Toreturnyourtickets,pleasecontacttheboxofficeat734.246.2890priortoperformancedays.Theboxofficecanthenmakethoseavailabletowaitingpatrons.Sorrynorefunds.

Southern Great Lakes SymphonyBox Office

734.246.2890Debbie Mitek, Box Office Manager

CONCERT ETIQUETTE

Born in New York City in1941,CharlesGreenwellbegan playing piano atage five. His parents

were concert and opera singersand encouraged their son’s earlyinterest in music. In 1952, theGreenwellsmovedtoEastLansingwhenCharles’ fatherbecame theheadofMichiganStateUniversity’sVoice Department. It was duringthis time that Greenwell decidedto play the oboe. His teachersincluded former DSO PrincipalOboeArnoMariotti.GreenwellbeganhisbroadcastingcareerwhilestillastudentatEastLansing High School, hostingmusicprogramsonMSU’spublicradiostation.

In 1961, he graduated fromMSU with a bachelor’s degreeinmusic,andsoonbegana two-yearstintwiththeU.S.ArmyasanEntertainmentOfficer. HisdutiesincludedformulatingentertainmentpolicyforthebasesassignedtotheThirdArmy,adistrictthatcoveredtheSoutheasternUnitedStates.

In 1964, Greenwell headed forLondon to study at the RoyalCollegeofMusic.Whilethere,heworkedasabroadcasterforVoiceofAmerica,theU.S.Government’soverseasbroadcastingservice.

Following his time in London,Greenwell returned to New Yorkbeforemoving toDetroit in1977.

HecametotheMotorCitytobeginabroadcastingcareerwithWQRS,aFMclassicalmusicradiostationwhichlefttheairwavesin1997.HealsoservedasthehostofDSO’snationallybroadcastconcertsfrom1978to1987.

As a conductor, Greenwell hasappearedwiththeLondonFestivalOrchestra, Tulsa Philharmonic,Windsor Symphony Orchestra,Anchorage SymphonyOrchestra,Ann Arbor Symphony Orchestra,and the Southeastern OperaCompanyamongothers.Currently,he is Conducting Assistant forthe DSO, the Music Directorfor the Birmingham-BloomfieldSymphony Orchestra and theMusicDirectoroftheSGLS.

Charles GreenwellMusic Director

SGLSOrchestraPersonnel2011-2012Season

Violin Haixin Wu

ConcertmasterIoana Galu

Co-concertmasterMargaret TownsendJason BenderChrissy BilgerJoan BlairJessica L. HaleyLinda J. Ignagni*Jim Kujawski Colette Mataj Kerry MetcalfeTania MoldovanCatherine NicoliaBruce RutterZbigniew RybinskiKevin SmithDanielle Buenger

ViolaMircea Cure*Rebecca WilsonSharon NicoliaDan PlonkaMegan PlonkaAlice R. ShanaverTimario WilkinsKatie Williams

*Principal

CelloEugene Zenzen*Mike KaroubStefan KochDavid LevineNaomi LevinePeter Paolini

String BassDale AndersonStephen McKenzieJames GullenKenn Sherf

FluteCarole Scott*Amy Halstead

OboeAnn Augustin*Joni Day

Clarinet Terri Jenkins*Peggy W. Mc Connell

BassoonGary Caperton*Crystal Gregg

Personnel ManagerLindaJ.Ignagni

French HornJohn P. PutnamDinah BianchiCassie WalckLee Walck

TrumpetRobert HawkinsJason DraperAaron Scott

TromboneMichael RumbellDonald Bilger

Bass TromboneGlenn Andersen

TubaJohn Whitecar

TimpaniSteven Kegler*

PercussionPatricia N. Fisher*Joseph FrancisBrandon Krueger

HarpLaurel Federbusch*

PianoDoug Scott

“To provide live, quality orchestral music to the citizens of the

Downriver community”

Your Downriv

er

Orchestra

!

OurMission:

SOUTHERNGREATLAKESSYMPHONY

SupportingtheSouthernGreatLakesSymphonywithfundraisingandourapplauseforover50years.

Started as a women’s group to provide a welcome snack for the musicians between a rehearsal and the performance, the Overture Society has become a formidable fund raising force for the Southern Great Lakes Symphony. Over the years, this group has given the Symphony over $156,000. Some of the groups activities include the Annual fashion Show, providing a boutique and ushers at each concert, a Musical Brunch, and other special events throughout the year.

Near and dear to the women of the Overture Society is the Annual Scholarship Award Program which provides two $500 and two $300 scholarships to deserving Downriver students. A Musical Brunch is held each year to provide funds for this program.

New members are always welcome for those who share the groups’ love of music as well as a commitment to provide live orchestral music performances Downriver.

President Judy GullenVice President Gloria KingSecretary Joan MechanTreasurer Bernice Rynearson

9/10/11 Musical Brunch at Grecian Center $3511/12/11 Annual Fashion Show at Grecian Center $35 3/30/12 Song Fest at Grecian Center $20

Events

For information, contact Judy Gullen, President, at 734-285-4626.

Board of DirectorsDebbieNykiel PresidentAaronKaleniecki VicePresidentFionaBrown SecretaryCliffSt.Pierre TreasurerMariFrost MemberatLargeNeilJohnson PastPresidentJudyGullen OvertureSocietyPresident

TracyAlfordJimBartonFionaBrownGaryCapertonPhilipDinwiddieMariFrostJudyGullenJoeHoshawMaryHunterGladysHurd

MaryJohnsonNeilJohnsonAaronKalenieckiChrisKaneDebKennedyChristinaLucasRobertMaloneSherryMcCulloughDeborahMitekDebbieNykiel

JimParkerDougScottAliceShanaverJennySimonKarenSkrockiKevinSmithMeganSmithCliffSt.PierreJoshuaYde

MusicDirector CharlesGreenwellExecutiveDirector RobertLibckePersonnelManager LindaIgnagniTechnologyManager MichaelMartinLibrarian GaryCaperton

Executive Board of Directors

Board of Directors

Staff

DearFriendofSGLS,

Letmebeginbysaying“welcome”tobothourreturningandfirst-timeconcertguests…it’ssonicetohaveyouhere!

Everyyearbothlong-timeandnewfriendsofSGLSstepforwardinmanywaystoensurethatthegloriousharmoniesofliveorchestralmusicwillcontinueDownriver,suchas:

• attendourconcertsandfundraisers• spreadthewordbyinvitingfamily,friends,co-workers,neighborstoanevent• registertheirKrogerPluscardintheKrogerCommunityRewardsprogramto

benefitSGLS–thenswipethatcardeachtimetheygogroceryshopping(new!)• advertiseinourSeasonProgramBook• donateauctionitemsforourfundraisers• jointheOvertureSociety• volunteertoserveontheSGLSBoardofDirectors• providemonetarydonations,sponsorourfundraisersorunderwriteaconcert• leaveamusicallegacyforgenerationstocomewithanendowmentgift

OnbehalfoftheSGLSboardofdirectors,musiciansandstaff,Iextendourheartfeltgrati-tudetoeveryonewhosupportsSGLS.It’snevertoolatetojointhiscircleoffriendsortoexpandyourcurrentrole.BysupportingSGLSyouhelptosustainourartisticexcellence;innovativeprogramming;andcommunityandeducationoutreachprograms.

Asyoupagethroughthisprogrambookyouwillquicklyseewhyweareexcitedaboutour57thseasonandwhatwearebringingtoyou…wehaveanexcitingvarietyofeventssuretonotonlyentertain,butalsotocaptivateandinspire!

Speakingofthisprogrambook,itisyourstokeep–sopleasebringithomeand

• markyourcalendarforareturnvisittoanotherconcert,theDownriverIdolevents,andBackstagePass

• helpusspreadthewordandfilltheauditoriumbysharingthisbookwithfamilyandfriendssothattheymayseewhatSGLShastooffer

• pulloutthelistofadvertisers,refertoitoften,andsupportasmanyofthemasyoucantoshowyourappreciationfortheirsupportofSGLS.Makesuretotellthemanager/ownerthatyousawtheiradintheSGLSSeasonProgramBook.

Thankyouforbeingapartofour57thseason!

DebbieNykiel,[email protected]

MESSAGE FROM THE PRESIDENT

Donation:TheSGLSnetssomerevenuefromticketsales,butticketsalesalonearenotenoughtooffsetproductioncosts.Weneedfinancialsupportof our patrons in order to continue providing Downriver with the highestqualityperformances.Pleaseconsidermakingatax-deductibledonationofanyamountandsendingittotheSGLSofficeattheaddresslistedbelow.Youcanalsomakeacontributionandleaveitwiththeboxoffice.

EndowmentFund:TheSGLSiscommittedtoservingDownriverbyprovidingqualityperformancesforpeopleofallages.Ourabilitytoplanforafuturethatmaintainsourhighartisticstandardsandcommitmenttoeducationdependsonthefinancialstabilityprovidedbygiftstoourendowmentfund.Makeaninvestmentintheculturalfuture,planyourestategiftwithacontributiontotheendowmentfund,orgivetoday!

SpreadtheWord:Oneofthebestwaystosupporttheorchestraistospreadthe word! Let your family, friends, coworkers, neighbors, fellow churchmembers,etc.,knowaboutthejewelwehaveDownriverwiththeSGLS.Beasubscriberandhelptomakeyourfriendonetoo!

Sendyourdonationsto:

SGLS18720 Krause

Riverview, MI 48193

Visa,MasterCard,AmericanExpress,DiscoverandPayPalaccepted

The SGLS needs YOUR Support!

Kroger’sCommunityRewardsprogramisgivingupto$2,000,000tonon-profitorganizationsthisyear.Wehavejoinedtheprogramandwithyourhelp,wecanearnourshareofthatmoney!

How?It’sSimple!AllyouneedtodoisregisteryourKrogerrewardsCard online at www.krogercommunityrewards.com, specifyingSouthernGreatLakesSymphony -SGLSas theorganizationyouwishtosupport!Within7-10daysofregistering,everytimeyoushopforgroceriesandswipeyourKrogerrewardscard,SGLSautomati-callystartsearningarebate.

Greatnews!ParticipationinthisprogramDOESNOTinterferewiththefuelrewardsprogram...valid purchases will earn fuel rewards savings for you and community reward rebates for SGLS at the same time aslongasyourcardisregistered!!

Ifyoudonothaveaccesstotheonlinesign-upmethod,pleasecall1-877-745-7444tolearnaboutthealternativesign-upmethod.

Ifyoudon’thaveaKrogerrewardscard,askforoneatthecustomerservicecounter...itcostsnothing!

Andthenewsgetsevenbetter:wecanmultiplyourearningpowerbyinvitingfamilyandfriendstoregistertheircardstosupportSGLS...sopleasespreadtheword!

SGLS thanks Kroger for this generous community outreach pro-gram,andwethankYOUforhelpingustomaximizeourshareofthe$2,000,000!

