Russian National Orchestra—February 27, 2019—CAMA's International Series at The Granada Theatre, Santa Barbara

Presenting the world’s finest classical artists since 1919

INTERNATIONAL SERIES

AT THE GRANADA THEATRE

SEASON SPONSORSHIP: SAGE PUBLISHING

photo by RNO

RUSSIAN NATIONAL

ORCHESTRA

Mikhail Pletnev Founder & Artistic Director

George Li piano

Wednesday, February 27, 2019, 8:00 PM

The Granada Theatre (Santa Barbara Center for the Performing Arts)

INTERNATIONAL SERIES

AT THE GRANADA THEATRE


LOS ANGELES

Esa-Pekka Salonen

PHILHARMONIC

OCTOBER 28, 2018

Primary Sponsor

The Elaine F. Stepanek

Concert Fund

Principal Sponsor

The Samuel B and Margaret

C. Mosher Foundation

Sponsors

Bitsy & Denny Bacon and

The Becton Family Foundation

Val & Bob Montgomery

The Towbes Fund for the

Performing Arts, a field

interest fund of the

Santa Barbara Foundation

Co-Sponsor

Robert & Christine Emmons

LOS ANGELES

CHAMBER

ORCHESTRA

with Avi Avital

DECEMBER 11, 2018

A gift to the community

from the CAMA Board

of Directors

ITZHAK

Mikhail Pletnev

PERLMAN

JANUARY 15, 2019

Primary Sponsor

Sara Miller McCune

Principal Sponsor

Herbert & Elaine Kendall

Sponsors

Marta Babson

Judith L. Hopkinson

The Shanbrom Family

Foundation

Co-Sponsors

Chaucer's Bookstore,

Mahri Kerley

Jocelyne & William Meeker

Stephen J.M. & Anne Morris

PHILHARMONIA

BAROQUE

ORCHESTRA

FEBRUARY 5, 2019

Sponsors

Hollis Norris Fund

Michele & Andre Saltoun

Hubert Vos

Co-Sponsors

Edward DeLoreto

The CAMA Women's Board

RUSSIAN

NATIONAL

ORCHESTRA

FEBRUARY 27, 2019

Primary Sponsor

Bitsy & Denny Bacon and the

Becton Family Foundation

Sponsor

Anonymous

Co-Sponsors

Peggy & Kurt Anderson

Louise & Michael Caccese

PHILHARMONIA

ORCHESTRA

MARCH 20, 2019

Sponsors

Anonymous

Alison & Jan Bowlus

Natalia & Michael Howe

Ellen & Peter Johnson

Kum Su Kim & John Perry

Co-Sponsors

Elizabeth & Andrew Butcher

Chris Lancashire

& Catherine Gee


ROYAL SCOTTISH

NATIONAL

ORCHESTRA

APRIL 5, 2019

Sponsors

Anonymous

Meg & Dan Burnham

Hubert Vos

Co-Sponsor

George & Judy Writer

4 CENTENNIAL SEASON CELEBRATION

MASTERSERIES

AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

RICHARD

GOODE

NOVEMBER 9, 2018

Primary Sponsor

The Stephen & Carla

Hahn Foundation

Co-Sponsors

Bitsy & Denny Bacon

Alison & Jan Bowlus

TAFELMUSIK

BAROQUE

ORCHESTRA

MARCH 9, 2019

Concert Partners

Deborah & Peter Bertling

Robert Boghosian &

Mary E. Gates Warren

Bridget Colleary

Dorothy & John Gardner

Elizabeth Karlsberg &

Jeff Young

Lynn P. Kirst

GARRICK

OHLSSON

MARCH 30, 2019

Co-Sponsors

Anonymous

Stephen J.M. &

Anne Morris

The CAMA Women's

Board

AUGUSTIN

HADELICH

APRIL 17, 2019

Co-Sponsors



MISCHA MAISKY

MAY 6, 2019

Co-Sponsor

Ellen & Craig Parton

Concert Partners

Stephen Cloud

Raye Haskell Melville

Concert Sponsors as of January 2019

CAMA AT THE GRANADA THEATRE - RUSSIAN NATIONAL ORCHESTRA

5


Emeritus Directors

Russell S. Bock*

Dr. Robert M. Failing*

BOARD OF DIRECTORS

ROBERT K. MONTGOMERY President

DEBORAH BERTLING First Vice-President

CRAIG A. PARTON Second Vice-President

WILLIAM MEEKER Treasurer

JOAN R. CROSSLAND Secretary

Rosalind Amorteguy-Fendon

Marta Babson

Isabel Bayrakdarian

Bitsy Becton Bacon

Edward Birch

Jan Bowlus

Daniel P. Burnham

Stephen Cloud

NancyBell Coe

Bridget B. Colleary

Jill Felber

Joanne C. Holderman

Judith L. Hopkinson

James H. Hurley, Jr.

