Saturday, May 12, 2018 / Isabel Bayrakdarian, Soprano and St. Lawrence String Quartet / CAMA's Masterseries at The Lobero Theatre, 8:00 PM

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Bayrakdarian 

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ISABEL BAYRAKDARIAN, soprano 

ST. LAWRENCE STRING QUARTET 

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masterseries at The Lobero Theatre 

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ISABEL BAYRAKDARIAN Soprano 

ST. LAWRENCE STRING QUARTET 

Geoff Nuttall, Violin • Owen Dalby, Violin 

Lesley Robertson, Viola • Christopher Costanza, Cello 

SATURDAY, MAY 12, 2018, LOBERO THEATRE, 8:00 PM 

Ottorino Respighi (1879-1936) 

Il tramonto (“The Sunset”), P.101 (1914) 

Osvaldo Golijov (b.1960) 

Qohelet (2011) for string quartet (in two movements) 

Composed in 2011 for the St. Lawrence String Quartet 

Leonard Bernstein (1918-1990), 

arranged by John Greer (b.1954) 

“A Simple Song” (Hymn & Psalm), from MASS: A Theatre Piece 

for Singers, Players, and Dancers (1971) 

“A Julia de Burgos,” from Songfest: A Cycle of American 

Poems for Six Singers and Orchestra (1977) 

“A Little Bit in Love,” from Wonderful Town (1953) 

“I Can Cook Too,” from On the Town (1944) 

INTERMISSION 

TANGOS, arranged by Peter Tiefenbach (b.1960) 

Carlos Gardel (1890-1935) 

“Por una Cabeza” 

“El Día Que Me Quieras” 

“Volver” 

Astor Piazzolla (1921-1992) 

“Oblivion” 

“Che Tango Che” 

Gerardo Matos Rodríguez (1897-1948) 

“La Cumparsita” 

(St. Lawrence String Quartet) 

Kurt Weill (1900-1950) 

“Youkali (Tango Habanera)” 

Hans-Otto Borgmann (1901-1977) 

“Tango Notturno” 

Farid al-Atrash (1917-1974) 

“Ya Zahratan Fi Khayali” 

Arno Babajanian (1921-1983) 

“Chqnagh Yeraz (Du Indz Hamar)” 

Qohelet was Composed in 

2011 for the St. Lawrence 

String Quartet and cocommissioned 

by Carnegie 

Hall, and Stanford Lively Arts 

Stanford University with the 

generous support of 

Kathryn Gould. 

CAMA thanks our generous 

sponsors who have made 

this evening’s performance 

possible: 

SPONSOR: 

CAMA Women’s Board 

CO-SPONSOR: 


CONCERT PARTNERS: 


Mary E. Gates Warren 

Department of Music, UC 

Santa Barbara 


Sheila Bourke McGinity 

We request that you switch off 

cellular phones, watch alarms and 

pager signals during the 

performance. The photographing 

or sound recording of this concert 

or possession of any device 

for such photographing or sound 

recording is prohibited. 

Floral stage arrangements 

by Hogue & Co. 

COMMUNITY ARTS MUSIC ASSOCIATION | www.camasb.org

Biography 

Marco Borggreve 

Stefan Cohen 

ST. LAWRENCE 

STRING QUARTET 

“Modern...dramatic...superb...wickedly 

attentive...with a hint of rock ‘n roll energy...” 

are just a few ways critics describe the 

musical phenomenon that is the St Lawrence 

String Quartet. The SLSQ is renowned 

for the intensity of its performances, its 

breadth of repertoire, and its commitment 

to concert experiences that are at once 

intellectually exciting and emotionally 

alive. Highlights in 2016–17 include 

performances of John Adams’s Absolute 

Jest for string quartet and orchestra with 

Gustavo Dudamel and the LA Philharmonic 

and with Marin Alsop and the Baltimore 

Symphony, as well as the European 

GEOFF NUTTALL, VIOLIN 

OWEN DALBY, VIOLIN 

LESLEY ROBERTSON, VIOLA 

CHRISTOPHER COSTANZA, CELLO 

premieres of Adams’s Second Quartet. 

Fiercely committed to collaboration 

with living composers, the SLSQ’s fruitful 

partnership with Adams, Jonathan Berger, 

Osvaldo Golijov, and many others has 

yielded some of the finest additions to 

the quartet literature in recent years. The 

Quartet is also especially dedicated to 

the music of Haydn, and recording his 

groundbreaking set of six Op. 20 quartets 

in high-definition video for a free, universal 

release online in 2017. According to The 

New Yorker, “…no other North American 

quartet plays the music of Haydn with 

more intelligence, expressivity, and force...” 

4

©Bo Huang/bohuang.ca 

Established in Toronto in 1989, the 

SLSQ quickly earned acclaim at top 

international chamber music competitions 

and was soon playing hundreds of concerts 

per year worldwide. They established an 

ongoing residency at Spoleto Festival 

USA, made prize-winning recordings for 

EMI of music by Schumann, Tchaikovsky, 

and Golijov, earning two Grammy 

nominations and a host of other prizes 

before being appointed ensemble-inresidence 

at Stanford University in 1999. 

At Stanford, the SLSQ is at the 

forefront of intellectual life on campus. 

The SLSQ directs the music department’s 

chamber music program, and frequently 

collaborates with other departments 

including the Schools of Law, Medicine, 

Business and Education. The Quartet 

performs regularly at Stanford Live, 

hosts an annual chamber music seminar, 

and runs the Emerging String Quartet 

Program through which they mentor 

the next generation of young quartets. 

In the words of Alex Ross of The New 

Yorker: “The St. Lawrence are remarkable 

not simply for the quality of their music 

making, exalted as it is, but for the 

joy they take in the act of connection.” 

ISABEL 

BAYRAKDARIAN 

Soprano 

It’s not every prima donna who can boast 

a degree in biomedical engineering, 

but then, Isabel Bayrakdarian isn’t your 

average prima donna. In a career still in 

its second decade, an eagerly anticipated 

visitor to opera houses and concert 

halls the world over, she’s become as 

5

celebrated for her beauty, presence, and 

style as for a strikingly multihued voice 

that’s wholly in sync with the rest of her. 

A winner of the Metropolitan Opera 

National Council Auditions—the same 

year she graduated from the University 

of Toronto cum laude with a Biomedical 

Engineering Degree—Ms. Bayrakdarian 

thereafter found her career taking rapid 

wing. She scored a notable success in the 

Lyric Opera of Chicago’s world premiere 

production of William Bolcom’s A View 

from the Bridge; the following year, she 

walked away from Plácido Domingo’s 

prestigious Operalia competition 

with first prize. More debuts followed, 

including her San Francisco Opera debut, 

as Valencienne in The Merry Widow, and 

her Metropolitan Opera debut, in the 

New York premiere of Bolcom’s opera; a 

season later, she won plaudits as Teresa 

in the Met premiere of Berlioz’s Benvenuto 

Cellini. Mozart became a specialty: Zerlina 

in Don Giovanni (New York, Houston, 

Salzburg), Susanna in Le nozze di Figaro 

(Los Angeles, London), and Pamina in The 

Magic Flute (New York, Toronto). Her roles 

at Toronto’s Canadian Opera Company 

range from Gluck’s Euridice to Debussy’s 

Mélisande to Poulenc’s Blanche in 

Dialogues des Carmélites; and away from 

Canada, she has shone as Monteverdi’s 

Poppea in Barcelona, Handel’s Romilda 

(Serse) in Dresden, and Janáček’s Vixen 

in New York, Florence, and the Saito 

Kinen Festival in Matsumoto, Japan. 

But opera is only one page of the 

Bayrakdarian résumé. An ever-active 

concertizer, she’s appeared with the 

premier orchestras of New York, Boston, 

Chicago, San Francisco, Los Angeles, 

Pittsburgh, Minnesota, RAI Torino, Paris, 

London, Vienna, Toronto, Vancouver 

and Montreal under the baton of such 

eminent conductors as Seiji Ozawa, 

James Conlon, David Zinman, Michael 

Tilson Thomas, Alan Gilbert, Nicholas 

McGegan, Christoph von Dohnányi, 

Christoph Eschenbach, Colin Davis, Sir 

Andrew Davis, Nikolaus Harnoncourt, 

Mariss Jansons, Leonard Slatkin, James 

Levine, Anne Manson, Bramwell Tovey, 

Peter Oundjian and Richard Bradshaw. 

Her versatility is also reflected 

in being the featured vocalist on the 

Grammy® Award-winning soundtrack of 

the blockbuster film The Two Towers from 

The Lord of The Rings trilogy and on 

the soundtrack of Atom Egoyan’s Ararat. 

A trance music collaboration with the 

electronica band Delerium garnered yet 

another Grammy nomination. She sings on 

the BBC-produced short film HOLOCAUST 

- A Music Memorial Film from Auschwitz, 

as well as her Gemini-nominated film Long 

Journey Home, documenting her first 

visit to her ancestral homeland Armenia. 

Bayrakdarian is the winner of four 

consecutive Juno Awards for Best 

Classical Album, and her latest recording, 

Mother of Light, was nominated for a 2018 

Juno Award. Her recordings with orchestra 

include Henryk Górecki’s Symphony No. 3 

with John Axelrod conducting the Danish 

National Symphony Orchestra, released on 

the Sony Classical label, Gustav Mahler’s 

Symphony No. 2, with Michael Tilson- 

Thomas conducting the San Francisco 

Symphony, and Respighi’s Il Tramonto 

with Orchestre Symphonique de Laval. 

She is also the recipient of many 

awards, including the Marilyn Horne 

6

Foundation 

Competition 

Award, Queen Elizabeth 

II Golden Jubilee and the 

Diamond Jubilee Medals, 

the Arbor Award from the 

University of Toronto, the 

George London Foundation 

Award, Canada Council’s 

Virginia Parker Prize, and 

the Republic Of Armenia 

“Komitas Medal”. Most 

recently, she was awarded the 

“Movses Khorenatsi” medal 

- the Republic of Armenia’s 

highest cultural award. 