Go Krogering and help support SGLS

Contributors

TheAlfordFamily TubaWilliam&CarolynDarby ConductorJaneEmmerich ViolinDan&JeanFletcher FlutePaul&MariFrost ClarinetGeorge&JudyGullen BassPaul&AnnetteHaley TympaniMaryHunter PianoNeil&MaryJohnson TrumpetLevon&GloriaKing PercussionLarry&PhyllisLeBlanc ClarinetRobert&DeniseMalone Oboe

William&DorisMead CelloEd&DebbieNykiel ViolaJohn&NancyRepp BassoonDeniseShiebout FrenchHornPaul&AliceShanaver TromboneLarry&JennySimon PiccoloH.E.ZekeZeiber Harp

BovitzCPANeil&MaryJohnsonStuart&GiuseppinaPriceH.E.“Zeke”Zeiber

MCACAMASCOOvertureSociety

CONCERT SPONSOR

MEDICI ($1,000 TO $2,499)

MAESTRO CIRCLE ($500 TO $999)

CHAIR SPONSOR ($250 TO $499)

2011-2012

Joseph&EdnaBanickBettyBlazokKenneth&JoanDebyleNadaFrostDonHillTed&InahIkolaGeorge&PhyllisLavineLloydsBar&GrillJaneRomatowskiDaniel&SallyRoulinsonCarolynSzumowskiColin&CassandraTaylor

FionaBrownMargretChorneyRichardCieslakAlfredFosterDTEFoundationAmyHarrisonHelenHorvathGladysHurdBrian&ChristineKaneBrianLongAudreyLydenMichael&SherryMcCulloughThomasMonteleonRonald&BeverlyMorrisJames&ElaineParkerCherylSavageDeniseSchieboutJoseph&DaisyScott

Al&KarenSkrockiRonald&DeannaSpiesWesley&JoyceSquireClifford&PatSt.PierreDonald&LeaVanEveryLarry&SarahWright

PATRON ($100 TO $249)

FRIEND ($25 TO $99)

Best Wishesfor the

2011-2012 season!

Zeke Zeiber

Congratulationson57years!

Bill&DorisMead

HistorySouthernGreatLakesSymphony(SGLS) was founded in 1954by Arthur Stephan and EdKraynak.OriginallytheAllenParkSymphony Orchestra (APSO),it changed its name in 1995 toreflectthegrowingbreadthofitsaudiencebase,thesourcesofitstalent and membership, and itsareaofdesired impact. In2004-2005 SGLS celebrated it’s 50thAnniversary.

The decade, under theleadershipof itscharismaticandhighly talented Music/ArtisticDirector, Charles Greenwell,has been a time of increasingprofessionalism. Mr. Greenwellhas given strong direction toan increasing repertoire andis a master of artistic control.Performersbenefitfromhissolidmusical direction. Downriveraudiences enjoy his engagingandeducationalcommentsaboutthemusicbeingperformed.The orchestra performs itssubscriptionconcertsatFlatRockCommunity Auditorium, whichserves as the orchestra’s home

venue.Theorchestra’soutreachcontinues to evolve along withthe community, having featuredprogramsfortheholidays,youngpeople,in-school,theNutcrackerandothers.

Theorchestracontinuestogrowwith an increase in volunteers,subscribers, contributors,musicians, soloists andperformances. In an effort toattractmorediversity in theageof our audience, the orchestrahas begun several programsto introduce individuals to theorchestra. Most notably isDownriver Idol in which manymusicians from the DownriverareatryoutfortheopportunitytoperformwiththeSouthernGreatLakesSymphony.

The symphony is funded bygrants, concert subscriptions,donations, and fund-raisingevents.

As Congressman John Dingellonce said, “the SGLS is one ofDownriver’struetreasures.”

Paul FrostNoel & Debbie Jackson

Levon & Gloria KingF. Vincent MitekEdward Nykiel

Waltraud PrechterCeil Pretty

Stuart N. PriceCarole Scott

Russell E. SmithDon Van Every

Hezekiah “Zeke” Zeiber

Trustees

Bring the elegance of

strings to your special affair

Doreé Stringsfor audio demo

and availability call:

TollFree:(734)542-0277

The Grosse Ile Chorale wishesthe Southern Great Lakes Symphony

another wonderful season!

“BRAVO SGLSon your 57TH Season of

Making Beautiful Music!”◆

EDWARD J. NYKIELAttorney & Counselor

P.O. Box 101Trenton, Michigan 48183

General Practice of LawFormer District Court Judge

[email protected]

734.775.5990◆

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C H E L S E AT H E M E N S S T O R E

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Ourbestwishesforagreat57thseason!

Dr.Robert&LindaCarrier

BEST WISHES ON YOUR 57th SEASON!

Melvindale Public Library

Here’stoanotherseasonofgood

music.

Robert&AudreyYoung

Saluting the accomplishmentsthat make a healthier community

Henry Ford Medical Center - Taylor is proud to serve the Downriver community and care for you and your family.

We are proud to be an organization committed to providing the community with the services and educational tools they need to lead healthy lives.

Accepting most insurance plans, including:

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Southern Great Lakes Sym phonyMusicDirector,CharlesGreenwell

The Incredible Flutist with Jeffery ZookOctober 2, 2011 at 3:00 PM

Flat Rock Auditorium

Overture to The Barber of Seville Gioacchino Rossini(1792-1868)

Pavane,Op.50Gabriel Faure(1845-1924)

FluteConcertoNo.1inG,K.313Wolfgang Amadeus Mozart1.Allegromaestoso(1756-1791)2.Adagiomanontroppo3.Rondo:TempodiMenuetto

Jeffery Zook,soloist

-Intermission-

FluteConcertoinGminor,Op.10,No.2(“La Notte”)Antonio Vivaldi1.Largo(1678-1741)2.Fantasmi:Presto3.Largo4.Presto5.Ilsonno:Largo6.AllegroJeffery Zook,soloist

SymphonyNo.97inCFranz Joseph Haydn1.Adagio–Vivace(1732-1809)2.Adagiomanontroppo3.Minuet&Trio:Allegretto4.Finale:Prestoassai

Thefluteisamemberofthewoodwind family (wood atonetimebutnowcommon-lymadeofmetal),butunlike

otherwoodwind instrumentswherethe sound is produced by blowingthrough a double reed (oboe andbassoon), a single reed (clarinet),or just a mouthpiece (recorder),the flute produces its sound fromthe flow of air across an opening.Flutes, inmanydifferentformsandin many parts of the world, havebeen dated back to pre-historictimes, and have served a varietyof purposes, from communicationbetweenandwithintribes,withcat-tle, and as musical entertainment.Apart from thehumanvoice,flutesarebyfartheoldestknownmusicalinstruments, and weremade origi-nallyfromcarvedbones, laterfrombambooandwood.

Theoldestfluteyetdiscoveredmaybe part of the femur of ayoung bear, with severalholes in it, found inacaveinSloveniaanddatedpro-visionally to about 43,000years ago. However, theauthenticity of this claimisstill inseriousdoubt. In2008 several flutes werefound in a cave near theGerman city of Ulm. Car-bondatingandothermeth-ods appear to show thatthese instruments are atleast 35,000 years old,making them the oldestconfirmed find of any mu-sical instrument in history.Whatisevenmoreamazing

is that thesefluteswere found justashortdistancefromanothercavewhich contains the oldest knownhuman carvings. Prior to this, in2004,anotherflutewasdiscoveredin another cave in Germany, ap-parently carved from the tusk of awoolly mammoth by dwellers fromtheUpperPaleolithiceraofthelasticeage,whenthelastNeanderthalsandthefirstmodernhumanslivedinEurope.Ithasbeendeterminedthataplayeronthismammoth-tuskflutecouldhavebeencapableofplayingrelativelycomplexmelodies.Allofthesefindsseemtoshowthatsomeform of a well-developed musicaltraditionexistedfromthetimewhenmodernhumansfirstcolonizedEu-rope.

FluteswerealsousedbytheSume-rians and Egyptians thousands ofyearsago.SomeancientEgyptianflutes have survived, having been

preserved in various tombs by theextremelydrydesertclimate.Mod-ernversionsof theseflutescanbefoundtodayintheMiddleEast.Theearliestknownpicturesofflutescanbe found inEtruscan reliefs datingfrom the 2nd and 3rd centuriesB.C., and judging from themany illustrations madeduring this time, theEtruscansmusthaveloved the soundof the flute. Pre-Christian draw-ings of the earlyflute appear onnumerous Ro-manartifacts,andeven though his-toryissketchyfromthis period, there isenoughinformationtosuggestthattheinstru-mentwasplayedbysomeRomansaswell.

Althoughscholarsdonotknowthereason for this, following the fallofthe Roman Empire, flutes virtuallydisappeared from Europe until thetimeoftheCrusadeswhenEurope-answerebrought intocontactwiththeArabs.Itisthoughtthattheflutewasre-introducedintoWesternEu-rope fromByzantium viaGermanysometime in the11thor12thcen-tury. It isalsobelieved thatat thistime that the first use of the word“flute”appearedinFrance,andwasused todescribeboth the recorderand the transverse flute. By the14thcenturyflutesbegantoappearin non-Germanic countries, amongthem Spain, France and Flanders,

and by the beginning of the 15thcentury pictures of flutes could befound in all parts of Western Eu-rope. One of the reasons for thisincreased distribution came fromSwiss mercenaries who used the

flute formarching and signalingwherever they went. For

the record, England’smusic-loving KingHenryVIII is said tohave had quite alarge collection offlutes.

Throughout allthis time the flutestayed essentiallythe same kind ofinstrument, andit was not until theearly 1700s that a

French family of flutemakers and players ef-

fected a series of majorimprovements to it, among otherthingschangingthebodyoftheflutefromonepiecetothreepieces.Thefirstmusicforsolofluteandaccom-panyinginstrumentswaspublishedaround1700,andworksbyVivaldi,Bach,Handel,Telemannandmanyotherwell-knowncomposersof thedayquicklyfollowed.Agooddealofthepublishedmusicforthebaroqueflutewasrelativelyeasy,butprofes-sionalplayersusually reserved themoredifficultmusic for themselvestomakesureitwasplayedintune!Around1750anewandmorebril-liant style of playing developed asthe symphony and the concertobecame the most popular musicalforms. Thebestflutistsof theday

continuedtotravelalloverEurope,bringing their different performingand composition styles with them,and for thefirst time theywere re-garded as great artists. By 1780flutes were appearing in works byMozart andHaydn, and flutemak-ersextendedtherangeoftheinstru-mentdownwardbyafewnotes.

Enter on the scene one TheobaldBoehm (1794-1881) who iscredited with creatingthe most significantchanges to theflute in its entirehistory, and ineffect givingusthefluteaswe still knowit today. Hewas born inMunich ando r i g i n a l l ytrained as ajeweler andgoldsmith, buthis early aptitudefor music was sogreat thatby the timehewas24hewasdivid-inghistimeasagoldsmith,flutemakerandprofessionalflutistintheorchestraof theRoyalCourt inhisnativecity.SufficeittosayherethatBoehmcompletely re-designed theflute,makingitoutofmetalinsteadofwood,modifying thenumber,di-mensions and arrangement of allof the sound holes, and designinganewmechanismwhicheffectivelyfunctioned as an extension of theplayer’s fingers. By 1832 his newinstrument was accepted by all of

thefinestplayersoftheday,andadecade later he had licensed flutemakersinParisandLondonmanu-facturinginstrumentstohisexactingspecifications.In1847,Boehmonceagainradicallyalteredthedesignoftheflute,basicallychanging it fromaconicaltoacylindricalbody,whileat the same time slightly changingthe top and bottom joints. It is atributetohisgeniusthatthisresult-

ed in an instrument whichhas received mostly a

few minor and rela-tively unimportantmod i f i c a t i onsthroughout theentire 20thc e n t u r y .P e r h a p sthe mosti n t e r e s t -ing changecame aboutin the 1960swhen AlbertCooper and a

group of Englishplayers re-scaled

the Boehm model tofit the standard of pitch

(A-440) which had come intoworld-wideusearound1950.Coo-per’smodificationswereadoptedbyflutemakersintheU.S.andJapan,which are now the only countrieswith viable flute-making industries.Finally, small changes in designsince the 1970s have helped theflute adapt to new andmore chal-lenging musical styles. Will therebe more changes in the future tothislyricalandbeautifulinstrument?Onlytimewilltell.