Peter O. Johnson

Elizabeth Karlsberg


George Messerlian

Mrs. Maurice E. Faulkner*

Léni Fé Bland*

Arthur R. Gaudi

Stephen Hahn*

Dr. Melville H. Haskell, Jr.*

Mrs. Richard Hellmann*

Dr. Dolores M. Hsu

Herbert J. Kendall

Robert M. Light*

Mrs. Frank R. Miller, Jr.*

Sara Miller McCune

Mary Lloyd Mills

Mrs. Ernest J. Panosian*

Kenneth W. Riley*

Mrs. John G. Severson*

Nancy L. Wood

* Deceased

Administration

Mark E. Trueblood

Executive Director

Elizabeth Alvarez

Director of Development

Michael Below

Office Manager/

Subscriber Services

Justin Rizzo-Weaver

Director of Operations

Hank Mitchel

Stephen J.M. (Mike) Morris

Patti Ottoboni

Andre M. Saltoun

Judith F. Smith

Judith H. Writer

Catherine Leffler,

President, CAMA Women’s Board

As of February 13, 2019

2060 Alameda Padre Serra, Suite 201 Santa Barbara, CA 93103 Tel (805) 966-4324 Fax (805) 962-2014 info@camasb.org


INTERNATIONAL SERIES at the GRANADA THEATRE


RUSSIAN NATIONAL

ORCHESTRA

Mikhail Pletnev FOUNDER & ARTISTIC DIRECTOR

George Li PIANO

Wednesday, February 27, 8:00 PM

The Granada Theatre (Santa Barbara Center for the Performing Arts)

SERGEI RACHMANINOFF

(1873–1943)

VOCALISE

PIANO CONCERTO NO.2 IN C MINOR, OP.18

Moderato

Adagio sostenuto

Allegro scherzando

GEORGE LI piano

INTERMISSION

RACHMANINOFF

SYMPHONIC DANCES, OP.45

Non allegro—Lento—Tempo I

[original title “Noon”]

Andante con moto (Tempo di valse)

[original title "Twilight"]

Lento assai—Allegro vivace

[original title “Midnight”]

The Russian National Orchestra thanks the generous patrons and sponsors who helped make the

2019 United States Tour possible, including Peter Paul and Elena Sysovskaya, Ann and Gordon

Getty, Barbara Roach, Marianne Wyman, the Mikhail Prokhorov Foundation, the Prince Michael

of Kent Foundation, the Trust for Mutual Understanding, and the Friends of the RNO.

Steinway Piano

North American Management for Mr. Li: Opus 3 Artists

Exclusive Tour Management and Representation for the Russian National Orchestra:

Opus 3 Artists • 470 Park Avenue South, 9th Floor North, New York, NY 10016 • www.opus3artists.com

CAMA thanks our generous sponsors who have made this evening’s performance possible:

International Series Season Sponsor: SAGE Publishing

PRIMARY SPONSOR: Bitsy & Denny Bacon and the Becton Family Foundation

SPONSOR: Anonymous

CO-SPONSORS: Peggy & Kurt Anderson • Louise & Michael Caccese

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.


7

Photo by Sergei Demidov

RUSSIAN NATIONAL

ORCHESTRA

The Russian National Orchestra

was founded in 1990 by

pianist and conductor Mikhail Pletnev. Of

its debut at the BBC Proms in London,

the Evening Standard wrote, “They played

with such captivating beauty that the audience

gave an involuntary sigh of pleasure.”

The RNO has been described as “a

living symbol of the best in Russian art”

(Miami Herald) and “as close to perfect as

one could hope for” (Trinity Mirror).

Maintaining an active international

schedule, the RNO appears in the music

capitals of Europe, Asia and the Americas,

is a frequent guest at festivals such

as Edinburgh, the BBC Proms and Festival

Napa Valley, and presents the RNO

Grand Festival each September to open

the Moscow season.

RNO concerts are often aired on National

Public Radio, the European Broadcasting

Union, and Russia’s Kultura


channel. Their discography, launched

with a highly praised 1991 recording of

Tchaikovsky’s Pathétique, now numbers

more than 80 critically acclaimed recordings.

Notable releases include the complete

Beethoven symphonies and piano

concertos on Deutsche Grammophon,

Tchaikovsky’s six symphonies for Pentatone,

and the RNO Shostakovich project,

also on Pentatone, cited as “the most exciting

cycle of the Shostakovich symphonies

to be put down on disc, and easily the

best recorded” (SACD.net).