 

She holds an Honorary 

Doctorate from Canada’s 

Wilfrid Laurier University, and 

an Honorary Fellowship from the Royal 

Conservatory of Music. Ms. Bayrakdarian 

is on the Voice Faculty at the University 

of California, Santa Barbara (UCSB). 

NOTES 

on the PROGRAM 

By Howard Posner 

When Ottorino Respighi composed 

Il Tramonto in 1914, he had been living 

in Rome for about a year, teaching 

composition at the Liceo Musicale di S 

Cecilia and still finding his own voice as 

a composer, which was no small search 

in the days before World War I. The 

world of art music was fragmenting into 

strains that bore so little resemblance 

to each other that there was no longer 

even rough agreement about what music 

should sound like. Il Tramonto came 

A winner of the 

Metropolitan Opera 

National Council 

Auditions—the 

same year she 

graduated from 

the University of 

Toronto cum laude 

with a Biomedical 

Engineering 

Degree—Isabel 

Bayrakdarian 

thereafter found her 

career taking rapid 

wing. 

within four years after such 

radically different works as 

Stravinsky’s Rite of Spring 

(1913), Schoenberg’s Pierrot 

Lunaire (1912), Mahler’s Ninth 

Symphony (1910), Sibelius’ 

Fourth Symphony (1911), Der 

Rosenkavalier (1910), Ravel’s 

Daphnis et Chloé (1912), 

and Puccini’s Fanciulla del 

West (1910). Respighi was 

more a traditionalist than a 

modernist, and the voice that 

emerged took note of most 

contemporary trends but 

was tuneful and accessible. 

Respighi was drawn to 

the poetry of Percy Bysshe 

Shelley during these years. He would 

eventually compose elaborate settings 

of five Shelley poems. He illustrates “The 

Sunset,” a poem about the triumph of death 

over love, with a sort of impressionistic 

drifting tonality. The strings supply much 

of the melodic interest, often in sweeping 

lines of considerable range, while the 

soprano sings simple lines that stay largely 

within an octave, stressing the words. 

Qohelet (usually spelled Kohelet) is 

the Hebrew title of the Biblical book 

better known by its Latinized Greek title, 

Ecclesiastes. The Hebrew word means 

literally “gatherer” or “assembler” but 

may be meant in the sense of “teacher.” A 

collection of worldly observations, often 

skeptical or fatalistic, it is traditionally 

attributed to King Solomon on its own 

authority—it begins, “The words of Kohelet 

son of David, king in Jerusalem”—but 

most scholars think it was written much 

later. The book is a literary masterpiece 

7

that has become a lasting 

part of the English language 

through expressions like 

“For everything there is a 

season,” “The race is not to 

the swift nor the battle to 

the strong,” “There is nothing 

new under the sun,” and 

“For everything there is a 

season, and a time for every 

purpose under Heaven.” 

Argentine-American 

composer Osvaldo Golijov 

wrote Qohelet for the St. 

Robson Fernandjes 

on many musical styles in 

setting not only the Roman 

Catholic Mass in Latin, but 

other Christian and Jewish 

liturgical texts, and songs 

with English lyrics by 

Steven Schwartz, who had 

written words and music for 

Godspell and would go on 

to write Pippin and Prince of 

Egypt. The first of the English 

songs is “A simple song,” 

Osvaldo Golijov which comes after a severesounding 

opening Kyrie. 

Lawrence quartet in 2011. He wrote that it 

is “inspired by some of the teachings and 

poetic images in Ecclesiastes.” He did not 

elaborate about which passages inspired 

him, but did offer a description of the work: 

The first movement of the work flows like 

two slow river currents, perhaps memory 

and present. The merging and bifurcations 

of these currents are punctuated by 

cradling bells: reflection rather than action. 

The second movement is a meditation on 

motion and melancholy. Those seemingly 

contradictory states actually feed each 

other here: a lyrical line emerges in 

the first violin from a gritty, ever more 

propulsive ride in the other instruments. 

The first violin finally lifts in flight and 

Bernstein composed “A Julia de 

Burgos” in 1976 as part of Songfest, a 

45-minute suite of 12 songs by American 

poets intended for the United States 

bicentennial. He did not finish the whole 

work in 1976, so it got premiered piecemeal 

before the first performance of the entire 

work in 1977. The poem is a sort of selfportrait 

by Julia de Burgos (1914-1953), 

an advocate for independence for her 

native Puerto Rico and Secretary General 

of the Daughters of Freedom, a sort of 

women’s auxiliary of the Puerto Rican 

Nationalist Party. She spent her last years 

in New York, dying of pneumonia after 

collapsing on a Spanish Harlem sidewalk. 

The poem deals with her opposing 

the movement ends suspended in self-images as politically aware activist 

midair, like the sword of Don Quixote 

at the end of Chapter VIII in that book. 

No work embodies the wide-ranging 

eclecticism of Leonard Bernstein more 

than MASS, commissioned by Jacqueline 

Kennedy for the 1971 inauguration of 

the Kennedy Center for the Performing 

Arts in Washington, D.C. Bernstein drew 

and conventional woman of the 1950’s. 

“A Little Bit in Love” and “I Can Cook, 

Too” are from Bernstein’s collaborations 

with the writing team of Comden and 

Green. Bernstein met Adolph Green in 

1937 when Bernstein was a student at 

Harvard and a counselor at a summer 

music camp. When Bernstein came to 

8

New York in 1940, he 

shared an apartment with 

Green, and they, Green’s 

writing partner Betty 

Green, and comedian Judy 

Holliday formed a musical 

comedy troupe called the 

Revuers that played in 

Greenwich Village. In 1944 

Bernstein and Comden 

and Green created On the 

Town, based on Bernstein’s 

ballet about three sailors 

on leave in New York. The 

1949 MGM film version, a 

Allan Warren 

Carlos Gardel was one 

of the biggest recording 

and movie stars of his era. 

In the years after World 

War I he introduced the 

tango-canción, in which 

the tango, until then a 

dance performed by tango 

orchestras, branched out 

into songs in which the 

words were important. He 

sang them in his movies, 

of which he had made 21 

Leonard Bernstein 

before dying in a plane crash 

at the height of his fame. 

star vehicle for Frank Sinatra, Ann Miller 

and Gene Kelly, had little of Bernstein’s 

music in it, because the producer did not 

care for it. One of the songs that didn’t 

make it into the movie is “I can cook, too,” 

a sort of anthem of female sexual selfconfidence 

from Hildy the Taxi Driver. 

Bernstein teamed up with Comden 

and Green nearly a decade later for A 

Wonderful Town, a tale of two sisters 

in search of success in New York. It 

won five Tony awards in 1953, including 

Astor Piazzolla pioneered the “new 

tango,” a blend of traditional tango 

with elements of polyphony, jazz, and 

contemporary classical styles. It was 

a cosmopolitan approach befitting a 

cosmopolitan man. He became known as 

a child prodigy on the bandoneon, a type 

of accordion, in his native Buenos Aires, 

then moved with his family to New York, 

where as a teenager he met Carlos Gardel, 

for whom he worked as a tour guide, 

musician and translator. He returned to 

best musical (but not including Buenos Aires when he was 16 and formed 

awards to Bernstein or Comden and 

Green), and has been revived with a 

fair bit of frequency (four times in the 

last decade, including a production in 

German by the Staatsoperette Dresden. 

In North America, the tango is a 

dance, and its importance can be easy to 

miss. In South America, it is part of the 

culture, imbued with its own traditions 

and pervading arts other than music. 

And the tango has insinuated itself into 

cultures distant from Latin America. 

The French-Argentinian singer/dancer 

an orchestra to play his compositions. 

He went to Paris in 1954 to study for a 

year with the legendary teacher Nadia 

Boulanger, who encouraged him to 

continue composing tangos, which he 

did on returning to Buenos Aires. In 

1974 he finally settled in Paris. “Oblivion”, 

composed for the 1984 Italian film 

Enrico IV, became a major international 

hit and has been performed by many 

combinations of instruments and voices. 

The title “Che, Tango, Che” is a 

not-very-translatable pun. “Che” is an 

9

interjection similar to 

the 1937 film of the 

“hey!” in English, but is 

same name, and was 

also both Argentinian 

sung by Pola Negri, a 

slang for “you” and non- 

Polish actress who had 

Argentinian slang for 

been a major silentfilm 

star in America. 

“Argentinian.” The lyrics 

are by the Uruguayan 

Farid al-Atrash 

poet Horacio Ferrer 

might be called the 

(1933-2014), who in his 

Carlos Gardel of the Arab 

youth promoted New 

world, and then some. 

Tango as a radio producer 

He was a songwriter, 

and magazine editor, 

singer and actor, and 

and began collaborating 

was called the “king of 

with Piazzolla as a 

the oud” because of 

lyricist in the late 1960’s. 

his virtuosity on that 

The name of Uruguayan 

member of the lute 

composer Gerardo Matos 

Farid al-Atrash family. His love affairs, 

Rodríguez may be 

including one with the 

obscure, but his first known composition, 

“La Cumparsita” (“the little parade”) 

from 1917, will be instantly recognized 

by listeners who don’t know its name 

and may never have heard it all the way 

through. Its status as a cliché has made it 

a movie star in its right: it has been used 

in 53 films, including Las Luces de Buenos 

Aires (1931), for which all the other music 

was supplied by its star, Carlos Gardel. 

“Youkali”, a song that wistfully evokes 

a non-existent Utopia, is from music Kurt 

Weill wrote for the play Marie Galante 

while he was in Paris in 1934, a year after 

he fled Nazi Germany and a year before 

he settled in New York. It is a habanera 

(a tango “from Havana”) characterized 

by the rocking bass pattern that Bizet’s 

Carmen fixed forever in European ears. 