UNIQUECLOTHING&ACCESSORIES

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19115WestRoad(inWoodhavenCommons)Woodhaven,Michigan48183

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Congratulations on the 57th Season!

Neil & Mary Johnson

Dr.Kathi-JoCramerDr.JenniferCiakOptometrists

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MILKINSJEWELERSWYANDOTTESUPPORTSTHESOUTHERNGREATLAKESSYMPHONY

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9105 MacombGrosse Ile, MI 48138

Phone: (734) 671-6611Fax: (734) 671-6077

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Deborah Mitek, Owner8242 Sarah CourtGrosse Ile, MI 48138

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Congrats SGLS,57 years and still going strong!

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METROPOLIS!November 19, 2011 at 7:30 PM

Heinz Prechter Auditorium at the Downriver WCCC Campus

ApresentationofFritzLang’s1927silentclas-sic filmwith live orchestral accompaniment,directedbyguestconductorNickHersh,whomadethereductionforchamberorchestraoftheoriginalGottfriedHuppertzscore.

Friedrich Christian Anton“Fritz” Lang (1890-1976)was an Austrian-bornfilm maker, screenwriter

and occasional film producerand actor who was one of themost famousexponentsofGer-many’s Expressionist school offilmmaking,techniquesofwhichhebrought tomanyof thefilmshemadeinthiscountryafterheleftGermany in the 1930s. Heclaimed tohavestudiedartandarchitecture as a youngman inseveral European capitols aswellasAsiaandthePacificarea,butitturnsoutthatthiswasjustoneofmanycarefully-craftedleg-endswhichhegaveoutovertheyears.Hedidinfactspendsome time in Paris in hisearly 20s, but accordingtooneofhiscolleaguesatthat timehewasmore in-terestedinwomenthaninpainting!

Shortly after the outbreakofWorldWarI,Langvolun-teered for military servicein theAustrian army. HeservedforaboutayearinRussia and Romania, butafter being wounded sev-eraltimeshewastakentoamilitary hospital inAus-triawherehewas treatedforshellshockandvariousinjuries.Duringthisperiodof recuperation he began

sketchingscenariosandoutlinesfor films. He was dischargedfromthearmyin1918andforatimefoundworkasanactorandscreenwriteratstudiosinViennaand Berlin. The following yearLangbegantoworkasadirectorfortwofamousBerlin-basedfilmcompanies,atwhichtimetheEx-pressionist movement was justgetting started. So began thefirstphaseofhiscareer.

During these years Lang alter-nated between art films andpopular thrillers, in the processcombining popular genres withExpressionist techniques tocre-ateauniqueandunprecedented

synthesisofpopularandartisticcinema,inwhichhewashelpedmateriallybyhis secondwife, awell-known actress and writernamed Thea von Harbou. (Toaddto thebeginningsofhisex-traordinary career, his first wifecommitted suicide under mys-terious circumstances in 1920.)Although many critics consid-eredhisworktobelittleelsethansensationalistic melodrama, hedid produce a remarkably con-sistent and coherent output. Inthese early films one finds re-curring themes of psychologicalconflict,paranoia,fateandmoralambiguity---all of which helpedpavethewayforthetypeofcin-emaknownasfilmnoir,agenrewhichcametofullfruitioninthiscountryinthe1930sand1940s,and to which Lang contributedsomeoutstandingexamples. In1927LangproducedMetropolis,

whichisgen-erally con-sidered tobe a flawedmasterpiece,and this wasfollowed in1929 by TheWomanintheMoon, whichwasnotatallsuccessful ,primarily be-cause it wasstillsilentjustas “the talk-

ies”werebeginningtotakehold.Woman in theMoon is notable,however,forhavinginventedtherocket-launch countdown, laterto be used in countless spaceandsciencefictionfilms.With the advent of sound LangmadetheclassicM(1931),nowgenerally recognized as hisgreatestfilm. M isaharrowing,rivetingandverydisturbingpor-traitofapsychoticchildmurdererwho is eventually hunted downand brought to rough justice byBerlin’s criminal underworld.The film, with its deep psycho-logical undertones, is dazzlingin its camera work, pacing andsoundtechnique,andisfrighten-ingly contemporary, especiallyforsuchanearlytalkie.Thetitlecharacter is portrayed by PeterLorre in his first major role, anabsolutelymesmerizingandun-

forgettableperformancestillcon-sideredbymanytobethegreat-estportrayalofhislongcareerincinema.FollowingthepremiereofM,Langmadeoneofhismostfamous statements, which was,“Tobeginwith,IshouldsaythatI am a visual person. I experi-encewithmyeyesandnever,orrarely,withmyears---tomycon-stantregret.”

After the Nazi takeover in Ger-many and the banning of thefilm he was working on at thetimeas beingderogatory to theNaziregime,Lang leftGermanyfor France in 1933, and shortlythereaftercametotheU.S.Thecircumstances of his (presum-ably) forced emigration remaincontroversial, and it probably isjustanotherexampleoftheman

inventingstories to suit hisownpurposes. Whatever the realitymightbe,LangencounteredtheclassicdifficultiesofaEuropeandirector in theHollywood studiosystem, and as a result it tookhimafewyearsofbeingbasical-lyinactivebeforehejoinedMGManddirectedthecelebrated1936crime drama Fury. Starring thegreat Spencer Tracy as a manwrongly lynched by a hystericalmobforacrimehedidn’tcommit,thefilmmetwithtremendouscrit-icalandpopularsuccess. Langbecame a naturalized U.S. citi-zenin1939,andoverthenext21yearsmade a series of films inavarietyofgenresforpracticallyeverymajorstudioinHollywood.Asstatedearlier,manyof thesefilmsarerecognizedasbeingvi-taltotheemergenceofthestyle

ofmoviemakingcalledfilmnoir.AmongtheseeffortsareRanchoNotorious,MinistryofFear,Scar-let Street, The Blue Gardenia,The Big Heat, Human Desire,andWhiletheCitySleeps.

AlthoughhetriedtoadapttotheHollywood system and its lifestyle and production methods,he continually felt stifled andfrustrated by that system, andeventuallycametodislikeHolly-woodasmuchasitdislikedhim.Lang, who had awell-deservedreputationforbeingarrogantanddictatorial, would hardly havewonanypopularitycontests. In1937, the celebrated German-born composer Kurt Weill, ina letter to hiswife, singer LotteLenya,wrote: “Langmakes youwant to puke! Nobody in the

whole world is as important ashe imagines himself to be. Icompletelyunderstandwhyheisso hated everywhere.” In addi-tion,hemanaged togethimselfblacklisted during theMcCarthyera for his strongly left-leaningideasandforhisworkwithwriterBertolt Brecht and other knowncommunists. Finding it increas-inglydifficulttocomeacrossanyfavorable production conditions,and his advancing age leavinghim less and less interested indealing with problematicAmeri-can backers, Lang returned toGermanyin1956.Hemadejusttwo films there, both of whichweredismalfailures,andin1962hesadly returned toHollywood,in poor health and legally blind.He remained there in reclusiveretirement until his death from

a massive stroke in 1976. Hewas buried in the famous For-estLawn–HollywoodHillscem-etery,whichatonetimewasthelegendary Nestor Ranch filminglocation during the silent era.Problematic and difficult thoughhewas,heisstillrightlyregardedasoneofthemostaccomplishedand influential directors of the20thcentury.

MetropolisappearstohavebeeninitiallyinspiredbytheskylineofManhattan, which Lang and hiswifesawfromashipinNewYorkharborin1924.Heimmediatelythought of a scenario in whichthe cityscape would be domi-natedbysoaringtowersofsteelandglasswhilefarbelow,incat-

acombsandcaves, theworkerswhoseefforts sustained the citywould be physically and spiritu-ally crushed, in theprocessbe-ing turned in effect into humanmachines. There would be nomiddleground: youwereeitherpartofarulingclassattheverytoporpartofthisarmyofdronesat the very bottom. The resultwas Metropolis, completed andfirst shown in Berlin in 1927, aquasi-science fiction film whichwould be the precursor to suchdiverse later films asTheBrideofFrankenstein,Dr.Strangelove,Blade Runner, Star Wars andTheTerminator.

Madeatatimeofserioushyper-inflation in Germany, it proved

to be themost expensive silentfilmevermade,andcamecloseto bankrupting the studio whichhad commissioned it. In mod-ern dollars it would have beensomething like $200 million---asmallfortuneatthetime.Follow-inglukewarmreviewsanddisap-pointingboxofficeresults,Para-mountPictures,whichhadbeenacquiredasapartnertowardtheend of shooting, took control ofthe film and made drastic cutstotheoriginal,arguingthatas itstood,Metropoliswassimplytoolong, too unwieldy, too compli-

cated,toocontroversial,andtooincoherent for American audi-ences.Atthattimetheatreman-agers in both the U.S. and Eu-ropewereunwillingtoshowanyfilm---nomatterhowgooditmighthave been---which ran over 90minutes. In its original versionMetropolis clocked in at a stag-gering 2 hours and33minutes,andasa result roughlyanhourwas trimmed from the runningtime. As a result of this butch-ering,practicallynobodyoutsideofBerlinsawthemovieasLangintended,andtheversionshown

toaudienceshereandinEuropein 1928 was disjointed, illogicaland indeed incoherent, but forquitedifferentreasons.Notsur-prisingly,thatversionbombedto-tallyonbothsidesoftheAtlanticandwaswithdrawnfromcircula-tion.Duetoallofthesefactors,theoriginalversionsimplydisap-peared,andforoverhalfacen-turywasbelieved to havebeenlostforever.

Overtheyears,however,diligentanddedicatedfilmscholarsandresearchersmanagedtounearthbits and pieces of the original,andin2001anew75th-anniver-sary restoration was shown attheBerlinInternationalFilmFes-

tival.Thisversion,whichranjustabitovertwohours,camecloseto the original story line by us-ingstillsand inter-titles tocoverthemissing footage. It also re-stored the remarkable originalsoundtrackusingthecolorfulanddramatic full-orchestra score bytheGerman composerGottfriedHuppertz.ThisversionreceivedtheNationalSocietyofFilmCrit-icsHeritageAward forRestora-tionthefollowingyear,andmosteverybody thought this was ascloseaswewouldevergettotheLang original. Then, a miracleoccurred.