Their recording of Prokofiev’s Peter

and the Wolf and Beintus’ Wolf Tracks,

conducted by Kent Nagano and narrated

by Sophia Loren, Bill Clinton and Mikhail

Gorbachev, received a 2004 Grammy

Award, making the RNO the first Russian

orchestra to win the recording industry’s

highest honor. Their recording of Shostakovich

Symphony No.7, conducted by

Paavo Järvi, was awarded the Diapason

d’Or de l’Année 2015 as the year’s best

symphonic album, and was nominated for

a 2016 Grammy Award.

The RNO is unique among the principal

Russian ensembles as a private

institution funded with the support of

individuals, corporations and foundations

in Russia and throughout the world.

MIKHAIL

PLETNEV

Founder and Artistic Director

Mikhail Pletnev’s genius as pianist,

conductor and composer enchants and

amazes audiences around the globe. He

was Gold Medal and First Prize winner of

the 1978 Tchaikovsky International Piano

Competition when he was 21, a prize

that earned him early recognition worldwide.

An invitation to perform at the 1988

superpower summit in Washington led to

Photo by Alexei Molchanovsky


9

a friendship with Mikhail Gorbachev and

the historic opportunity to make music in

artistic freedom.

In 1990 Pletnev formed the first independent

orchestra in Russia’s history.

Many of the country’s finest musicians

joined Pletnev in launching the Russian

National Orchestra. Under his leadership,

the RNO achieved in a few short years a

towering stature among the world’s orchestras.

Pletnev describes the RNO as

his greatest joy and continues to serve

as its Artistic Director and Principal

Conductor.

Pletnev’s performances and recordings

have proved him to be an outstanding

interpreter of an extensive repertoire,

both as pianist and conductor. His recordings

have earned numerous prizes

including a 2005 Grammy Award for his

own arrangement of Prokofiev’s Cinderella.

He received Grammy nominations

for Schumann's Symphonic Etudes (2004)

and Rachmaninoff and Prokofiev Piano

Concertos No.3 (2003). His album of

Scarlatti’s Sonatas (Virgin/EMI) received

a 1996 Gramophone Award. BBC Music

Magazine called the recording “piano

playing at its greatest... this performance

alone would be enough to secure Pletnev

a place among the greatest pianists

ever known.” His recording of the complete

Beethoven symphonies and piano

concertos (Deutsche Grammophon) was

named “Best of 2007” by The New Yorker.

Pletnev’s compositions include works

for orchestra, piano, strings and voices.

His transcriptions of Nutcracker

Suite and Sleeping Beauty were selected

for the 1998 anthology “Great Pianists of

the 20th Century” (Philips Classics).

Today he is one of Russia’s most respected

and influential artists. Pianist,

conductor, composer and cultural leader—all

are significant facets of Mikhail

Pletnev’s life as an artist. Yet he considers

himself, simply, a musician.

GEORGE LI pianist

Since winning the Silver Medal at the

2015 International Tchaikovsky Competition,

pianist George Li has rapidly established

a major international reputation and

performs regularly with some of the world’s

leading orchestras and conductors.

In the 2018-19 season, Li makes his

debuts with the London Philharmonic,

Montreal Symphony, Tokyo Symphony,


Photo by Simon Fowler

and Royal Liverpool Philharmonic; embarks

on an 11-city recital tour of China;

and tours the United States with the

Russian National Orchestra and Mikhail

Pletnev and Kirill Karabits.

Concerto highlights include performances

with the New York Philharmonic,

San Francisco Symphony, Los Angeles

Philharmonic, Philharmonia Orchestra,

Rotterdam Philharmonic, DSO Berlin,

Frankfurt Radio Symphony, Oslo Philharmonic,

Orchestre National de Lyon, Sydney

Symphony, and St. Petersburg Philharmonic.

He frequently appears with Valery

Gergiev and the Mariinsky Orchestra.

In recital, Li performs at venues including

Carnegie Hall, Davies Hall in San

Francisco, the Mariinsky Theatre, Munich’s

Gasteig, the Louvre, Seoul Arts

Center, Tokyo’s Asahi Hall and Musashino

Hall, NCPA Beijing, Shanghai Poly Theater,

and Amici della Musica Firenze, as

well as appearances at major festivals including

the Edinburgh International Festival,

Ravinia Festival, Aix-en-Provence

Festival, and Montreux Festival.