In Germany at the same time, Hans- 

Otto Borgmann was thriving as a film 

composer. “Tango Notturno” is from 

ex-wife of the deposed King Farouk, got 

Johann Sebastian Bach 

as much publicity as his music. In 31 

films between 1941 and 1974, al-Atrash 

starred, sang his songs and wrote the 

songs everyone else sang. “Ya Zahratan Fi 

Khayali”, with words by the Egyptian poet 

Ma’moun El Shenawy, dates from 1947. 

Arno Babajanian was an eminent 

figure in Armenian music during the 

Soviet era. He composed in a tuneful, 

post-romantic style, but like his 

contemporary Leonard Bernstein, he had 

a popular side. He wrote the tango love 

song “Chqnagh Yeraz” (“Du Indz Hamar”), 

with words by the Armenian poet and 

humorist Aramais Sahakyan (1936-2016), 

in 1947, shortly before the piano trio in 

F-sharp minor, that made his reputation 

as a classical composer, and the Heroic 

Ballade for piano and orchestra, which 

won him a prestigious Stalin Prize. 

©2018, Howard Posner 

10

TEXTS AND TRANSLATIONS 

OTTORINO RESPIGHI 

Il tramonto (“The Sunset”), P.101 

(The Italian text is based on the original English poem by Percy Bysshe Shelley.) 

Già v'ebbe un uomo, nel cui tenue spirto 

(qual luce e vento in delicata nube 

che ardente ciel di mezzo-giorno stempri) 

la morte e il genio contendeano. 

Oh! quanta tenera gioia, 

che gli fè il respiro venir meno 

(così dell'aura estiva l'ansia talvolta) 

quando la sua dama, che allor solo conobbe 

l'abbandono 

pieno e il concorde palpitar di due creature 

che s'amano, 

egli addusse pei sentieri d'un campo, 

ad oriente da una foresta biancheggiante 

ombrato 

ed a ponente discoverto al cielo! 

Ora è sommerso il sole; ma linee d'oro 

pendon sovra le cineree nubi, 

sul verde piano sui tremanti fiori 

sui grigi globi dell' antico smirnio, 

e i neri boschi avvolgono, 

del vespro mescolandosi alle ombre. 

Lenta sorge ad oriente 

l'infocata luna tra i folti rami 

delle piante cupe: 

brillan sul capo languide le stelle. 

E il giovine sussura: "Non è strano? 

Io mai non vidi il sorgere del sole, o Isabella. 

Domani a contemplarlo verremo insieme." 

Il giovin e la dama giacquer tra il sonno e il 

dolce amor 

congiunti ne la notte: al mattin 

gelido e morto ella trovò l'amante. 

Oh! nessun creda che, vibrando tal colpo, 

fu il Signore misericorde. 

Non morì la dama, né folle diventò: 

anno per anno visse ancora. 

Ma io penso che la queta sua pazienza, e i 

trepidi sorrisi, 

e il non morir... ma vivere a custodia del 

vecchio padre 

(se è follia dal mondo dissimigliare) 

fossero follia. Era, null'altro che a vederla, 

come leggere un canto da ingegnoso bardo 

intessuto a piegar gelidi cuori in un dolor 

pensoso. 

There late was One within whose subtle being, 

As light and wind within some delicate cloud 

That fades amid the blue noon's burning sky, 

Genius and death contended. None may know 

The sweetness of the joy which made his breath 

Fail, like the trances of the summer air, 

When, with the lady of his love, who then 

First knew the unreserve of mingled being, 

He walked along the pathway of a field 

Which to the east a hoar wood shadowed o'er, 

But to the west was open to the sky. 

There now the sun had sunk, but lines of gold 

Hung on the ashen clouds, and on the points 

Of the far level grass and nodding flowers 

And the old dandelion's hoary beard, 

And, mingled with the shades of twilight, lay 

On the brown massy woods - and in the east 

The broad and burning moon lingeringly rose 

Between the black trunks of the crowded trees, 

While the faint stars were gathering overhead. 

"Is it not strange, Isabel," said the youth, 

"I never saw the sun? We will walk here 

To-morrow; thou shalt look on it with me." 

That night the youth and lady mingled lay 

In love and sleep - but when the morning came 

The lady found her lover dead and cold. 

Let none believe that God in mercy gave 

That stroke. The lady died not, nor grew wild, 

But year by year lived on - in truth I think 

Her gentleness and patience and sad smiles, 

And that she did not die, but lived to tend 

Her aged father, were a kind of madness, 

If madness 'tis to be unlike the world. 

For but to see her were to read the tale 

Woven by some subtlest bard, to make hard 

hearts 

11

Neri gli occhi ma non fulgidi più; 

consunte quasi le ciglia dalle lagrime; 

le labbra e le gote parevan cose morte tanto 

eran bianche; 

ed esili le mani e per le erranti vene e le 

giunture rossa 

del giorno trasparia la luce. 

La nuda tomba, che il tuo fral racchiude, 

cui notte e giorno un'ombra tormentata 

abita, 

è quanto di te resta, o cara creatura perduta! 

"Ho tal retaggio, che la terra non dà: 

calma e silenzio, senza peccato e senza 

passione. 

Sia che i morti ritrovino (non mai il sonno!) 

ma il riposo, 

imperturbati quali appaion, 

o vivano, o d'amore nel mar profondo 

scendano; 

oh! che il mio epitaffio, che il tuo sia: Pace!" 

Questo dalle sue labbra l'unico lamento. 

Dissolve away in wisdom-working grief; 

Her eyes were black and lustreless and wan: 

Her eyelashes were worn away with tears, 

Her lips and cheeks were like things dead - so 

pale; 

Her hands were thin, and through their 

wandering veins 

And weak articulations might be seen 

Day's ruddy light. The tomb of thy dead self 

Which one vexed ghost inhabits, night and day, 

Is all, lost child, that now remains of thee! 

"Inheritor of more than earth can give, 

Passionless calm and silence unreproved, 

Where the dead find, oh, not sleep! but rest, 

And are the uncomplaining things they seem, 

Or live, a drop in the deep sea of Love; 

Oh, that like thine, mine epitaph were - Peace!" 

This was the only moan she ever made. 

LEONARD BERNSTEIN 

“Simple Song,” from MASS 

Sing God a simple song: 

Lauda, Laudē, 

Make it up as you go along 

Lauda, Laudē, 

Sing like you like to sing. 

God loves all simple things, 

For God is the simplest of all, 

I will sing the Lord a new song 

To praise Him, to bless Him, to bless the 

Lord. 

I will sing His praises while I live 

All of my days. 

Blessed is the man who loves the Lord, 

Blessed is the man who praises Him. 

Lauda, Lauda, Laudē, 

And walks in His ways. 

I will lift up my eyes 

To the hills from whence comes my help 

I will lift up my voice to the Lord 

Singing Lauda, Laudē. 

For the Lord is my shade, 

Is the shade upon my right hand, 

And the sun shall not smite me by day 

Nor the moon by night. 

Blessed is the man who loves the Lord, 


And walks in His ways. 


Lauda, Lauda di da di day, 

All of my days. 

12


“A Julia de Burgos” from Songfest 

Music by Leonard Bernstein 

Ya las gentes murmuran que yo soy tu 

enemiga porque dicen que en verso doy al 

mundo tu yo. 

Mienten, Julia de Burgos. 

Mienten, Mienten, Julia de Burgos. 

La que se alza en mis versos no es tu voz: 

Es mi voz: 

Es mi voz: porque tú eres ropaje y laescencia 

soy yo: y el más profundo abismo se tinede 

entre las dos. 

Tú eras fria muñeca mentira social, y yo, viril 

destello de la humana verdad. 

Tú, miel de cortesanas hipocresías; yo no: que 

en todos mis poemas desnudo el corazón. 

Tú eras como tu mundo, egoísta; yo no; que 

todo me lo juego a ser lo que soy yo, 

Tú eras sólo la graveseñora señorona; yo no; 

yo soy la vida, la fuerza, la mujer. 

Tu eres de tu mariso, de tu amo: yo no; Yo de 

nadie, o de todos, porque a todos. 

A todos, en mi limpio sentir y en mi pensar me 

doy. 

Tú te rizas el pelo y te pintas; yo bo; a mí mi 

riza/al vientos; a mí me pinta/el sol. 

Tú eras dama casera resignada, sumisa, atada 

a los prejuicios de los hombres; yo no; que yo 

soy Rocinante, Rocinante corriendo, sorriendo 

desbocado olfate ando horizontes, olfate/ando 

horizontes de justicia de Dios, de justicia de 

Dios. 

Text by Julia de Burgos 

Already the people murmur that I am your 

enemy because they say that in verse I give 

the world your “me”. 

They lie, Julia de Burgos. 

They lie, Julia de Burgos. 

Who rises in my verses is not your voice. It is 

my voice, because you are the apparel and the 

essence is me; 

and the most profound abyss is spread 

between us. 

You are the cold doll of social lies, and me, the 

virile starburst of human truth. 

You, honey of courtesan hypocrisies; not me; 

in all my poems I undress my heart. 

You are like your world, selfish; not me, who 

gambles everything betting on what I am. 

You are nothing but a pompous lady. 

Not me; I am life, strength, woman. 

You belong to your husband, your master; 

Not me; I belong to nobody or to all, 

because to all, to all I give myself in my pure 

emotion and in my thought. 

You curl your hair and paint yourself; not me; 

the wind curls my hair, the sun paints me. 

You are a housewife, resigned, submissive, 

tied to the prejudices of men; 

not me; unbridled I am a runaway Rocinante, 

breathing in the horizons of God’s justice. 

13


“A Little Bit in Love,” from Wonderful Town 

Mm...I'm a little bit in love; 

Never felt this way before. 

Mm..., I’m a little bit in love, 

Or perhaps a little bit more. 

When he looks at me 

ev’rything's hazy and all out of focus. 

When he touches me 

I'm in the spell of his strange hocus-pocus. 

It's so 

I don't know, 

I'm so 

I don't know, I don't know, but I know if it's 

love, then it's lovely! 