In2008acopyofwhatseemedtobetheoriginalfilmwasdiscov-

eredinthearchivesoftheMuse-umofCinema inBuenosAires,Argentina. How it got there istrulyamazing.AnArgentinefilmdistributor namedAdolfoWilsonjusthappened tobe inBerlin in1927 when Metropolis had itspremiere.Hewassoimpressedwiththeworkthatheboughttherightstothefilmonthespot,andreturned to Argentina with thereels in his luggage. After be-ing passed from one person toanotherand fromone institutiontoanother, itfinallywoundupinthe Museum of Cinema whereit sat on the shelves unnoticedandinastonishinglygoodcondi-tion fordecades. Asa resultofthis discovery some25minutescouldnowbeaddedtothe2001reconstruction,fillinginalmostallof the gaps. As if thiswas not

enough, at roughly the sametime copies of the full originalwerediscovered in theNationalFilmArchivesofbothNewZea-landandAustralia!Inparticular,theNewZealandprintwasfoundtocontain11sceneswhichwerenot in the Argentine copy, andcould be used to restore dam-agedportionsfromthatcopy.Asaresult,anewrestorationprojectwas begun, and this “final” ver-sionwasshowninBerlin,EuropeandtheU.S.atvarious times in2010. Justa fewscenes, total-ing about 8minutes, are not inthis cut as theywere either stillmissingortoobadlydamagedtobeused.Forfansandscholarsofthesilent-filmerathiswaslikefinding the cinematic version oftheHolyGrail,andwecanallbegratefulthatatlonglastthevirtu-

ally-completeversionof thisex-traordinary masterpiece is onceagainavailableforalltosee.

From theoutsetMetropoliswasconceivedasbothanenormousspectacleandafilmwithames-sage.Thatmessage---whateveritmighthavebeen---hasalwaysbeen highly controversial, notat all surprisingwhen you con-siderjusthowfarto the left Lang’spolitical think-ing was duringthe 1920s: farenough,asallud-edtoearlier, thatitgothimintoma-jorhotwaterwithSenator JosephMcCarthyandtheHollywood witch-hunters.Thefilmtakes on noth-ing less than thewholeproblemofCapitalversusLabor, presents a huge under-ground (literally) slave commu-nitydominatedbyasmall rulingelite (above ground, of course),imagines a revolt of the slaves,then invents a solution to bringthewarringfactionstogether.

Unfortunately, the “solution,” asLanghimselfadmittedlateronisextraordinarily naïve and banal.It is that love conquers all, and

that “the intermediary betweenthe hand and the brain is theheart,” about which Lang alsosaid, “That is definitely a fairytale!” Thestoryasawholecanbeseenasabattlebetweenlightand dark or between good andevil rather than something asmundaneastheconflictbetweenmanagementandlabor.Accord-

ing to Lang andhis wife, the filmwas also aboutmagic and theDark Ages ver-sus the illuminat-ing qualities ofmodern science.From this stand-point, one canargue that all ofthe good in thestorycomesfromscience, and allof the bad frommagic, as per-sonified by the

old magician named Rotwang.However, this magical elementwas greatly toned down in theshootingofthefilm,andinsteadof being a guiding or polarizingforce, Rotwang comes acrossas just another mad scientist,and thedistinctionbetweensci-ence andmagic becomes quiteblurred.Evenwithallofthis,whatis so impressive about the filmis themastery with which Langstagestheaction,particularlyhis

managementof thehugecrowdsceneswiththerobot-likeslaves,theirrebellionandtheirclimacticrampageofdestruction.Clearly,Lang (and most other Germandirectorsoftheday)hadlearnedan enormous amount from thedramatic spectacles of the leg-endarystagedirectorMaxRein-hardt,asthesecrowdscenesareas stunning and overwhelmingasanythingseenbeforeorsince.True, it has to be said that thecharactersare ineffectdwarfedby their environment and basi-callyreducedtostereotypes,butwith so much going on to holdtheaudience’sattention,ithardlymatters.

ThestoryofMetropolisisasfol-lows. In a huge city set in theyear2000(!),everythingisdoneby enormous machines run byan army of ant-like slave work-ers who live in convoluted un-dergroundslums,whilethesmallrulingclasslivesabovegroundinwhatarecalled“TheEternalGar-dens.” The rulersarenotatallawarethattheyarereallytyrantsuntiloneday,Freder,thesonofthecity’smasterJohnFredersen,noticesabeautifulyoungwomannamedMariawithalargegroupofhungrychildrenatthegatesofthe Gardens. Smitten with herbeauty, he follows her and thechildren into the undergroundlabyrinth,and ishorrifiedby the

squalor and the poverty he en-countersthere.He encounters Maria as shepreaches to the restless work-ers to have faith and patienceandwait forsalvationfrom“TheForgottenChrist.”TheirmeetingisdiscoveredbyFreder’sfather,whothenordershischiefscien-tist Rotwang to make a life-likerobotintheformofMariawhich,he hopes, will calm down theworkersandputanend to theirrevolutionaryideas.RotwangkidnapsMariaandcre-atesanandroidinherimage,butdoessomainlytofurtherhisowngoalwhichistounseatFredersenasMasterandtakecontrolofthecity. The falseMaria thengoesberserkandurges theslaves torevolt,whichtheydowithaven-geance:thepumpsstopturningandtheentireundergroundareaoccupiedbytheworkersisflood-ed. Freder and the real Mariamanage toescape thecatastro-phe and lead all of the childrenout of danger. Once the work-ers realizehow theyhavebeenduped, they burn the robotMa-riainanorgyofdestructiveness.Seeingallofhisplanscollapse,Rotwang goes crazy. At thesame time Fredersen sees theerror of hisways, andasMariaandFrederjoinhandsinfrontofthe huge cathedral,Capital andLaborareunited---ByLove!

Dance Grosse IlePresents

The Nutcracker

December 3, 2011 at 5:00 p.m.December 4, 2011 at 2:00 p.m.

At the Trenton High School AuditoriumGina Dudash, Artistic Director

SYNOPSISACT IHerr Stahlbaum and his wife are giving a Christmas Party. Clara and Fritz, their chil-dren, greet the guests. The parents give toys to all the children. Suddenly, the mysterious Dr. Drosselmeyer arrives and entertains the children with his magical tricks and wind-up dolls.

Dr. Drosselmeyer brings a special gift for Clara - a wood-en nutcracker. In a jealous fit, Fritz breaks it. Dr. Drossel-meyer quickly repairs it.

The party ends, the guests leave, and the Stahlbaums re-tire for the night. Clara awak-ens as a mouse runs through her room. The clock strikes midnight. Suddenly, the room fills with giant mice who attack Clara. Life-size toy soldiers, led by her valiant Nutcracker, come to her rescue. The King Rat attacks the Nutcracker, but Clara hits him with her shoe and the Nutcracker wins the battle. After the battle, the Nutcracker is transformed into a handsome prince.

The Nutcracker Prince turns the Stahl-baums house into the Land of Snow. The Snow Queen and the Nutcracker Prince dance with the Snowflakes. Clara and the Nutcracker Prince depart for the Kingdom of Sweets in an enchanted sleigh.

ACT IIClara and the Nutcracker Prince continue

their journey across the Lem-onade Sea. When they arrive in the Kingdom of Sweets, the cooks are preparing delectable treats for their arrival. They are greeted by the Sugar Plum Fairy. In Clara’s honor, the Sug-ar Plum Fairy arranges for the inhabitants of her kingdom to entertain them while they eat: chocolate, a Spanish Dance; coffee, an Arabian Dance; and tea, a Chinese Dance. Clara is

also entertained by the dance of the Mir-litons, a dance with Madame Bonbonaire and her clowns, a Russian dance, and the Waltz of the Flowers. Then, the Sugar Plum Fairy and the Nutcracker Prince dance a grand pas de deux. As the celebration draws to a close, Clara drifts off to sleep. She awak-ens in bed, as the Nutcracker Prince salutes his princess Clara.

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Paul&AnnetteHaley

Dan&JeanFletcher

JaneEmmerich

William&CarolynDarby

Larry&JennySimon

DearAudience,

Wouldyouliketobecomeachairsponsor?Your$250donationtotheSGLSgoesalongwaytohelpbringlive,quality,orchestralmusictothecitizensoftheDownrivercommunity.Callthesymphony24hourtelephonelineat(734)246-2890orvisitusonthewebatwww.sgls.og,andtelluswhichinstrumentyouwouldliketosponsor.

Paul&MariFrostNeil&MaryJohnsonLarry&PhyllisLeBlanc

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Kurt&LenoreKerstenRobert&LindaCarrier

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Bill&DorisMeadJames&ElaineParker

Paul&AliceShanaver

H.E.“Zeke”Zeiber

RobertMalone

DearAudience,

Wouldyouliketobecomeachairsponsor?Your$250donationtotheSGLSgoesalongwaytohelpbringlive,quality,orchestralmusictothecitizensoftheDownrivercommunity.Callthesymphony24hourtelephonelineat(734)246-2890orvisitusonthewebatwww.sgls.org,andtelluswhichinstrumentyouwouldliketosponsor.

H.E.“Zeke”ZeiberPaul&AliceShanaver

John&NancyRepp

William&DorisMead

Robert&DeniseMaloneLarry&PhyllisLeBlancPaul&MariFrost

George&JudyGullen

Neil&MaryJohnson

TheAlfordFamily

Downriver’sorchestra

isOURorchestra!ThankYou!

FernBrandt

On Behalf of the DCC Board of Directors and staff, I want to congratulate the Southern Great Lakes Symphony for their efforts to enhance the quality of life Downriver!

JamesS.Perry,ExecutiveDirector

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Music is what life sounds like.~Eric Olson

Best wishes for another glorious season!

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Life is one grand, sweet song, so

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Thanks for 57 years of Excellent Music

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2012 Downriver Idol

Havepeopletoldyouthatyouhaveagreat voice? Do you sing in the car,shower, or with the radio? Then youshould audition for the Third AnnualDownriverIdol!

Participantsmustsingasongatoneofthe threepreliminary audition sites bysinging:a capella, with their own accompanist, or by making arrange-ments with the SGLS to have an accompanist provided.Contestantscanalsosing“Karaoke Style” with backing tracks on January 13th in Woodhaven.ThosethatpassthepreliminaryroundwillthensingatthesemifinalsonFebruary3rd.

New this year isaJuniorDivision,whichwill allowyoungersingers tocompetewiththeirpeers,ratherthanwithmoreexperiencedsingers.TheJuniorDivisionwillhaveitsownfinalsandwillnameitsown2012Down-riverIdolWinner.

SeniorDivisioncontestantswill sing for thesemifinalsonFebruary3rd.FinalistswillsingwiththefullorchestraattheconcertonFebruary26thattheFlatRockH.S.Auditorium.

Preliminary Auditions: Friday,January13thatWoodhavenBestWestern(“KaraokeStyle”) Saturday,January14thatSouthlandMall Sunday,January15thatWyandotteArtCenter

Semi Finals (Both Junior & Senior Divisions) Friday,February3rdatFlatRockH.S.CommunityAuditorium

Junior Finals (No Orchestra) Friday,February10thatFlatRockH.S.CommunityAuditorium

Senior Finals (Part of the Fantasia Concert) FinalistswillsingwiththefullorchestraonSunday,February26th atFlatRockH.S.CommunityAuditorium.

Information and registration will be available online at sgls.org

Gary Caperton23615 Oak Glen DriveSouthfield, MI 48033

(248) [email protected]

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Proudly supports “The Southern Great Lakes Symphony!”