Li is an exclusive Warner Classics

recording artist, with his debut recital

album released in October 2017, which

was recorded live from the Mariinsky. n


11

SERGEI

RACHMANINOFF

Notes on the Program by Howard Posner

Rachmaninoff’s Vocalise was the last of

the 14 Romances for voice and piano

that he published in 1915. A vocalise is a

song, or singing exercise, without words

(in Rachmaninoff’s Vocalise the singer

could just choose a vowel). He dedicated

to Antonina Nezhdanova, a leading

soprano in the Bolshoi Opera. She had

withdrawn from the leading role in Rachmaninoff’s

1905 opera Francesca da Rimini,

but Rachmaninoff was never one

to hold a grudge. He orchestrated the

piano part shortly after he and he and

Nezhdanova performed the premiere, and

a version for orchestra without a singer

soon followed. Its popularity has led to

countless versions for virtually every instrument.

Youtube now has ten versions

performed on theremin.

His second piano concerto marked

a sort of return to the living for Rachmaninoff.

The 1897 St. Petersburg premiere

of his first symphony had been a

disaster. The composer/critic Cesar Cui

likened it to a program symphony about

the Ten Plagues composed by a talented


student in the “conservatory in hell.”

Rachmaninoff could, and did, blame

it on a bad performance, as did many

observers, but his letters also show that

he had doubts about the quality of the

symphony, which was not performed

again until nearly a half century later,

after his death. Its failure sent him into

a four-year productive drought that has

been called “depression” or “collapse,”

but in fact he was perfectly functional,

able to perform and conduct, and enjoy

the company of friends. He took a post

as conductor of the Moscow Private

Russian Opera Company in 1897 and

made his international debut in London

in 1899. But he had a crippling crisis of

confidence in himself as a composer,

and was able to compose only two piano

pieces and four songs between 1897

and 1901.

By chance, Rachmaninoff’s aunt had

been suffering from a nervous condition,

and had been helped by a hypnotherapist

named Nicolai Dahl. Every day from

January to April 1900, Rachmaninoff

had sessions with Dahl, which consisted

largely of Dahl’s telling him he was going

to compose with facility and create

a great concerto. Whether because of

Dahl, or because he was bound to climb

out of the hole sooner or later, Rachmaninoff

began composing in earnest

that summer, and found that the melodic

ideas were flowing abundantly enough

that he could work on the concerto and

a suite for two pianos at the same time.

He finished the concerto in April 1901,

and dedicated it to Dahl. It has been a hit

for more than century because it is collection

of good tunes, but it also synthesizes

concerto conventions, particularly

the de rigeur displays of virtuosity, into

a unified whole than concertos typically

tend to be.

All three movements begin in the

“wrong” key. The piano begins the first

movement, alone, in F Minor, emphasized

by a persistent low F, but the opening

turns out to be a modulation to C Minor.

The piano’s cascades of notes that

follow are impressive, but they are an

integral accompaniment that provides

harmony and rhythmic propulsion for

the very Russian-sounding first theme,

orchestrated in a very Russian way with

throaty-sounding strings. It sets a pattern

for the concerto: lots of flowing,


13

long-lined melodies, and a solo part that

spends a remarkable portion of the concerto

as an accompanist, even if the accompaniments

are impressive cascades

of notes.

The slow movement’s opening is the

flip side of the first movement’s, with the

orchestra beginning in C Minor and arriving

improbably in E Major after four measures,

at which point the piano comes in

with an arpeggiated figure that seems to

be an accompaniment for a melody in the

clarinet. It’s not quite that simple, as the

“melody” and “accompaniment” figures

change roles as they are redistributed

between orchestra and piano during the

movement: this is one of the reasons the

concerto takes on the feel of chamber

music at times. The middle movement’s

texture is light and transparent, with the

strings muted throughout.

The finale brings the wrong-key

opening progression full circle, starting

in E Major and arriving eventually

in C Minor for the first theme, a scampering,

flighty thing that will leave little

impression on the ear because the

second subject, one of Rachmaninoff’s

most famous long-lined big tunes, will

be what you remember.

Rachmaninoff went through dry

spells of a different sort after he left Russia

in the wake of the 1917 Revolution.

He had invested nearly all his money in

an estate near Tambov, about midway

between Moscow and Volgograd, which

left him and his family nearly broke

when they left Russia in 1918. Rachmaninoff

spent much of the rest of his

career on tour, performing and recording,

and practicing new repertoire when

he got a break. It allowed him to live like

a wealthy man if a transient one, but left

him with little time, and little inclination,

to compose.