Mm, It’s so nice to be alive 

When you meet someone who bewitches you. 

Will he be my all, 

or did I just fall a little bit, 

a little bit in love? 

Mm…. 

“I can cook too,” from On the Town 

Oh, I can cook, too, on top of the rest, 

My seafood’s the best in the town. 

Yes, I can cook, too, 

My fish can’t be beat, 

My sugar’s the sweetest around. 

I’m a man’s ideal of a perfect meal, 

Right down to the demitasse. 

I’m a pot of joy for a hungry boy, 

Baby, I’m cookin’ with gas. 

Oh, I’m a gumdrop, 

A Sweet Lollipop, 

A brook-trout right out of the brook. 

And what’s more, baby, I can cook! 

Some girls make magazine covers, 

Some girls keep house on a dime, 

Some girls make wonderful lovers, 

But what a lucky find I’m. 

I’d make a magazine cover, 

I do keep house on a dime, 

I’d make a wonderful lover, 

I should be paid overtime, 

‘Cause I can bake, too, on top of the lot, 

My oven’s the hottest you’ll find. 

Yes, I can roast, too, 

my chickens just ooze, 

My gravy will lose you your mind. 

I’m a brand new note on a table d’hote, 

But just try me a la carte. 

With a single course you could choke a horse, 

Baby, you won’t know where to start. 

Oh, I’m an hors d’oeuvre, 

A jelly preserve, 

Not in the recipe book, 

And what’s more, 

Baby, I can cook! 

Some girls make wonderful jivers, 

Some girls can hit a high C, 

Some girls make good taxi drivers, 

But what a genius is me. 

I’d make a wonderful jiver, 

I even hit a high C, 

I make the best taxi driver, 

I rate a big Navy “E.” 

‘Cause I can fry, too, on top of the heap, 

My Crisco’s as deep as a pool. 

Yes, I can broil too, 

my ribs win applause, 

My lamb chops will cause you to drool. 

For a candied sweet or a pickled beet, 

Step up to the smorgasbord. 

Walk around until you get your fill, 

Baby, you’ll never be bored. 

Oh I’m a pâté, 

A marron glacé, 

A dish you will wish you had took, 

And what’s more, 

Baby, I can cook! 

14

CARLOS GARDEL: 

“Por una Cabeza” 

Music by Carlos Gardel 

Lyrics by Alfredo Le Pera 

Por una cabeza 

de un noble potrillo 

que justo en la raya 

afloja al llegar, 

y que al regresar 

parece decir: 

No olvidés, hermano, 

vos sabés, no hay que jugar. 

Por una cabeza, 

metejón de un día 

de aquella coqueta 

y burlona mujer, 

que al jurar sonriendo 

el amor que está mintiendo, 

quema en una hoguera 

todo mi querer. 


todas las locuras. 

Su boca que besa, 

borra la tristeza, 

calma la amargura. 


si ella me olvida 

qué importa perderme 

mil veces la vida, 

para qué vivir? 

Cuántos desengaños, 

por una cabeza. 

Yo jugué mil veces, 

no vuelvo a insistir. 

Pero si un mirar 

me hiere al pasar, 

sus labios de fuego 

otra vez quiero besar. 

Basta de carreras, 

se acabó la timba. 

¡Un final reñido 

ya no vuelvo a ver! 

Pero si algún pingo 

llega a ser fija el domingo, 

yo me juego entero. 

¡Qué le voy a hacer..! 

“By a head (of a horse)” 

Losing by a head 

of a noble horse 

who slackens just 

down the stretch 

and when it comes back 

it seems to say: 

Don’t forget brother, 

You know you shouldn’t bet. 

Losing by a head… 

instant violent love 

of that flirtatious and 

cheerful woman 

who, swearing with a smile 

on a love she’s lying about, 

burns all my love 

in a blaze. 


there was all that madness; 

her mouth kisses, 

wipes out the sadness, 

and calms the bitterness. 


if she forgets me, 

no matter if I lost 

my life a thousand times; 

what is there to live for? 

How many disappointments… 


I swore a thousand times 

not to play again 

but if a look sways me 

while passing by 

I want to kiss her lips 

of fire once more. 

Enough of race tracks, 

no more gambling, 

a photo-finish end 

I’m not watching again, 

but if a pony looks like 

a sure thing on Sunday, 

I’ll bet everything again, 

what can I do? 

15



Music by Carlos Gardel 


Acaricia mi ensueño 

el suave murmullo de tu suspirar, 

¡como ríe la vida 

si tus ojos negros me quieren mirar! 

Y si es mío el amparo 

de tu risa leve que es como un cantar, 

ella aquieta mi herida, 

¡todo, todo se olvida..! 

El Día que me quieras 

la rosa que engalana, 

se vestirá de fiesta 

con su mejor color. 

Al viento las campanas 

dirán que ya eres mía 

y locas las fontanas 

me contarán tu amor. 

La noche que me quieras 

desde el azul del cielo, 

las estrellas celosas 

nos mirarán pasar 

y un rayo misterioso 

hará nido en tu pelo, 

luciérnaga curiosa 

que verá...¡que eres mi consuelo..! 

(Recitado): 

El día que me quieras 

no habrá más que armonías, 

Traerá quieta la brisa 

rumor de melodías 

y nos darán las fuentes 

su canto de cristal. 

El día que me quieras 

endulzará sus cuerdas 

el pájaro cantor, 

florecerá la vida, 

no existirá el dolor... 

La noche que me quieras 

desde el azul del cielo, 

las estrellas celosas 

nos mirarán pasar 

y un rayo misterioso 

hará nido en tu pelo, 

luciérnaga curiosa 

que verá...¡que eres mi consuelo! 

“The day when you love me” 

I hear you softly breathing; 

that quiet murmur caresses my dream. 

How my life seems to laugh when 

your big dark eyes look at me with their gleam. 

And if I have the comfort 

of your singing laughter, 

whose bursts always seem 

to make my wounds feel better, 

I instantly become a forgetter! 

The day when you love me, 

the lovely roses clinging 

to my old house will dress up 

in all their festive hues. 

The wind chimes will be ringing 

to tell the world that you’re mine now; 

The fountains will madly sing 

About how much I am loved by you. 

The night when you love me, 

the jealous stars will see us 

from the blue sky above 

as we walk hand in hand. 

A ray of mysterious light 

Will nest in your dark tresses, 

And a firefly, ever so curious, 

will see that you are my consolation! 

(Spoken) 

The day when you love me 

All things will be harmonious. 

The quiet breeze will carry 

The sound of gentle music, 

And we will hear the fountains’ 

crystalline voices sing aloud. 

The day when you love me 

The birds will sweeten 

Their singing chords beyond belief, 

Life will be full of flowers, 

There will be no more grief! 

(Sung) 

The night when you love me, 

the jealous stars will see us 

from the blue sky above 

as we walk hand in hand. 

A ray of mysterious light 

Will nest in your dark tresses, 

And a firefly, ever so curious, 

will see that you are my consolation! 

16

CARLOS GARDEL: 

“Volver” 

Music by Carols Gardel 


Yo adivino el parpadeo 

de las luces que a lo lejos, 

van marcando mi retorno. 

Son las mismas que alumbraron, 

con sus pálidos reflejos, 

hondas horas de dolor. 

Y aunque no quise el regreso, 

siempre se vuelve al primer amor. 

La quieta calle donde el eco dijo: 

“Tuya es su vida, tuyo es su querer”, 

bajo el burlón mirar de las estrellas 

que con indiferencia hoy me ven volver. 

Volver... 

con la frente marchita, 

las nieves del tiempo 

platearon mi sien. 

Sentir, que es un soplo la vida, 

que veinte años no es nada, 

que febril la mirada 

errante en las sombras 

te busca y te nombra. 

Vivir, 

con el alma aferrada 

a un dulce recuerdo, 

que lloro otra vez. 

Tengo miedo del encuentro 

con el pasado que vuelve 

a enfrentarse con mi vida. 

Tengo miedo de las noches 

que, pobladas de recuerdos, 

encadenen mi soñar. 

Pero el viajero que huye, 

tarde o temprano detiene su andar. 

Y aunque el olvido que todo destruye, 

haya matado mi vieja ilusión, 

guardo escondida una esperanza humilde, 

que es toda la fortuna de mi corazón. 

Volver... 

“To return” 

I can almost see the flicker 

Of the lights, which in the distance, 

Mark my return… 

They’re the same ones that illuminated, 

With their pale and misty reflections, 

Many hours of deep pain. 

And although I did not want to return, 

One always comes back to their first love. 

The quiet street where the echo said: 

“Her life is yours, her love is yours to earn”, 

Under the stars that mockingly look down on 

me, 

And now with indifference see me return 

today. 

To return… 

with my forehead all wrinkled, 

My temples turned 

silver by time’s falling snow… 

To feel...that one’s life is a twinkle, 

that twenty years hardly reckon, 

and two fevered eyes beckon 

and glance in the shadows 

seeking and calling you. 

To live… 

with the soul firmly clinging 

to a sweet memory 

which makes me weep again. 

I am frightened of the encounter 

with the past which returns to confront 

my life all over again. 

I am frightened of the nighttimes 

When I’m chained to my dreams 

And old memories come to stay. 

And yet the traveller who flees, 

Sooner or later must stop on the way… 

And although oblivion destroys everything, 

And has killed my old hopes and illusions, 

a humble hope keeps hidden within me, 

That is the only fortune in my heart. 

To return... 

17

ÁSTOR PIAZZOLLA: 

“J’oublie” (Oblivion) 

“Oblivion” 

(Vocalise) 

ÁSTOR PIAZZOLLA: 


Music by Ástor Piazzolla 

Lyrics by Jean-Claude Carrière after Angela 

Denia Terenzi 

Che Tango Che 

rossée usée 

abusée et désabusée 

Che Tango Che 

Che Tango Che 

qui m’a draguée 

qui m’a droguée 

qui m’a croquée 

Che Tango Che 

Che Tango Che 

limée minée 

élimée et 

éliminée 

Che Tango Che. 