PompandCircumstanceMarchinG,Op.39,No.4 Edward Elgar (1857-1934)

DanceoftheHours,fromLaGioconda Amilcare Ponchielli (1834-1886)

SymphonyNo.6inF,Op.68(“Pastoral”) Ludwig van Beethoven (1770-1827) 1.Awakeningofcheerfulfeelingsonarrivinginthecountry(Allegromanontroppo)

SongsbytheDownriverIdolfinalists,TBAfromthestage

-Intermission-

ANightonBaldMountain Modest Mussorgsky (1839-1881)

AveMaria Franz Schubert (1797-1828)

The Seaway Chorale

LullabyandFinalefromTheFirebird Igor Stravinsky (1882-1971)

FANTASIAFebruary 26, 2012 at 3:00 PM

Flat Rock High School Community Auditorium


Featuring the SeniorDivisionfinalists from the 2012 Downriver Idol Competition and The Seaway Chorale, Dr. Gerald Custer, Director

Forany of you in the au-dience who have neverseen it, the original Fan-tasia isa1940animated

film produced by the Walt Dis-ney studio, the third feature inthe Disney Animated ClassicsSeries. It consists of eight ani-matedsegmentssettopiecesofclassicalmusicconductedbythelegendaryLeopoldStokowski,allbut one ofwhich are played bythePhiladelphiaOrchestra.TheAmericanmusic critic and com-poser Deems Taylor introduc-es each segment in live-actionscenes between the segments.Thesoundtrackwasrecordedus-ingmultipleaudiochannelsandreproduced with Fantasound, apioneering system which made

Fantasiathefirstcommercialfilmtobeshowninstereophonicsur-roundsound.

Fantasiawasfirstreleasedin13selectU.S.citiesinNovemberof1940.Consideringtheextraordi-naryesteeminwhich thefilm isnowheld,itreceivedmixedcriti-calreactionatthetime,andwasnotable tomakeaprofitmainlybecauseWorldWarIIcutofftheveryprofitableEuropeanmarket,but also because of the unusu-allyhighcostsofleasingtheatresand theproductionand installa-tion of the Fantasound system.The film was subsequently re-leasedmanytimesover,withitsoriginal video and audio com-ponents being either deleted,

restored or modified with eachnew release. Todate,Fantasiahas grossed almost $80 millionintheU.S.alone,andwhenad-justedforinflationithasbecomethe21sthighest-grossingfilmofalltime.

FantasiafirstcameintoDisney’smindbecauseofconcernforhismost famous creation, MickeyMouse. In the 1930s Mickey’spopularity was on the decline,anditactuallyfellbehindDonaldDuck, Goofy and Popeye (fromtheFleischerStudios.)Inawaythis was inevitable, as Mickeyhadbeena smash internationalcelebrity for over 10 years, andmanyreal-lifeactorsfounditdif-ficult tosustainacareerforthatlong. In 1937 Disney plannedto feature the famousmouse inanewSillySymphoniescartoonbased on the German writerGoethe’s ballad The Student ofMagic set to the music of theFrench composer Paul Dukas’celebratedsymphonicpoemTheSorcerer’s Apprentice. Mickeyappeared in the roleofa totallyinept apprentice whose misuseof the sorcerer’s powers resultsinanear-catastrophe. Disney’sfirstchoiceofaconductorfortheprojectwasArturoToscanini,butwhenToscanini could notmakeuphismind,DisneywenttoLeo-poldStokowski,whowasthrilledtoaccept theassignment. Per-

haps one thing which swayedDisney’s mind was Stokowski’sstatement, “The beauty and in-spiration of music must not berestrictedtoaprivilegedfew,butmade available to every man,woman and child. This is whygreatmusicassociatedwithmo-tionpicturesissoimportant,be-causemotionpicturesreachmil-lionsallovertheworld.”

ProductiononTheSorcerer’sAp-prenticebeganinearly1938,andinkeepingwiththenewproject’sambitiousefforts,oneofthechiefanimatorsredesignedMickeybyadding pupils to his eyes for agreaterrangeofexpression.Aswork on the new cartoon pro-ceededandcostseventuallysur-passed $125,000, Disney real-izedthathewouldneverbeableto come anywhere near break-

ing even on this single cartoonshort. He now began to con-sideroneofStokowski’soriginalideas,namelyafilmwhichwouldillustrate vari-ous aspectsof classicalmusic, andso work be-ganonanewfilm initiallyentitled Con-cert Featurein which TheS o r c e r e r ’ sA p p r e n t i c ewould be fea-tured, alongwith, in Dis-ney’s words,“a group ofseparatenumbers,regardlessoftheirrunningtime,puttogetherinasinglepresentation.”

During the production of whatwas now called Fantasia, seg-ments were to be color-keyedscenebyscenesothecolors inasingleshotwouldblendinwiththe proceeding and followingones.Togiveyouanideaofhowmany diverse influences therewere on the film, one animatorissaidtohavegotteninspirationfromCurlyHowardof theThreeStooges when animating thedancingmushrooms in theChi-neseDancefromtheNutcrackerSuite.TogetideasforTheRite

of Spring, animators studiedcometsandnebulaeattheMountWilsonObservatoryinCalifornia,and drew images of prehistoric

animalsattheAmericanMu-seum of Nat-ural Historyin New York.Bela Lugosi,world-famousfor his role inDracula, wasbrought in toprovide refer-ence posesfor Cherno-bog, the evildemon in ANightOnBaldM o u n t a i n .

The Ave Maria segment wasused as “an emotional relief toaudiencestensefromtheshockofMussorgsky’smalignantmusicanditsgrimvisualization.”Over1,000 artists and technicianswereusedinthemakingofFan-tasia,which featuresmore than500characters.Disneyorderedso many time-consuming andexpensive re-shoots that filmingwascompletedjustonedaybe-forethepremiere.Onthedayofrelease,November13,1940,thelastpieceoffilmarrived inNewYorkwithjustfourhourstospare.By the way, the name Fantasiaactuallyhasameaning,ortwointhiscase.Onereferstoanimag-

inative and ingenious composi-tion inwhich form isof second-ary importance, and in which akindofelusivenessofcharacterresults from its departure fromaccepted stylistic and structuralnorms.Theotherreferslooselytoakindofpotpourri of familiararts. Both definitions certainlyapplytothisfamousandground-breakingfilm.

For its 50th anniversary run,Fantasiawasshownnation-widein some 550 theatres on Octo-ber 5, 1990. The film had un-dergone an intensive two-yearrestoration process, including asix-monthoperationinwhichtheoriginal1940negativewhichhadbeeninstoragesince1946waspainstakingly pieced together.Anothersixmonthswereneededto clean each one of the film’s535,680 frames, using an un-touched Technicolor print from1951 as a guide for color andtone.Thismarkedthefirsttimesince1946thatareleaseofFan-tasiahadcomefromtheoriginalnegative---not from a duplicate.Moreover, an estimated 3,000pops and hisseswere removedfrom the soundtrack. Also in1990, the film was selected forpreservationintheUnitedStatesNationalFilmRegistrybytheLi-braryofCongressasbeing“cul-turally,historicallyoraesthetical-lysignificant.”

70yearsaftertheoriginalreleaseit’s fascinatingtoreadsomeex-cerpts from the review of thatevent written by the celebratedNewYorkTimesmoviecriticBo-sley Crowther. In the midst ofgenerallymixedreviews,thiswasoneofthegreatpositiveones:“Letusagree,asdidalmostev-eryonepresentontheoccasion,that theslyandwhimsicalpapaof Mickey Mouse, SnowWhite,Pinocchioandahostofothercar-toondarlingshasthistimecomeforthwithsomethingwhichreallydumps conventional formulasoverboardandboldlyrevealsthescopeoffilmsforimaginativeex-cursion.Letustemperatelyadmitthat “Fantasia” is simply terrific---as terrificasanything thathasever happened on a screen…..Mr. Disney and his troop of lit-

tle men, together with LeopoldStokowski and the PhiladelphiaOrchestraandacorpsofsoundengineers, have fashioned withmusic and colors and animatedfiguresa creation so thoroughlydelightfulandexcitinginitsnov-eltythatone’ssensesarecapti-vatedby it,one’s imagination isdeliciously inspired…..What themusic experts and the art crit-icswill thinkof itwe don’t know.Probably therewill be muchcontroversy, andmaybe somelong hair will bepulled. Artis-tic innovationsneverbreedcon-tent.Butforthiscorner’s money“Fantasia” is en-chanting enter-tainment. Thisis one time, wewarrant, youwon’twanttolis-tentomusicwithyoureyesshut.”

DisneyoriginallyplannedtohaveFantasia on a kind of continualreleaseovertheyears,withold-ersegmentsconstantlyreplacedby newer ones. However, duetothelossoftheEuropeanmar-ketbecauseofWorldWarII,thefilm’s initial failure in box office

revenue, and its mixed criticalreception, this idea was aban-doned. Then, in 1974 Walt’snephewRoyDisneybeganthink-ingaboutanupdateorsequeltotheoriginal,andinthelate1970sa plan for a new sequel to becalledMusicanaarose.Theideaherewas to explore theworld’scultures through theirfinestmu-sical compositions, but the idea

came to naught.In 1984 Roycame to then-DisneychairmanMichael Eisnerwiththeideaofasequel, and thistime theconcepttookhold. Whateventually wascalled Fantasia2000beganpro-duction in 1990.Aswiththeorigi-nal, the sequelconsists of ani-mated segmentsset to pieces ofclassical music,

in this case played by the Chi-cagoSymphonyOrchestra con-ductedby JamesLevine.Threesegmentsoftheoriginalwerein-tendedtobeusedinthesequel,butonlyTheSorcerer’sAppren-ticewasultimatelyretained.Thenewfilmwasgiven itspremiereinCarnegieHall inNewYork inDecember of 1999 as part of a

five-city concert tour, the othercitiesbeingLondon,Paris,TokyoandPasadena,Florida.Onthoseoccasions each segment wasshown on a screen above thestage, with the soundtrack mu-sicperformedlivebya120-pieceorchestra conducted by Levine.Onemajordifferenceinthemu-sic for the two films is that inFantasia2000 thepianofiguresprominently inmorethanhalfofthesegments,whereastheorigi-nalhadnopianoatall.Followingthe initial performances the filmwasshownin75IMAXcinemasworldwide fromNewYear’sDay2000totheendofApril,becom-ing the first animated feature-length film to be shown in thisformat. Thefilm isalsonotable

for using computer-generatedimagery superimposed in topofhand-drawn animation. It wasput intogeneral release inJuneof2000.

In the original film the piecesusedare:Bach/Stokowski: Toccata andFugueinDminorChaikovsky: Excerpts fromTheNutcrackerSuiteDukas: TheSorcerer’sAppren-ticeStravinsky:TheRiteofSpringBeethoven:SymphonyNo.6inF(“Pastoral”)Ponchielli: The Dance of theHours,fromLaGiocondaMussorgsky: A Night on BaldMountain

Schubert:AveMaria

In the sequel the pieces usedare:Beethoven: Symphony No. 5 inCminor,1stmovementRespighi: Excerpts from ThePinesofRomeGershwin:RhapsodyinBlueShostakovich: Piano ConcertoNo.2inF,1stmovementSaint-Saens:TheCarnivaloftheAnimals,finaleDukas: TheSorcerer’sAppren-ticeElgar: PompandCircumstanceMarches1-4Stravinsky: Excerpts from TheFirebirdSuiteFinally,itisworthnotingthatDe-bussy’s ever-popular Clair de

lunewas intended tobepart ofthe original, and the segmentwas fully produced and animat-ed. It was dropped becausewith its inclusion itwas felt thatitmadethefilmsimplytoolong.Sadly,itneverfounditswayintothesequeleither.

WaltDisneyin1940:“Fantasiaistimeless.Itmayrun10,20or30years.ItmayrunafterI’mgone.Fantasiaisanideainitself.Icannever build anotherFantasia. Ican improve. I can elaborate.Thatisall.”