Che Tango Che 

qui m’a violée 

qui m’a viciée 

qui m’a virée. 

Che Tango Che 

fauchée fichée 

esseulée et 

déboussolée 


Qui me frôlais 

qui m’affolais 

et qui m’a flouée 

Che Tango Che 

Tu m’as fait valdinguer 

Tu m’as fait déglinguer 


Translation by Pascale Roger 

Che Tango Che, 

Slapped, spent 

Abused and surly 

Che Tango Che 

Che Tango Che 

Who picked me up 

Who drugged me 

Who ate me up 

Che Tango Che 

Che Tango Che 

Grated gashed 

Ground and 

Grilled 

Che Tango Che 

Che Tango Che 

Who raped me 

Who corrupted me 

Who dumped me. 

Che Tango Che 

Broken slotted 

Alone and 

Out of joint 

Che Tango Che 

Who brushed up against me 

Who drove me berserk 

Who jerked me around 

Che Tango Che 

You made me crash 

You made me crazy 

18


Tu m’avais déshabillée 

Tu m’avais dévergondée 

Tu m’as fait me pâmer 

Tu m’as fait me paumer 

Tu m’avais tannée 

Tu m’avais matée 

Tu m’as baratinée 

Et tu m’as laissée 

Rétamée. 

Che Tango Che 

Râpée tapée 

Camée cassée 

Décarcassée 

Che Tango Che 

Che Tango Che 

Qui m’a gâtée 

Qui m’a fêtée 

Qui m’a jetée 

Che Tango Che 

Bandominée 

Bandorlotée 

Bando dormant 

Néon néant 

Abandonée 

Che Tango Che 

Qui m’a soûlée 

Qui m’a roulée 

Et m’a coulée 

Che Tango Che 

Tango câlin 

Tango éteint 

Tango destin 

Che Tango Che 

Qui m’a grisée 

Qui m’a brisée 

Mais qui m’a aimée 


You stripped me 

You made me run wild 

You made me enjoy it 

You made me lose myself 

Had hounded me down 

You subdued me 

You strung me along 

And you left me 

Exhausted. 

Che Tango Che 

Used-up banged-up 

Drugged-up busted-up 

Boneless 

Che Tango Che 

Che Tango Che 

Who spoiled me 

Who praised me 

Who ditched me 

Che Tango Che 

Blindfolded 

Blind comfort 

Sleeping bandanna 

Worthless neon 

Abandoned 

Che Tango Che 

Who made me drunk 

Who ripped me off 

Who drowned me. 

Che Tango Che 

Fondling tango 

Fading tango 

Fated tango 

Che Tango Che 

Who went to my head 

Who split me up 

But who loved me 

Che Tango Che 

19

GERARDO MATOS RODRÍGUEZ: 

“La Cumparsita” (string quartet) 

KURT WEILL: 

“Youkali: Tango Habanera” 

Music by Kurt Weill 

Lyrics by Roger Femay 

C'est presque au bout du monde, 

Ma barque vagabonde, 

Errant au gré de l'onde, 

M'y conduisit un jour. 

L'île est toute petite, 

Mais la fée qui l'habite 

Gentiment nous invite 

À en faire le tour. 

Youkali, 

C'est le pays de nos désirs, 

Youkali, 

C'est le bonheur, 

C'est le plaisir, Youkali, 

C'est la terre où l'on 

Quitte tous les soucis, 

C'est dans notre nuit, 

Comme une éclaircie, 

L'étoile qu'on suit, 

C'est Youkali! 

Youkali, 

C'est le respect de tous les vœux échangés, 

Youkali, 

C'est le pays des beaux amours partagés, 

C'est l'espérance 

Qui est au cœur de tous les humains, 

La délivrance que nous attendons tous pour 

demain, 

Youkali, 


Youkali, 


C'est le plaisir, 

Mais c'est un rêve, une folie, 

Il n'y a pas de Youkali! 

Youkali: Tango Habanera” 

Translation by A. Reaux 

Near the end of the world 

my vagabond ship, 

wandering at the whim of the waves, 

directed me there one day 

This island is very small 

but the fairy who lives there 

gently invited us 

to take a tour… 

Youkali, 

It is the land of our desires, 

Youkali, 

It is happiness, 

It is pleasure 

It is the land where 

One leaves all cares, 

It is, in our night, 

Like a bright light, 

A star which one follows- 

It is Youkali! 

Youkali, 

It is the respect of exchanged vows. 

Youkali, 

It is the land of beautiful loves. 

It is the hope 

Which is at the heart of all humans, 

The deliverance we want for tomorrow. 

Youkali, 


Youkali, 



But it is a dream, a folly. 

There is no Youkali. 

20

“Youkali (Tango Habanera)” 

Et la vie nous entraîne, 

Lassante, quotidienne, 

Mais la pauvre âme humaine, 

Cherchant partout l'oubli, 

A pour quitter la terre, 

Su trouver le mystère 

Où nos rêves se terrent 

En quelque Youkali... 

Youkali, 


Youkali, 


C'est le plaisir, Youkali, 

C'est la terre 

Où l'on quitte tous les soucis, 

C'est dans notre nuit, 

Comme une éclaircie, 

L'étoile qu'on suit, 

C'est Youkali! 

Youkali, 

C'est le respect de tous les vœux échangés, 

Youkali, 

C'est le pays des beaux amours partagés, 

C'est l'espérance 

Qui est au cœur de tous les humains, 

La délivrance que nous attendons tous pour 

demain, 

Youkali, 


Youkali, 

C'est le bonheur, c'est le plaisir, 

Mais c'est un rêve, une folie, 

Il n'y a pas de Youkali! 

And life goes on, 

weariness everyday. 

But the poor human soul 

Looks everywhere to forget it, 

To leave the earth, 

To find the mystery. 

We dream on earth 

To live on some Youkali. 

Youkali, 


Youkali, 



It is the land where 

One leaves all cares, 

It is, in our night, 

Like a bright light, 

A star which one follows- 

It is Youkali! 

Youkali, 

It is the respect of exchanged vows. 

Youkali, 

It is the land of beautiful loves. 

It is the hope 

Which is at the heart of all humans, 

The deliverance we want for tomorrow. 

Youkali, 


Youkali, 

It is happiness, it is pleasure 

But it is a dream, a folly. 

There is no Youkali. 

21

HANS-OTTO BORGMANN: 


Music by Hans-Otto Borgmann 

Lyrics by Hans-Fritz Beckmann 

Ich hab’ an Dich gedacht, 

als der Tango Notturno 

zwischen Abend und Morgen 

aus der Ferne erklang. 

Mein Herz ist aufgewacht, 

weil der Tango Notturno 

eine zärtliche Kunde 

Deiner Liebe mir sandt. 

Dass Du mein Schicksal bist, 

hab' vor Glück ich empfunden, 

als in einsamen Stunden 

ich vor Freude geweint. 

Ich hab’ an Dich gedacht, 

als der Tango Notturno 

mit dem Zauber der Töne 

uns're Herzen vereint. 

Wie die Liebe wirklich ist 

das könnt' ich Euch erzählen, 

denn ich kenne Sie sehr gut. 

Ich weiss dass Sie schön ist 

und weiss, wie weh Sie auch tut. 

Ich hab' manchen Mann geküsst 

und hab’ Ihn dann vergessen, 

weil ein and'rer mich begehrt 

bis einmal der Zufall 

den richt'gen Mann mir beschert. 

Dass du mein Schicksal bist, 

hab vor Glück ich empfunden 

als in einsamen Stunden 

ich vor Freude geweint. 


I thought of you 

when “Tango Notturno” 

was heard from afar between the 

magical hours of evening and morning. 

My heart awoke 

because “Tango Notturno” 

is a tender sign of love 

sent by you to me. 

That you’re my fate, 

I’ve felt it to be my biggest luck, 

And in my lonely hours 

I cry out with joy. 

I thought of you 

when “Tango Notturno” 

with the magic of its sounds 

united our hearts. 

How love really is 

I could tell you 

because I know it very well. 

I know how beautiful it is 

and I know how much it hurts. 

I have kissed many men 

and forgot them again, 

because another desired me, 

until one day chance 

provided me with the right one. 

That you’re my fate, 

I’ve felt it to be my biggest luck, 

And in my lonely hours 

I cry out with joy. 

22

FARID AL-ATRASH 

“Ya Zahratan Fee Khayalee” 

Music and lyrics by Fareed El-Atrache 

Ya zahratan fee khayalee, 

Ra’aytouha fee fou’adee 

Zhanat ‘aalayha ellayalee 

Wa azbalatha elayadee 

Wa shaghalatha el’ouyoun 

Famata sahr elroukoun. 

Ya gharamee koullou shay’an da’a mnnee 

Fanaza’ata el’houbbou min albee wa rou’hee 

Wawahabtou el’oumr awtaree wa la’hnee 

Wataghannayt fadawayt eljourou’hee, 

Ana tayrun fee rouba elfann youghannee 

Liltouyour lilzouhour elwoujoud. 

“The Flower of My Imagination” 

The flower of my imagination 

Which I guarded tenderly in my heart, 

Was envied by countless nights, 

And was faded by many hands. 

Everyone was curious about it, 

Causing the magic of its tranquility to die. 

Oh! I lost everything 

When love was snatched away from my 

heart and soul. 

Therefore, I dedicated my life to music 

and to my songs. 

I sang, and my wounds healed! 

Now I’m like a bird singing in the world of art, 

Singing to the birds, to the flowers, and to 

nature. 

ARNO BABAJANIAN: 

“Tcheknagh Yeraz” 

Music by Arno Babadjanian 

Lyrics by Aramayis Sahakian 

Du ints hamar siro aghpouyr 

Yes kez hamar kootse vochinch 

Du ints hamar yeraz makoor 

Yes kez hamar kootse vochinch 

Hervits kone yes kez desnem sirem 

Vorbes gyankees tcheknagh yeraz 

Arekageen bedk e hervits nayel 

Gayre yete shad modenas 

Gyankoom du mishd oorakh mnas 

Yev mishd yeghir baydsar oo tchintch 

Ampoghtch mi gyank sirov kda 

Yes kez hamar kootse votchintch 

Hervits kone yes kez desnem sirem 

Vorbes gyankees tcheknagh yeraz 

Arekageen bedk e hervits nayel 



Du im gyankee tcheknagh yeraz. 

“Beautiful Dream” 

To me, you are the fountain of love. 

To you, I am probably nothing at all. 

To me, you are the purest of all dreams. 

To you, I am probably nothing at all. 

At least let me see you from afar 

And love you as my life’s beautiful dream. 

One should look at the sun from a distance; 

It will burn if you get too close to it. 

May you always be happy in life 

And may you remain radiant and pure forever. 

I’ve found the meaning of life through my 

love for you, 

Even though I probably mean nothing to you. 

At least let me see you from afar 

And love you as my life’s beautiful dream. 

One should look at the sun from a distance; 



You are the beautiful dream of my life! 

23


Message from the President 

As President of Community Arts Music 

Association (CAMA), I am delighted to 

invite you to join us as a contributor to 

Santa Barbara’s oldest arts organization, 

CAMA, the Queen of Santa Barbara’s 

non-profits. 

CAMA is now entering its 99th season 

of presenting the world’s major classical 

orchestras and soloists here in Santa 

Barbara. And what a season we have to 

look forward to in 2017/2018! 

The Board and I are proud of CAMA’s history, 

and we are deeply committed to continuing 

the tradition. We look forward to welcoming 

you personally to our CAMA community, and 

hope you will also consider a sponsorship 

opportunity for one or more of our concerts. 

Robert K. Montgomery 

President 

24

Recognition and Benefits of Sponsorship 

n Personal acknowledgement from Executive Director 

in onstage welcome before performance 

n Acknowledgement at CAMA’s Opening and Closing Dinners 

and International Circle events 

n Listing in onscreen video presentations in the Granada and Lobero 

Theatres on concert night 

n Pre-concert complimentary dinner 

n Post-concert backstage access to greet the performers 

(with artist approval) 

n Listing in concert program magazines throughout the season 

n Listing in concert advertisements 

n Listing on CAMA’s website 

n Copy of CAMA’s Season in Review at the end of the season 

with photographs, previews, and reviews of your concert 

n Membership in CAMA’s International Circle 

n Valet Parking at The Granada Theatre for International 

Series concerts 

If you are interested in sponsoring a concert 

please contact Elizabeth Alvarez, Director of Development 

(805) 966-4324 Elizabeth@camasb.org 

25

LIFETIME GIVING 

diamond circle 

$500,000 and above 

Suzanne & Russell Bock 

Linda Brown * 

Andrew H. Burnett 


Esperia Foundation 

The Stephen & Carla Hahn 


Judith Hopkinson 

Herbert J. Kendall 

Sage Publications 

Michael Towbes/The Towbes 


sapphire circle 

$250,000 - $499,999 

Anonymous 

Bitsy & Denny Bacon 

CAMA Women’s Board 

Léni Fé Bland 

TThe Samuel B. & Margaret C. 


The Stepanek Foundation 

The Wood-Claeyssens 


ruby circle 

$100,000 - $249,999 

The Adams Foundation 

Mr. & Mrs. David H. Anderson 

Deborah & Peter Bertling 

Virginia C. Hunter/ 

Castagnola Family 



Mary & Ray Freeman 

Dr. & Mrs. Melville Haskell 

Dolores Hsu 

Mr. & Mrs. James H. Hurley, Jr. 

Mr. & Mrs. Palmer Jackson 

Mrs. Thomas A. Kelly 

Shirley & Seymour Lehrer 


Mr & Mrs Frank R Miller, Jr. / 

The Henry E. & Lola Monroe 


John & Kathleen Moselely/ 

The Nichols Foundation 

Nancy & William G. Myers 


The Santa Barbara Foundation 

Jan & John G. Severson 

Mr. & Mrs. Edward Stepanek 

Jeanne C. Thayer 

Mrs. Walter J. Thomson 

Union Bank 

Dr. & Mrs. H. Wallace Vandever 

The Wallis Foundation 

Nancy & Kent Wood 

Mr. & Mrs. Joseph Yzurdiaga 

emerald circle 

$50,000 - $99,999 

Anonymous 

Ms. Joan C. Benson 

Mr. & Mrs. Peter Beuret 

Dr. & Mrs. Edward E. Birch 


Dr. & Mrs. Jack Catlett 

Roger & Sarah Chrisman 

NancyBell Coe & 

Bill Burke 

Mr. & Mrs. Robert M. Colleary 

Mrs. Maurice E. Faulkner 

Mr. Daniel H. Gainey 

Mr. Arthur R. Gaudi 

Mr. & Mrs. Robert B. Gilson 

The George H. Griffiths & 

Olive J. Griffiths Charitable 


Mr. Richard Hellman 

Joanne Holderman 

Michael & Natalia Howe 

The Hutton Parker Foundation 


Judith Little 

John & Lucy Lundegard 

Mrs. Max E. Meyer 

Montecito Bank & Trust 


Mr. & Mrs. Craig A. Parton 

Performing Arts Scholarship 


Marjorie S. Petersen/ 

La Arcada Investment Corp. 

Mr. Ted Plute & Mr. Larry Falxa 

Lady Ridley-Tree 


Judy & George Writer 

topaz circle 

$25,000 - $49,999 

Anonymous 

Edward Bakewell 

Helene & Jerry Beaver 



Mary E. Gates-Warren 

Mr. & Mrs. Andrew Burnett 

Linda Stafford BurrowsMs. 

Huguette Clark 

Mrs. Leonard Dalsemer 

Edward S. De Loreto 

Mr. & Mrs. Larry Durham 

Dr. Robert M. & Nancyann 

Failing 

The George Frederick Jewett 


Patricia Kaplan 

Elizabeth Karlsberg & 

Jeff Young 

Lynn P. Kirst & Lynn R. 

Matteson 

Otto Korntheuer/ The Harold L. 

Wyman Foundation in memory 

of Otto Korntheuer 

Chris Lancashire & 

Catherine Gee 

Mrs. Jon B. Lovelace 

Leatrice Luria 

Mrs. Frank Magid 

Ruth McEwen 



Frank R. Miller, Jr. 

James & Mary Morouse 

Patricia Hitchcock O’Connell 

Efrem Ostrow Living Trust 

Mr. Ernest J. Panosian 

Mr. & Mrs. Roger A. Phillips 

Kathryn H. Phillips 

Mrs. Kenneth Riley 


Marion Stewart 

Ina Tournallyay 

Mrs. Edward Valentine 

The Outhwaite Foundation 

The Elizabeth Firth Wade 

Endowment Fund 

Maxine Prisyon & Milton 

Warshaw 

Mrs. Roderick Webster 

Westmont College 

amethyst 

circle 

$10,000 - $24,999 

Anonymous 

Mr. & Mrs. Peter Adams 

Mrs. David Allison 

Dr. & Mrs. Mortimer Andron 

Mr. & Mrs. Robert Arthur 

Mr. & Mrs. J.W. Bailey 

Mrs. Archie Bard 

Leslie & Philip Bernstein 

Frank Blue & 

Lida Light Blue 

Mrs. Erno Bonebakker 


CAMA Fellows 

Mrs. Margo Chapman 

Chubb-Sovereign Life 

Insurance Co. 

Carnzu A. Clark 

Dr. Gregory Dahlen & 

Nan Burns 

Karen Davidson M.D. 

Julia Dawson 

Mr. & Mrs. William Esrey 


Audrey Hillman Fisher 


Dave Fritzen/DWF Magazines 

Catherine H. Gainey 

Kay & Richard Glenn 

The Godric Foundation 

Corinna & Larry Gordon 

Mr. & Mrs. Freeman Gosden, Jr. 

Mr. & Mrs. Bruce Hanna 

Mr. & Mrs. Robert Hanrahan 

Lorraine Hansen 

Mr. & Mrs. Stanley Hatch 

Dr. & Mrs. Richard Hawley 

Dr. & Mrs. Alan Heeger 

Mr. Preston Hotchkis 

Elizabeth & Gary Johnston 


KDB Radio 

Linda & Michael Keston 

Mrs. Robert J. Kuhn 

Catherine Lloyd/Actief-cm, Inc. 

Leatrice Luria 

Nancy & Jim Lynn 

Keith J. Mautino 

Jayne Menkemeller 

Myra & Spencer Nadler 

Karin Nelson & Eugene Hibbs, Jr. 

Joanne & Alden Orpet 

Mr. & Mrs. Charles Patridge 

Patricia & Carl Perry 

John Perry 

Mrs. Ray K. Person 


Anne & Wesley Poulson 

Susannah Rake 

Mr. & Mrs. Frank Reed 

Jack Revoyr 

Betty & Don Richardson 

The Grace Jones 

Richardson Trust 


The Roberts Bros. Foundation 

John F. Saladino 

Jack & Anitra Sheen 

Sally & Jan Smit 

Betty Stephens & 

Lindsay Fisher 

Selby & Diane Sullivan 

Joseph M. Thomas 

Milan E. Timm 


Steven D. Trueblood 

Kenneth W. & Shirley C. Tucker 

Mr. & Mrs. Hubert D. Vos 

Barbara & Gary Waer 

Mr. &Mrs. David Russell Wolf 

Dick & Ann Zylstra 

* promised gift 

(Gifts and pledges received 

as of January 4, 2018) 

26


“I think too often 

people think of the 

arts as decoration to 

the experiences of life, 

sort of a frosting on 

the cake. But to me, 

the arts are essential 

to understanding the 

problems of life, and to 

helping us get through 

the experiences of life 

with intelligent understanding 

and grace.” 