Wishing SGLS the best of luck on another successful season!

Downriver Community Voices

DCV has an exciting upcoming concert series.Please visit our website for details and instructions

on joining our mailing list.

www.downrivercommunityvoices.com

Merrill Lynch is proud to salute Southern Great Lakes Symphony

Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and member SIPC, and other subsidiaries of Bank of America Corporation. © 2011 Bank of America Corporation. All rights reserved.248607 AR81O3V6-08-11 Code 446200PM-0811

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CORPORATE BANKING

3BACKSTAGE PASS

A FUNDRAISING EVENT FOR THE SYMPHONY

DON’T GET CAUGHT WITHOUT YOURS!

MARCH 245-10PM

Exclusiveaccess - themarkofprivilege.Whether it’saclub,asportingeventoraconcert,havingaccesstothingsthegeneralpublicdoesn’tgetisaspecialprivilegereserved for theselect few. Meeting thestarsandwatchingthemperformupcloseandpersonalisanexperiencenotsoonforgotten.

TheSouthernGreatLakesSymphony’s“BACKSTAGEPASS3”willgiveyouexclusiveaccesstoaUNIQUE,CASUAL,ANDFUNfundraisertosup-port Downriver’s premiere performing arts organization. Youwill get towatchandlistentoSGLSmusiciansreadavarietyofmusicupcloseandpersonalinacasualsetting.Youwillexperiencefirsthandthewaymusicisputtogetherbeforeitreachestheconcertstage.ThroughouttheeveningtheSGLSandfriendswillperformawiderangeofmusicfromclassicaltojazz,inavarietyofensemblesettingsincludingfullorchestra.From intimate togrand, therewillbesomething foreveryone.Musiciansandaudiencecancomeandgoastheypleasetoplay, listen,eat,drink,andexplorethebrandnewWyandotteArtsCenterwheretwoofthethreefloorswillhaveactivitiesforyoutoenjoythroughouttheevening.Inadditiontogreatmusic,greatfoodandbeverages,therewillbeoppor-tunities towin incredibleprizesbyparticipating inaSilentAuction/Raffle-proceedswillbenefitSGLS(a501(c)(3)organization).Come,haveadrinkwithMusicDirectorCharlesGreenwell,andlookbe-hindthecurtaintoseehowthemagicofmusicismade.

Ticketsare$30foraGuest,$50forSpecialGuestand$100forVIPAll-Ac-cess.Ticketscanbepurchasedbycalling734.671-8343ororderedonlineatwww.sgls.org

Wearelookingforwardtoseeingyoubackstage!

SouthernGreatLakesSymphony-YourDownriverOrchestra!3BACKSTAGE PASS

PRESS RELEASE

Saturday, March 24th5pm to 10pm

Wyandotte Arts Center81ChestnutStreetWyandotteMI48192

BridalProcessionfromLeCoqd’Or Nikolai Rimsky-Korsakoff (1844-1908)

WalktoParadiseGarden Frederick Delius fromAVillageRomeoandJuliet (1862-1934)

“Va,pensiero”fromNabucco Giuseppe Verdi (1813-1901)

AnvilChorusfromIlTrovatore

OverturetoDieFledermaus Johann Strauss, Jr (1825-1899)

LaurieMata–DownriverIdolWinner,2011 SelectionTBA

BarcarollefromTheTalesofHoffmann Jacques Offenbach (1819-1880)

PolovetsianDancesfromPrinceIgor Alexander Borodin (1833-1887)

OPERA GREATSApril 22, 2012 at 3:00 PM

Flat Rock High School Community Auditorium


Opera, as we havecometoknowitduringthelast400years,isaformofdramawhichis

primarily sung, accompanied byinstruments,andpresented the-atrically.Thefactthatoperaispri-marilysungdistinguishesitfromdramatic works in which musicisincidentalorclearlysubsidiaryto thedrama,and the theatricalpresentationdistinguishesitfromoratorio, which has singing andinstrumental accompaniment,butisalmostalwayspresentedinaconcerthall.Opera,ofcourse,incorporates many of the ele-mentsofspokentheatresuchasacting, scenery, costumes andmake-up,andsometimes(partic-ularlyinitsearlierdays)alsoin-cludesdancing.Operaticstories

have come frommany sources,among them history,mythology,fairy tales, folkstories, literatureand drama. What all of thesesourceshaveincommonisthatsomething about their dramaticand/or narrative qualities haveinspired composers through theages to set them tomusic. Allcultures have story-telling tradi-tionsandthesewonderfullyvar-iedstorieshelp to illuminatethehumancondition. Music isalsoa part of all cultures, andwhencombinedwithagoodstory theresult can be something whichmakes opera and all forms ofmusical theatersopowerfulandmemorable. Opera has man-aged to survive every form ofhumanmadnessandnaturaldi-saster,intheprocessexpandingbeyond all geographic and cul-turalboundaries tobecomeoneofthemostexcitingandcreativeofalltheperformingarts.

OperafirstdevelopedinItalyto-wardtheendofthe16thcenturybyagroupofscholarsandmusi-cianswhosetout to recreate intheirowntermstheformofearlyGreek tragedy which combinedintoned speech and some formof instrumental accompaniment.Italsowasalogicaloutgrowthofthepageantsandmusicalenter-tainmentswhichwerepopularinvarious courts in the 16th cen-tury.Thisnewformofentertain-

ment rapidly spread throughoutEurope,witheachcountrywhereit became popular contributingitsownuniqueblendofthevari-ous components of opera suchasmusic,dramaandspectacle.The earliest forms of opera uti-lizedmusicwhichwaswrittentofit the textveryclosely,with theinstrumental component provid-ing a coherent means to bringeverything together in dramaticandcompellingways.Inthenextcentury Germany, France andEngland(andofcourseItaly)allhelped to establish national tra-ditions within the new art form.In the 18th century Italian op-era dominated most of Europe(with the possible exception ofFrance),andattractedmanyfor-eign composers, among themthe great George FridericHandel.Themostfamousand significant composerof opera in the late 18thcenturyisMozart,whocon-tributedsomeof thefinestworksinthegenre,amongthemTheMarriageofFiga-ro,DonGiovanni,Cosifantutte,andTheMagicFlute,a landmark in theGermantradition. These operasremain among the mostbeautifullycrafted,endear-ing and popular works inthewholehistoryoftheop-eratictradition.

Itwasinthe19thcenturythatop-era flourished as never before,andhasnotdonesosince.Thefirstthirdofthiscenturysawthehigh point of the so-called belcanto style, featuring wonder-ful works by Rossini, DonizettiandBelliniwhich are still in theactive repertory. Bel canto (lit-erally “beautiful singing”) wasa concept which emphasizedbeautyofsound,anevensoundthroughout the whole range ofthe voice, smooth phrasing, ex-treme agility in florid passages,andgreattechnicalcontrol,lead-ing to great ease in getting tohigh notes. It also brought theemergence ofGrandOpera, astypified by the mammoth spec-tacles of Giacomo Meyerbeer.Originally the term Grand Op-

era referred specifically to anyworksuitableforperformanceattheParisOpera,implyingaseri-ous,grandioseandlengthyworkgenerallyonahistoricalsubject,includingchorusandballet,withthe text set to continuous mu-sic.Sincethattimethetermhascomesimplytomeananyoperamakinglavishuseofmusicalandtheatrical resources, particularlythelatter(witnessmanyproduc-tions of Verdi’s Aida with hugesets, huge choruses, dozens ofextras and even elephants inoutdoor settings!). The mid-to-late19thcenturyisoftenreferredtoasTheGoldenAgeofOpera,with its two leading proponentsbeing Wagner in Germany andVerdi in Italy. Giuseppe Verdiwas one of the greatest of allopera composers, an extraordi-nary genius who possessed an

innateunderstandingofhowto write effectively for thevoice,aspecialtalentforpo-tenttheatricaleffect,andanamazingabilitytocreatemu-sicwhichmanagestospeakdirectly to the gamut of hu-manemotions.Hewasalsoagreatpatriotwhoseoperasresonated with the growingspirit of Italian nationalism,and believed that all com-posers should write withintheidiomsoftheirparticularcountries.Inthisregard,hehad a unique ability to sumupinhisworksthenational-

isticsentimentsoftheoppressedItalianpeoplefightingfortheuni-ficationoftheircountry.Itissmallwonder, then, that he becameso popular in Italy that his verynamebecameapoliticalsymbolandrallyingcry,“VivaVerdi!”

AfterVerdi,anewtypeofrealis-tic melodrama appeared calledverismo (“realism” or “natural-ism”). This began in Italy as aliterary movement, and quicklyspread to the world of opera,where an attempt wasmade torecaptureamorenaturalandre-alisticformoftheatremoreclose-lyrelatedtoeverydaypeopleandsituations. In thesedramas thesettings are contemporary, thecharacters are often rural andpoor,andpassionsrunhighwithpeople behaving violently under

the influence of primitive emo-tions. Apart fromanythingelse,the theatrical and musical de-vicesintheseworkscameaboutfromanattempt to re-kindle theinterestofaudienceswhichhadbecome quite jaded. Perhapsthe two best-known works ofthis type are Pietro Mascagni’sCavalleria rusticana and Rug-gero Leoncavallo’s Pagliacci.GiacomoPucciniwasalso influ-encedbythismovement,andhisgenius raised what were oftenverysordidandsensationalplotstoanewlevelofartisticexpres-sion. His masterpieces includeLa Boheme, Tosca, MadameButterfly and Turandot, whichwas left incompleteathisdeathin1924.ThepremiereofTuran-

dotin1926isusuallyviewedasthelastgreatworkintheclassicoperatic tradition, where at onetimeinstantsuccesscouldbeal-mostguaranteedforanewworkfromafamouscomposer.

The nationalism seen in manyItalian operas was mirroredaroundtheendofthe19thcen-tury in such diverse countriesasSpain,Russia,Hungary, Po-land and what was then calledCzechoslovakia,usingabroaderrangeoflanguagesandmusicalidioms. Both the Russian andCzech styles of operas devel-oped in this tradition with plotsderived from history, nationalliterature, regular stories, andfolklore/legends. Due primar-

ily to language barriers, how-ever, it was well into the 20thcentury before these works be-came widely known in WesternEuropeor theU.S. Operawasbrought to Russia in the early18th century by traveling Italiancompanies,and itsoonbecamean important form of entertain-ment for the ImperialCourt andthe aristocracy. Many foreigncomposers were then invited toRussiatocomposenewoperas,mostlyinItalian,andatthesametime some Russian compos-ersweresenttoEuropetolearnhow to write in the burgeoningnationalistic style. Among thesignificant native composerswho produced fine operas are

Mikhail Glinka, Modest Mus-sorgsky (whose Boris Godunovisoneof thegreat19th-centurymasterpieces), Alexander Boro-din,PeterChaikovskyandNiko-lai Rimsky-Korsakoff, whose 13operas---although virtually un-known outside Russia---containhis most colorful and extraordi-narymusic. Inthe20thcenturythis tradition was carried on bysuch towering figuresasSergeiRachmaninoff, Igor Stravinsky,Sergei Prokofieff, and DmitriShostakovich.