– Philanthropist and 

CAMA Friend 

Robert M. Light 

YOU Ensure 

the Tradition 

Your generosity through planned giving secures 

the future of CAMA. When you include CAMA in 

your will or living trust, your contribution ensures 

CAMA’s great classical music performances and 

music outreach programs continue. 

Thank you for being part of our Community. 

CAMA offers the opportunity to ensure the 

future of our mission to bring world-class music 

to Santa Barbara. By including CAMA in your will or 

living trust, you leave a legacy of great concerts and 

music appreciation outreach programs for future 

generations. 

Make a gift of cash, stocks or bonds and enjoy immediate tax benefits. 

Join Elizabeth Alvarez, CAMA Director of Development, 

for lunch to learn more. (805) 276-8270 direct. 

elizabeth@camasb.org 

COMMUNITY ARTS MUSIC ASSOCIATION 

(805) 966-4324 • www.camasb.org 

27

CAMA ENDOWMENT: A Sound Investment 

YOU ensure that great music and world-class artists 

continue to grace Santa Barbara stages for decades to come. 

Endowment funds are needed to bridge the gap between ticket sales 

and steadily rising artist fees and concert production costs. Funds are also 

needed to sustain CAMA’s outstanding music education programs. 

MOZART SOCIETY 

Our CAMA community members who contribute a cash gift to the endowment of $10,000 

or more enjoy many benefits of The Mozart Society, including participation in our annual 

black-tie dinner. 

LEGACY SOCIETY 

Our CAMA community members who have included CAMA in their will or estate plan 

belong to the Legacy Society. Legacy Society members participate in the Annual Legacy 

Event. In May 2017, Legacy members gathered for a Sunset Cruise on the Channel Cat. 

Call Elizabeth Alvarez at the CAMA Office (805) 966-4324 

to learn more about CAMA’s Endowment. 

MEMORIAL GIFTS 

3 In Memory of 3 

DR. WALTER PICKER 

Ann M. Picker 

FREDERICK F. LANGE 

MaryAnn Lange 

CORNELIA CHAPMAN 

Ellicott Million 

NAN BURNS 

DR. GREG DAHLEN 

ROBERT S. GRANT 

William S. Hanrahan 

ELSE (LEINIE) 

SCHILLING BARD 


JOHN LUNDEGARD 


Lynn P. Kirst 

MICHAEL TOWBES 


SUSIE VOS 


LYNN R. MATTESON 

Lynn P. Kirst 

SYBIL MUELLER 

Lynn P. Kirst 

HAROLD M. WILLIAMS 

Nancy Englander 

DR. ROBERT SINSHEIMER 

& KAREN SINSHEIMER 

Robert Boghosian 

& Mary E. Gates Warren 

ROBERT M. LIGHT 

Edward & Sue Birch 



Lynn P. Kirst 

Betty Meyer 

Diana & Roger Phillips 

Joan & Geoffrey Rutkowski 



28 

Gifts and pledges received from 

June 2016 through November 2017

MOZART SOCIETY 

conductor’s circle 

($500,000 and above) 

Mr. & Mrs. Russell S. Bock 

Linda Brown* 

Esperia Foundation 

SAGE Publications 

crescendo circle 

($250,000-$499,999) 

Andrew H. Burnett Foundation 



cadenza patrons 

($100,000-$249,999) 

Anonymous 

Anonymous 



Mr. & Mrs. James H. Hurley Jr. 

William & Nancy Myers 

Jan & John Severson 

Judith & Julian Smith 

Michael Towbes 

rondo patrons 

($50,000-$99,999) 

Peter & Deborah Bertling 

Linda & Peter Beuret 


Stephen R. & Carla Hahn 

Dolores M. Hsu 

The Samuel B. & Margaret C. 


Santa Barbara Bank & Trust 

Mr. & Mrs. Byron K. Wood 

concerto patrons 

($25,000-$49,999) 

Linda Stafford Burrows, 

in memory of Frederika 

Voogd Burrows 

Dr. & Mrs. Jack Catlett 

Bridget & Robert Colleary 

Mrs. Maurice E. Faulkner 

Léni Fé Bland 

Dr. & Mrs. Melville H. Haskell, Jr. 


Mr. & Mrs. Frank R. Miller, Jr. 

The Hutton Foundation 

Efrem Ostrow Living Trust 


Walter J. Thomson/ 

The Thomson Trust 

Mr. & Mrs. Sam Toumayan 

sonata patrons 

($10,000-$24,999) 

Anonymous 

The Adams Foundation 

Mr. & Mrs. Peter Adams 

Else Schilling Bard 

Dr. & Mrs. Edward E. Birch 


The CAMA Women’s Board 

(Sally Lee Remembrance 

Fund and Marilyn Roe 

Remembrance Fund) 

Dr. Robert Boghosian & 

Ms. Mary E. Gates-Warren 

Mr. & Mrs. Andrew Butcher 


Dr. & Mrs. Charles Chapman 

NancyBell Coe & William Burke 

Dr. Karen Davidson 

Mr. & Mrs. Larry Durham 

Dr. Robert & Nancyann Failing 

Dr. & Mrs. Jason Gaines 

Mr. & Mrs. Daniel Gainey/ 

Daniel C. Gainey Fund 


Sherry & Robert B. Gilson 

Mr. & Mrs. Bruce Hanna 

Ms. Lorraine Hansen 


Patricia Kaplan 

Elizabeth Karlsberg & 

Jeff Young 

Mrs. Thomas A. Kelly 


Lynn P. Kirst & Lynn R. 

Matteson 

Dr. & Mrs. Robert J. Kuhn 

Mr. John Lundegard/ 

Lundegard Family Fund 


Jayne Menkemeller 

Mr. & Mrs. Max Meyer 


Mary & James Morouse 

Dr. & Mrs. Spencer Nadler 

Patricia Hitchcock O’Connell 



John Perry 

Mrs. Hugh Petersen 

Mr. & Mrs. Roger A. Phillips 


Miss Susannah E. Rake 

Mrs. Kenneth W. Riley 


Dr. & Mrs. Jack Sheen/Peebles 

Sheen Foundation 

Sally & Jan E.G. Smit 

Mr. & Mrs. Edward Stepanek 

Betty J. Stephens, in 

recognition of my friend 

Judy Hopkinson 

Dr. & Mrs. William A. Stewart 



The Elizabeth Firth Wade 

Endowment Fund 

Mr. & Mrs. Gary Waer 

Mr. & Mrs. David Russell Wolf 


LEGACY SOCIETY 

WE GRATEFULLY ACKNOWLEDGE CAMA LEGACY SOCIETY MEMBERS FOR 

REMEMBERING CAMA IN THEIR ESTATE PLANS WITH A DEFERRED GIFT. 

Anonymous 

Peter & Becky Adams 


Else Schilling Bard 

Peter & Deborah Bertling 


Lida Light Blue & Frank Blue 

Mrs. Russell S. Bock 

Dr. Robert Boghosian & 

Ms. Mary-Elizabeth Gates-Warren 

Linda Brown * 



Jane & Jack Catlett 

Bridget & Bob Colleary 

Karen Davidson, M.D & 

David B. Davidson, M.D. 

Patricia & Larry Durham 

Christine & Robert Emmons 




Stephen & Carla Hahn 

Beverly Hanna 

Ms. Lorraine Hansen 



Dolores M. Hsu 

Mr. & Mrs. James H. Hurley, Jr. 

Elizabeth & Gary Johnston 



Lynn P. Kirst & Lynn R. Matteson 

Lucy & John Lundegard 




Mr. & Mrs. Frank R. Miller, Jr. 

Dr. & Mrs. Spencer Nadler 

Ellen & Craig Parton 




Judith & Julian Smith 

Mr. & Mrs. Sam Toumayan 




Nancy & Kent Wood 


(Gifts and pledges received 

as of December 1, 2017) 

29

INTERNATIONAL CIRCLE 

Join us for delightful garden parties, the International Circle Wine Intermission, 

and other elegant events. 

Call Elizabeth Alvarez for an Invitation Packet. (805) 276-8270 

PRESIDENT'S CIRCLE 

($10,000 and above) 

Anonymous (2) 

Bitsy & Denny Bacon and 

The Becton Family Foundation 

Alison & Jan Bowlus 

NancyBell Coe & Bill Burke 

Dan & Meg Burnham 

The CAMA Women's Board 

George H. Griffiths and Olive J. 

Griffiths Charitable Fund 

Stephen Hahn Foundation 

Hollis Norris Fund 


Joan & Palmer Jackson 



Lynn P. Kirst 



Mary Lloyd & Kendall Mills 



The Samuel B. & Margaret C. 


Fran & John Nielsen 



Nancy Schlosser 

The Shanbrom Family 


The Elaine F. Stepanek 


The Walter J. & Holly O. 

Thomson Foundation 

Dody Waugh & Eric Small 

George & Judy Writer 

Patricia Yzurdiaga 

COMPOSER'S CIRCLE 

($5,000 - $9,999) 

Peggy & Kurt Anderson 



Mary E. Gates Warren 



Edward De Loreto 

Elizabeth & Kenneth Doran 



Dorothy & John Gardner 

William H. Kearns Foundation 

Preston B. & Maurine M. 

Hotchkis Family Foundation 


Mr. & Mrs. Frank R. Miller, Jr./ 

The Henry E. & Lola Monroe 




Ann M. Picker 


Irene & Robert Stone/Stone 

Family Foundation 


Winona Fund 

Wood-Claeyssens Foundation 

VIRTUOSO CIRCLE 

($2,500 - $4,999) 

Helene & Jerry Beaver 



Roger & Sarah Chrisman, 

Schlinger Chrisman Foundation 



Fredericka & Dennis Emory 

Priscilla & Jason Gaines 

Elizabeth Karlsberg & Jeff Young 


Your annual International Circle Membership plays such an important role in continuing 

CAMA's grand tradition of bringing the best in classical music to Santa Barbara. 

Thank you! 


Jill Dore Kent 

Lois Kroc 

MaryAnn Lange 

Shirley & Seymour Lehrer 

Dona & George McCauley 





Dr. Shirley Tucker 

Department of Music, University 

of California, Santa Barbara 

CONCERTMASTER 

CIRCLE ($1,500 - $2,499) 

Todd & Allyson Aldrich Family 

Charitable Fund 


Edward & Sue Birch 

Suzanne & Peyton Bucy 

Annette & Richard Caleel 

Joan & Steven Crossland 

Nancyann & Robert Failing 

Mary & Raymond Freeman 

Gutsche Family Foundation 

Renee & Richard Hawley 

Maison K 

Karin Nelson & Eugene Hibbs/ 

Maren Henle 

Ronda & Bill Hobbs 

Shirley Ann & James H. Hurley, Jr. 

Joan & Palmer Jackson 

Karen & Chuck Kaiser 

Connie & Richard Kennelly 

Kum Su Kim 

Karin Jacobson & Hans Koellner 

The Harold L. Wyman Foundation 

Chris Lancashire & Catherine Gee 

Cynthia Brown & Arthur Ludwig 

Gloria & Keith Martin 

Ruth & John Matuszeski 

Sally & George Messerlian 

Ellen Lehrer Orlando & 

Thomas Orlando 

Gail Osherenko & Oran Young 

Carol & Kenneth Pasternack 


Regina & Rick Roney 

William E. Sanson 

Linda Stafford Burrows 

Vera & Gary Sutter 

Suzanne Holland & 

Raymond Thomas 

Steven Trueblood 

Esther & Tom Wachtell 


Nick & Patty Weber 

Victoria & Norman Williamson 

Ann & Dick Zylstra 

PRINCIPAL PLAYER'S 

CIRCLE ($1,000 - $1,499) 

Leslie & Philip Bernstein 

Diane Boss 

Patricia Clark 

Nancy Englander 

Katina Etsell 

Jill Felber 

Tish Gainey & Charles Roehm 

Perri Harcourt 

Renee Harwick 

Glenn Jordan & Michael Stubbs 

Barbara & Tim Kelley 

Sally Kinney 

Dora Anne Little 

Russell Mueller 

Patti Ottoboni 

Anitra & Jack Sheen 

Maurice Singer 


Diane Sullivan 

Milan E. Timm 

Cheryl & Peter Ziegler 

30 


June 2016 through November 2017

MUSICIANS SOCIETY 

Your annual gift is vitally important to continuing CAMA's nearly 100-year tradition. 

Thank you for your generous annual donation. 

BENEFACTORS 

($500 - $999) 

David Ackert 

Nancy Donaldson 

Wendy & Rudy Eiser 

Thomas & Doris Everhart 

Elinor & James Langer 

Christie & Morgan Lloyd 

Phyllis Brady & Andy Masters 

Patriicia & William McKinnon 

Pamela McLean & 

Frederic Hudson 

Peter L. Morris 

Maryanne Mott 

Mrs. Raymond King Myerson 

Anne & Daniel Ovadia 

Justyn Person 

Patricia & Robert Reid 

Maureen & Les Shapiro 

Halina W. Silverman 

Barbara & Wayne Smith 

Carol Vernon & Robert Turbin 

CONTRIBUTORS 

($250 - $499) 

Sylvia Abualy 

Antoinette & Shawn Addison 

Jyl & Allan Atmore 

Howard A. Babus 

Doris Lee Carter 

Edith M. Clark 

Lavelda & Lynn Clock 

Michael & Ruth Ann Collins 

Peggy & Timm Crull 

Ann & David Dwelley 

Margaret Easton 

Ghita Ginberg 

Debbie & Frank Kendrick 

June & William Kistler 

Kathryn Lawhun & 

Mark Shinbrot 

Andrew Mester, Jr. 

Maureen O'Rourke 

Hensley & James Peterson 

Julia & Arthur Pizzinat 

Ada B. Sandburg 

Naomi Schmidt 

Joan Tapper & Steven Siegel 

Paul and Delia Smith 

Karen Spechler 

Beverly & Michael Steinfeld 

Jacqueline & Ronald Stevens 


Julie Antelman & William Ure 

Mary H. Walsh 

Lorraine & Stephen Weatherford 

ASSOCIATES 

($100 - $249) 

Catherine L. Albanese 

Nancy & Jesse Alexander 

Esther & Don Bennett 

Myrna Bernard 

Alison H. Burnett 

Margaret & David Carlberg 

Polly Clement 

Melissa Colborn 

Janet Davis 

Marilyn DeYoung 

Lois & Jack Duncan 

Michael K. Dunn 

Julia Emerson 

Barbara Faulkner 

Pattie & Charles Firestone 

Eunice & J.Thomas Fly 

Bernice & Harris Gelberg 

Nancy & Frederic Golden 

Elizabeth & Harland Goldwater 

Marge & Donald Graves 

Marie-Paule & Laszlo Hajdu 

William S. Hanrahan 

Carolyn Hanst 

M.Louise Harper & 

Richard Davies 

Lorna S. Hedges 

Edward O. Huntington 

Gina & Joseph Jannotta 

Virginia Stewart Jarvis 

Brian Frank Johnson 

Monica & Desmond Jones 

Emmy & Fred Keller 

Robin Alexandra Kneubuhl 

Anna & Petar Kokotovic 

Doris Kuhns 

Linda & Rob Laskin 

Lady Patricia & 

Sir Richard Latham 

Lavender Oak Ranch LLC 

Barbara & Albert Lindemann 

Barbara & Ernest Marx 

Jeffrey McFarland 

Meredith McKittrick-Taylor & 

Al Taylor 

Christine & James V. McNamara 

RenÈe & Edward Mendell 

Lori Kraft Meschler 

Betty Meyer 

Ellicott Million 

Carolyn & Dennis Naiman 

Carol Hawkins & 

Laurence Pearson 

Marilyn Perry 

Francis Peters, Jr. 

Eric Boehm 

Sonia Rosenbaum 

Muriel & Ian K. Ross 

Shirley & E.Walton Ross 

Joan & Geoffrey Rutkowski 

Sharon & Ralph Rydman 

Doris & Bob Schaffer 

James Poe Shelton 

Anne Sprecher 

Florence & Donald Stivers 

Laura Tomooka 

Judy Weirick 

Judy & Mort Weisman 

Theresa & Julian Weissglass 

Donna & Barry Williiams 

Deborah Winant 

Barbara Wood 

David Yager 

Taka Yamashita 

Grace & Edward Yoon 

FRIENDS 

($10 - $99) 

Anne Ashmore 

Robert Baehner 

Nona & Lorne Fienberg 

Susan & Larry Gerstein 

Dolores Airey Gillmore 

Lorraine C. Hansen 

Carol Hester 

Jalama Canon Ranch 

Catherine Leffler 

Margaret Menninger 

Edith & Raymond Ogella 

Jean Perloff 

Joanne Samuelson 

Alice & Sheldon Sanov 

Susan Schmidt 

Ann Shaw 

Julie & Richard Steckel 

Shela West 


June 2016 through November 2017 

31

MUSIC EDUCATION PROGRAM 

$25,000 and above 

The Walter J. & Holly O. Thomson Foundation 

$10,000 - $24,999 

Ms. Irene Stone/ 

Stone Family Foundation 

$1,000 - $9,999 

William H. Kearns Foundation 


Mr. & Mrs. Frank R. Miller, Jr./ 

The Henry E. & Lola Monroe Foundation 

Performing Arts Scholarship Foundation 

Westmont College 

$100 - $999 

Lynn P. Kirst 

Volunteer docents are trained by CAMA’s Education 

Committee Chair, Joan Crossland, to deliver this 

program to area schools monthly. Music enthusiasts 

are invited to learn more about the program and 

volunteer opportunities. 

CAMA Education Endowment 

Fund Income 

$10,000 AND ABOVE 

William & Nancy Myers 

$1,000 - $4,999 

Linda Stafford Burrows – 

This opportunity to experience great musicians excelling 

is given in honor and loving memory of Frederika Voogd 

Burrows to continue her lifelong passion for enlightening 

young people through music and math. 

Kathryn H. Phillips, in memory of Don R. Phillips 

Walter J. Thomson/The Thomson Trust 

$50 - $999 

Lynn P. Kirst 


Performing Arts Scholarship Foundation 

Marjorie S. Petersen 

(Gifts and pledges received from June 1, 2016 – January 4, 2018) 

Call the CAMA office at (805) 966-4324 for more information about the docent program. 

BUSINESS SUPPORTERS 

American Riviera Bank 

James P. Ballantine 

Belmond El Encanto 

Wes Bredall 

Heather Bryden 

Ca' Dario 

Camerata Pacifica 

Casa Dorinda 

Chaucer's Books 

Cottage Health System 

DD Ford Construction 

Eye Glass Factory 

First Republic Bank 

Flag Factory of Santa Barbara 

Gainey Vineyard 

Colin Hayward/The Hayward Group 

Steven Handelman Studios 

Help Unlimited 

SR Hogue & Co Florist 

Indigo Interiors 

Maravilla/Senior Resource Group 

Microsoft® Corporation 


Northern Trust 

Oceania Cruises 

Olio e Limone/Olio Crudo Bar/ 

Olio Pizzeria 

Pacific Coast Business Times 

Peregrine Galleries 



Regent Seven Seas Cruises 

Renaud's Patisserie & Bistro 

Sabine Myers/Motto Design 

Stewart Fine Art 

Santa Barbara Choral Society 

Santa Barbara Foundation 

Santa Barbara Travel Bureau 

The Upham Hotel & 

Upham Country House 

UCSB Arts & Lectures 

Westmont Orchestra 

Contact Heather Bryden for information about showcasing your business in CAMA's Program Book. 

(805) 965-5558 or HeatherBryden@cox.net 

32

Saturday, May 12, 2018 / Isabel Bayrakdarian, Soprano and St. Lawrence String Quartet / CAMA's Masterseries at The Lobero Theatre, 8:00 PM

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