Thesituation inFrance isworthmentioning briefly only becauseonce Grand Opera (the mostover-the-topofalloperaticstyles)

wasdyingout,itwasreplacedbyOperaComique,which, in spiteof itsname,simplyreferredtoalightertypeofoperawithspokendialoguewhichwasproducedatthetheatreofthatname.Someofthe composers who contributedtothisgenrewereCharlesGou-nod, Leo Delibes, Jules Mass-enet(whoatonetimearoundtheturnofthecenturywasthemostsuccessfulcomposerofoperaintheworld),CamilleSaint-Saens,and George Bizet, whose im-mortalmasterpieceCarmenhasbecomeoneofthemostbelovedand most frequently-performedoperasinhistory.Onemustalsomentionthewittyandveryoftenpolitically stinging operettas ofJacquesOffenbach,whoessen-tiallycreated this frothyandde-lightfulentertainment.Inthe20thcenturyvirtually theonlyFrenchcomposertohavegainedafoot-hold in the international reper-toryisthelyrically-giftedFrancisPoulenc,whoseDialoguesoftheCarmelites is a remarkable andmovingworkbasedonhistoricalfact. Also, even though it wasproducedrightatthestartofthe20th century, the great Impres-sionistmasterClaudeDebussy’sPelleas and Melisande is trulyone of the great operas of anyera.

After the premiere of Puccini’sTurandotin1926,manycompos-

ers inmany countries were stillwriting operas, but there wasnowherenear theautomaticac-ceptance from audienceswhichhadhappenedpreviously.Now,instead of any kind of a broad,generaltradition,thesecompos-ers began to follow their ownideas and styles in rapidly di-verging directions. The early20th century brought a tremen-dousamountofexperimentationinallofthearts,andoperawasno exception. The influence ofjazz, for example,was found insomeoperaswrittenafterWorldWarI.Moreover,theformbegantoexpandbeyondthetraditionalboundaries of Europe andRus-sia, and would eventually giverise toentries fromsuchunusu-al places as Australia, Canadaand South America---and theUnitedStates.Truetoform,thiscountry produced an astonish-ingarrayofoperas inno identi-fiable tradition and with practi-cally every different composeroffering unique and individualstageworks.Amongthenameswhichshouldbementionedhereare George Gershwin, CarlisleFloyd,LeonardBernstein,PhilipGlass, John Adams, StephenSondheim (whose riveting the-atre piece Sweeney Todd is asclose to conventional opera asanyBroadway-typeworkislikelytoget),JohnAdams,JohnCori-gliano,MarkAdamo,TodMacho-

ver,JakeHeggie,PaulMoravec,andWilliamBolcom.Therehasbeen one common trend in thelastcentury,andthatistheuseofsmallerorchestrasinbothoperaandthegeneralorchestralreper-toire.Thiscameaboutprimarilyasacost-cuttingmeasure,asthehugeRomanticorchestrawithitsstaggering assortment of instru-ments,bothtraditionalandexot-ic,wassimplynolongerfeasible.One other interesting featureof 20th-century opera was theemergenceofcontemporaryhis-toricalplots,variouslyreferredtoas “Headline Opera” or---amus-ingly---“CNN Opera,” becauseof their useof real-life incidentstakenfromvariousnewsmedia.AmongthemorefamousoftheseareJohnAdams’NixoninChina,The Death of Klinghoffer, and

Doctor Atomic, and Jake Heg-gie’sDeadManWalking.Inaddi-tiontoallofthis,someBroadwaymusicals, among them Tommy,JesusChristSuperstar,LesMis-erables,Rent,andSpringAwak-eninguseanumberoftraditionaloperatic conventions, but toldpredominantlythroughrock,poporcontemporarymusic.Inshort,operainthe20thcenturyexhib-ited a remarkable diversity intermsofsubjectmatter,musicalstyles, philosophical viewpointsandsocialcommentary.

Of all the influences on operathroughout its history, however,none was more powerful or in-fluential than Richard Wagner,oneofthegreatestgeniusestheworld of composers has everknown.Startingoutunderthein-

fluenceofearliermasters,Wag-nereventuallyevolvedanentirenew concept of opera basedonwhat is calledGesamtkunst-werk (literally “a complete workof art”), which became a fusionof music, poetry and painting.Among other things, he greatlyincreasedtheroleandthepoweroftheorchestra,creatingscoreswith complexwebsofwhatare called leitmotivs,meaning recurringthemes or mo-tives associatedwith a particu-lar person,idea, thing orevent. Thisconcept res-onates evenin our time,and can befoundinmanymotion picturescores, for justone example,JohnWilliams’useof such themes intheStarWarsfilms.Theorchestra now became sopowerfulthatanewtypeofsingerwasneededinordertobeheardabove the instrumental texture.Then,hewentsofarastohaveaspecialoperahousebuiltintheGermancityofBayreuthtopres-enthisworksinaformfaithfultohisextraordinaryvision.Wagnerwrotethelibrettos(thewords)to

virtuallyallofhisoperas,andinthecaseofwhatmanyconsiderto behis suprememasterpiece,Die Meistersinger von Nuern-berg, the libretto can stand onits own as a great work of po-etry. Wagner’s influence in therealmofoperawassoprofoundandfar-reachingthatitisstillfelteventoday.

Opera would neverbe the same afterWagner, and formany compos-ers his legacyprovedtobeaheavy, and insome cases,insurmount-able burden.Wagner’sop-eratic heir inGermanywastheprodigious-lygiftedRichard

Strauss,who notonlydidnotbuckle

under this influence,butaccepted itand took

it in an entirely new direction.Strauss increased the size andthepowerof theorchestra, andatthesametimeoftenuseddis-sonance or the complete aban-doning of tonality to emphasizethe emotions or atmosphere invariousscenesinhisoperas.Hefirstachieved international fame(some might have said infamy)

with two extraordinary one-actoperas,Salome(1905)andEle-ktra (1909), in which the bondsof tonality were stretched righttothebreakingpoint.Then,inatotalabout-face,hecreatedDerRosenkavalier (1911), his mostpopular and endearing mas-terpiece, inwhich themost impor-tant influenc-es becameMozart andthe Vien-nese waltz.Strauss con-tinuedtopro-duce highlyvaried andcolorful op-eras rightup until hislast effort inthe genre in1942.

As the 21stcentury isnowinfullswing,wefindthatthemostpopularoperaticcomposersremain Mozart, Wagner, Verdi,BizetandPuccini.Still,therep-ertoireofmodernoperahousesisremarkablyvaried,goingfromearlymasterslikeMonteverdiandHandelthroughthevariedworksof the20thcentury,andencom-passingnewworksinastagger-

ingvarietyof idioms.Onethingseemscertain,however,andthatis thatoperawillalwaysbewithus. After all, it is nothing lessthan a reflection of the humancondition in all of its varied as-pects, andnomatterwhere thestoriesmight come from, opera

will continueto delightand rewarda u d i e n c e sofallages inall cultures.On the mostbasic levelit is tellingus the storyof our livesand our his-tory. IfWag-ner remainsthemostpro-found influ-ence whichopera hasever had, itseems onlyfitting tocon-clude with

oneofhismost famousquotes:“The human voice is really thefoundationofallmusic;andwhat-everthedevelopmentofthemu-sicalart,howeverboldthecom-poser’s combinations, howeverbrilliant thevirtuoso’sexecution,in theend theymustalways re-turntothestandardsetbyvocalmusic.”

Downriver Community Voices

Downriver Commu-nity Voices was es-tablished in Sep-tember of 2007 to

offer singers in the Down-river community an organi-zation that would strive to perform professional level choral concerts in venues suitable for choral singing. DCV was founded with noth-ing more than a vision. The group received two anony-mous donations to be used as start up money, and St. Henry Catholic Church in Lincoln Park opened their doors to allow the group a place to rehearse for free. Within days, over 30 people expressed interest in the group and it was clear that DCV would be on their way to a bright future. After two weeks of rehearsing, a deci-

sion was made to record a CD and have them available for purchase at their upcoming Christmas Concerts. DCVs director called upon family and friends to help make this a reality. A CD was recorded, edited, and mastered in just over eight weeks, and the design and printing of the CD liner cards were finished just in time for delivery to the group 4 days before their premier performance. The final rehearsal before the Christmas Concerts quickly turned into a CD release par-ty where many members got an early start on their Christ-mas shopping. DCV went on to perform two concerts that weekend with a subsequent performance at St. Henry with those proceeds go-ing back to the church as a

thank you for their hospital-ity. During that first concert Season, DCV sold over 250 CDs and raised an additional thousand dollars in free will offerings giving them the fi-nancial backing to move for-ward.

The CD was record-ed with twenty-six singers having only seven rehearsals

prior to the recording ses-sion. Immediately following the inaugural performances, DCV’s membership grew to

forty-five singers. In April of 2008, DCV performed two programs featuring “Requi-em” by John Rutter along with a collection of spiritu-als. DCV has a standing in-vitation to perform with the DSO in a joint chorus with the Wayne State University Festival Chorus for concerts conducted by Maestros Erich Kunzel and new DSO Artistic Director, Leonard Slatkin. In 2009, members of DCV per-formed Beethoven’s 9th on stage with the Detroit Sym-phony Civic Orchestra.

Aaron Kaleniecki

Aaron Kaleniecki es-tablished Down-river Community Voices in the sum-

mer of 2007. His vision was to give music lovers the op-portunity to perform a wide variety of repertoire in ven-ues suitable for choral sing-ing.

Born in 1977, Aaron has performed and studied mu-sic his entire life. He re-ceived a Bachelor of Music Degree from Wayne State University in 2001, and has been the Director of Mu-sic in several Metro-Detroit churches. He is currently

the Director of Music at St. Aloysius and St. Patrick’s Catholic Churches in Down-town Detroit. As the Direc-tor of Music for this Cluster Community, Aaron oversees two independent Music Pro-grams, which requires him to divide his time between Parishes on the weekend.

For 6 years, Aaron was the Director of the Seaway Chorale and Orchestra and is credited with giving the group new vitality as he took them into a direction that attracted younger au-diences. Under his leader-ship, Seaway moved to “all

memorized” performances and he redefined the group as a “show choir”. This new vision introduced “Choral Rock n’ Roll” to audiences both young and old, and concert goers could often find Aaron singing a Mo-town solo, or playing lead guitar.

Aaron regularly prepares choruses for the South-ern Great Lakes Symphony and has assisted in prepar-ing mass-choirs for perfor-mances with the Detroit Symphony Orchestra.

In addition to his career as a church musician and cho-ral conductor, Aaron has

played keyboard for Blues/Classic Rock and Oldies bands. He is a vintage elec-tric guitar and Hammond organ enthusiast, and he is also well known in auto-restoration circles special-izing in early Corvettes and Camaros.

Aaron serves on the Board of Directors for the South-ern Great Lakes Symphony as Vice-President, and he is a member of the “Music Ad-visory Committee” for the Arch-Diocese of Detroit.

Aaron lives in Allen Park with his wife Ruth and their son Ralph.

PAUL S. FROST, CIC1570 Kingsway Court

Trenton, MI 48183www.jackfrostins.com

(734) 692-6400

Auto • Home • Life • Business

Big enough for full service,small enough for personal attention.

The size of this ad is 3 1/2” x 4 1/2”NOT sure what size it needs to be.

Sixty Two YearsServing Downriver

When words leave off, music begins.

~Heinrich Heine

BRAVO!

Without music life would be a mistake.

~Nietzsche

“The Beat Goes On!”

Dr. Lucas also providesosteopathic manipulativetreatment (OMT) to treatillnesses including fibromyalgiaand other chronic pain issues.

Most insurances accepted.

ChristinaLucas, D.O.proudly supportsthe Southern GreatLakes Symphony

Rockwood Family Practice21969 Huron River DriveRockwood, MI 48173

(734) 379-1906Dr. Lucas has office hoursWednesdays at:

Riverside Family Physicians1640 Fort Street, Trenton(734) 671-6741

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Gratitude Respect Attitude Commitment Excellence

Wyandotte Arts Center

81 Chesnut, first block west of Biddle

734-720-0671

Visual Arts Exhibits, Theater Plays, a Variety of Lectures,

Workshops, Poetry Readings, Music Performances,

Business and Arts Meetings, Arts and Acting Classes,

Artist Studios, Conventions, Special Events and Dinners

Visit us Tuesday - Saturday from 9:00 a.m. to 5: 00 p.m.

For our monthly listing of classes and events, visit our website at www.downriverarts.org

at the

SouthAllenMedicalGroup

andDr.F.VincentMitek&Dr.

NaderDemeri

Wishmuchluckintheupcomingseason!

Celebratethe

Music!

EF PT O ZL P E D

Dr. Susan Mithoff Quade, O.D.OPTOMETRIST

2237WestRoadTEL.(734)676-4500 Trenton,MI48183

MemberAmerican Optometric Association

hips

adership

enter nal Wildlife Refuge Education Shelter

Joe, Per your request. Wild Game DinDecember 7th at The Grosse Ile CounSalvation Army Drive is December 2ndTurn Off The Violence is February 11thBeach Blast is February 18th at Crystadens, Mom Prom is April 28th. Thankshelp. We are very grateful for all of theboth you and Kathy give us. Tom ps. get our over payment back from Taylo

Proud Supporter of the Southern Great Lakes Symphony

TRENTON ROTARY

CLUB

Call Club President Tom Dickman for more information, 734-675-0893

Join the fun by becoming a member or simply by participating in any of our great events!

Dec. 2-3 — Salvation Army Red Kettle Drive Various locations throughout Trenton and neighboring cities Dec. 7 — Wild Game Luncheon Grosse Ile Country Club/Join us if you are game for a great time Feb. 18 — Winter Beach Blast Crystal Gardens, Southgate/We bring summer back early to help others

Feb. 25 — Turn Off The Violence Westfield Center, Trenton/A fun fair with a family theme April 28 — Mom Prom Brand new event for 2012/Details to come July 2012 — PNC Roar on the River Elizabeth Park/A great place to be in the summertime

The Marathon Petroleum Detroit Refinery

Supports the Southern Great Lakes Symphony!

Thanksfor57WonderfulSeasons

THE SEAWAY CHORALE & ORCHESTRAPresents its 36th concert season in 2011-12

Under the direction of Dr. Gerald Custer

Celebrate Christmas with “A Holiday Garland”On December 9th & 10th 2011

ANDJoin Seaway’s “An American Tapestry”

On May 11th & 12th 2012Both programs held at the Flat Rock High

School Community Auditorium at 7:30 P.M.

Special Event Sunday, February 26, 2012Seaway will join the SGLS in a performance of a

classic favorite melody: “Ave Maria.”

ENJOY GOOD MUSIC PERFORMED AS YOU LIKE IT!CALL 734-783-5202 OR 734-676-9504 FOR

TICKET ORDERS OR INFORMATIONOR SEE THE WEB SITE: SEAWAYCHORALE.ORG

(Online ticket orders do not including the SGLS performance.)

FAMILY SALONHAIRCUTS • COLOR • PERMS • MANICURES • PEDICURES

(734) 676•46738525 Macomb • Grosse Ile, MI 48138

Congratulations on the Southern Great Lakes Symphony’s

57th Season

Fred J. KarnPresident

[email protected]

1420FordAvenue Office:734.285.5600Wyandotte,MI48192 Fax:734.285.6416

Congratulates theSouthern Great Lakes Symphony

on their 57th SeasonBestWishes for

Continued Success!

21000 NorthlineTaylor, MI 48180734-946-3500

1001 W. Fort St.Detroit, MI 48226

313-496-2758

9555 HaggertyBelleville, MI 48111

734-699-7008

5901 ConnerDetroit, MI 48213

313-922-3311

8200 W. Outer DriveDetroit, MI 48219

313-943-4000

Health Science Center

19305Vernier RoadHarper Woods, MI 48225

313-962-7150

TheWayne County Community College District Heinz C. Prechter Educational and

Performing Arts Center serves the community through the presentation of professional

entertainment and community based events. Please visit the official Wayne County

Community College District website at www.wcccd.edu and click on the “Performing

Arts Center” tab to find out about upcoming events, or call 734-374-3200.

1 College District • 5 Campuses

A STRONGER COMMUNITY.A HEALTHIER COMMUNITY.

Henry FordWyandotte Hospital

Henry Ford Wyandotte Hospital is proud to support the SOUTHERN GREAT

LAkES SYMpHONY. Through delighting the Downriver area and beyond

with your music, the reaches of your talent have touched the hearts of many.

It is through such dedication to excellence as exemplified by the Southern

Great Lakes Symphony that truly healthy communities are built.

Business, Probate, EstateAnd Real Estate Law

D. JAMES BARTON, PLLCAttorney and Counselor at Law

734-676-5810

Fax 734-671-7883 8100 Macomb [email protected] Grosse Ile, MI 48138

Design&LayoutbyMichaelMartin

imagine. create. inspire

YOUR MUSIC ENRICHES ALLOF US DOWNRIVER

Joseph C. Rogers, D.O., FACO, FACC Brian Galler, D.O., FellowFelix J. Rogers, D.O., FACOI, FACC, FASE Sherrie Charron, PA-CKevin J. Berlin, D.O., FACO, FACC, FASNC Edward O’Connell, PA-CJoseph T. Rogers, D.O., MACOI Melissa Kershaw, D.O., Fellow

DOWNRIVER CARDIOLOGY

C O N S U LT A N T S , P . C .

5400 Fort Street, Suite 200 ♥ Trenton, Michigan 48183Phone: (734) 675-2220 ♥ Fax: (734) 675-5720

Web Site: http://www.downrivercardiology.com

THE DOROTHY KIRBY MEMORIAL FUND

Born in Burke, South Da-kotaonOctober23,1917,DorothyKirbybeganpianolessonsatage4,violinles-

sonsatage7.Atage11,Dorothy’sfather moved the family to Detroit,where she continued her musicalstudies through high school. Thefamilycouldnotafford further train-ing, so Dorothylearned some awe-some secretarialskills (stenographyandtyping90wpm)and pursued a sec-retarialcareer. Shemarried SigmundKirby in 1941 andleft work to have afamilyin1943.

InSeptember,1954,Dorothy Kirby as-sisted Ed Kraynak,along with Ceil and Don Pretty,Marvin and Maryanne Drive,Wan-zer Brunelle, Jennie Laehn, andseveralotherAllenParkers, tocre-ate theAllenParkSymphony. ThefirstconcertwasonMay22,1955,inthegymnasiumofAllenParkHighSchool.50consecutiveseasonsassecondviolinistlater,Dorothyretiredfrom thesymphonyafter the2004-2005 season. Dorothy’s contribu-tions have been honored by sev-eralawardsfromthesymphonyandDownriverCouncilfortheArts.

Dorothy was a prolific songwriter,havingdozensofsongstohercred-it, mostly self-published. Althoughsheputdowntheviolinin2005,shecontinued playing sing-along pianoattheElksClubonTuesdaynights.HerlastgigwasinDecember,2009.

Dorothybeganacareerasasocialworker late in life (shewas over 50 when shegraduated from WayneState University) anddeveloped a highly suc-cessfulpracticeconduct-ing group and individualtherapy sessions out ofher home inAllen Park.She changed the livesof hundreds of clients,taught and spoke, andwas still seeing clientswhen she passed awayon January 20, 2010 at

theageof92.

Dorothy is survived by two sons:Paul isacomposerandconductor,andRobertisataxaccountant;andby two grandchildren, Andrew andAlison.

The Dorothy Kirby Second Violin Memorial Chair

This chair is funded by an endow-ment fund started by a generousdonation from theKirby familyafterDorothy’sunfortunatepassing.Ifyouwould like to make a contributionplease contact the SGLS office fordetails.

A&RMusicAliceShanaver,D.O.AllenCounard,PLLCAmericanCanvasProductsBeltoneBetterHealthChiropracticBeverlyMorris,DDS,PCBovitzCPACaptain’sBarberShopCarolBollo&Assoc.CeilPrettyChelseaMensStoreTheCiniGroupClarionProductionsD.JamesBarton,PLLCDixon&AssociatesDoreeStringEnsembleDoris&WilliamMeadDownriverCardiologyDownriverCommunityConferenceDownriverCommunityVoicesDownriverCouncilfortheArtsDownriverSurgeryCenterDr.Robert&LindaCarrierEdwardJ.NykielElevatorConceptsLTDEtlinger-KellermanExpertHeating&CoolingFernBrandtFlatRockCommunityAuditoriumFratello’sFrostInsuranceGandolDoor,Inc.GenesisFinancialGoodwin,Lademan

GrosseIleChoraleGrosseIleHardwareGrosseIleYachtClubHartwellFamilyDentistryHealthAlliancePlanHealthyHabitsHenryFordMedicalCenter-TaylorHenryFordWyandotteHospitalHezekiah“Zeke”ZeiberHungerford&Co.IslandClippersIslandNeedleworkStudioIslandRealtyJABROCarpetOneJackson&Snider,DDSJohnDamiani,D.O.KSPInsuranceLiberati’sLifelongFamilyDentistryLloyd’sBar&GrillM&MPrintingMacombPlaceHair+BodyMansKitchen&BathMarathonPetroleumMartensenFuneralHomeMary&NeilJohnsonMBARealtyGroupMelvindalePublicLibraryMerrillLynch,NoviMilkinsJewelersMithoffVisionCenterMonroeBank&TrustMorganStanley/SmithBarney

Nate’sMarketNewsHeraldOakwoodSouthShoreMedicalOdetteChiropracticOvertureSocietyPatrickZanetti,DDSPNCBankRadiationTherapyAssociatesRalph’sLawnEquipmentPCKLawfirmRE/MaxontheBoulevardTheRhapsodyRobert&AudreyYoungRockwoodFamilyPracticeRodgersChevroletMr.&Mrs.RogerDotyRotaryClubofTrentonSalonSigridSEMichClassicalBalletSeawayChoraleSGLSBoardofDirectorsSibleyGardensSouthAllenMedicalGroupSplasher’sAutoWashStathakisSystemsSzalai&Szalai,DDSTrentonTribTrishaBoutiqueVic’sCasualDiningTheVisionaryWater’sEdgeWCCCDWearmasterWilliamMatakas

ADVERTISERS

Rob Bovitz, CPA, CSA

SMALL BUSINESS ACCOUNTING AND TAX, INDIVIDUAL TAX AND RETIREMENT PLANNING,

ELDERCARE ADVISORY SERVICES

1651 Kingsway Court • Trenton, MI 48183Phone: 734-671-5300 • Fax: 734-671-6504

Website: www.bovitzcpa.comE-Mail: [email protected]

TRUSTED MEMBER OF THE DOWNRIVER COMMUNITY FOR OVER 50 YEARS

Congratulationson57years!

57th Season Reduced)

Documents

Transcript of 57th Season Reduced)