“Perhaps the incessant practice

and eternal rush inseparable from life

as a concert artist takes too much toll

of my strength; perhaps I feel that the

kind of music I care to write is not acceptable

today,” he once wrote. “For

when I left Russia, I left behind me the

desire to compose: losing my country I

lost myself also. To the exile whose musical

roots, traditions, and background

have been annihilated, there remains

no desire for self-expression.” He never

returned to the Soviet Union (though he


made plans to visit in 1921), and publicly

disapproved of its policies toward

the arts, but he never entirely turned his

back on it. In his last years, after the Axis

invasion of Russia, he performed benefit

concerts for the Russian people and the

Red Army.

Rachmaninoff composed only six

original works after 1918, the last of

which was the Symphonic Dances in the

summer of 1940. It must have been a

difficult few months. He was staying at

a Long Island estate overlooking Northport

Bay, while recuperating from surgery.

In June, France fell to the German

army, which concerned Rachmaninoff

because his daughter lived there. Nonetheless

he made quick progress on a

very ambitious large-scale work. On August

21 he wrote to Eugene Ormandy, the

Philadelphia Orchestra music director,

that the work was “finished,” which did

not actually mean finished. “I shall now

begin the orchestration. Unfortunately

my concert tour begins on 14 October. I

have a great deal of practice to do and

I don’t know whether I shall be able to

finish the orchestration before November.”

Ormandy, who had scheduled the premiere

for January and needed the score

by December, could not have been

thrilled to hear this. In the event, the premiere

took place as planned.

Rachmaninoff originally thought to

title the work “Fantastic Dances” and

give the movements descriptive titles:

“Noon,” “Twilight” and “Midnight,” according

to one source, or “Morning,”

“Noon” and “Evening,” according to another.

The titles would have conveyed

nothing worthwhile to the listener, which

is doubtless why he never used them.

Although large stretches of the music

don’t seem danceable in the sense

that, say, Dvořák’s Slavonic Dances invariably

are, Rachmaninoff saw the music

as potential ballet material. Mikhail

Fokine, who had choreographed the original

Paris productions of Les Sylphides,

Petrushka and Firebird, and more recently

formed a ballet company in New York,

was interested in staging it, but died in

1942 before anything came of the idea.

The Symphonic Dances begin boldly,

with a primitive, elemental brawniness

that can distract from the extraordinarily

detailed orchestration that

achieves a bright clarity and great variety.


15

Rarely, for example, has the bass clarinet

heard to such advantage. The clarity and

color become more apparent in the first

movement’s slower, lyrical mid-section,

the first half of which is soulful chamber

music for the woodwinds, each contributing

a distinctive voice while the alto

saxophone sings a melancholy song. The

music of the first section returns after an

elaborate transition, and then relaxes into

a gentle finish. As it does so, a second or

two after the glockenspiel makes it only

appearance, the strings quote the motto

theme from the First Symphony, which,

significantly, shares its first four notes

with the Gregorian Dies irae chant. Rachmaninoff

could scarcely have imagined

that the symphony would ever see the

light of day again, so the reference must

have been strictly for himself.

The second movement begins as a

disagreement, with most of the orchestra

trying to start a waltz over the objections

of the brass. The waltz that eventually

asserts is a nervous one, with occasional

tempo and meter changes, and the occasional

interruption from the brass.

In the last movement, the Dies irae

makes an actual appearance in the brass,

beginning with four-note hints and eventually

building up to quotations of its first

seven notes, which is enough for a positive

I.D. It’s not clear why Rachmaninoff,

who was raised in the Russian Orthodox

Church and never went to church anyway,

was so enamored of the chant from

the Roman Catholic Requiem Mass about

judgment day; he likely absorbed it from

Berlioz and Liszt. It makes prominent appearances

in his Rhapsody on a Theme

of Paganini, The Isle of the Dead, and Third

Symphony, and less prominent appearances

in other Rachmaninoff works. An even

more prominent quote in the third movement

is from the ninth movement of his All

Night Vigil, a 1915 Orthodox liturgical work

for chorus. He lifted much of the last part

of the movement, in which Christ’s empty

tomb is discovered, to much rejoicing by

the angels. Rachmaninoff even wrote “Alliluya”

into the score at the point where the

trumpets play the Alliluya music from the

All Night Vigil. It leads immediately into the

coda, an unangelic bacchanale of about

20 seconds’ length. n

Notes © 2019, Howard Posner


Photo by RNO

RUSSIAN NATIONAL ORCHESTRA

US Tour Roster 2019

Mikhail Pletnev, Founder & Artistic Director

1ST VIOLINS

Alexey Bruni,

Concertmaster

Olga Chepizhnaia,

Assistant

Concertmaster

Anna Panina

Vasily Vyrenkov

Aleksei Khutorianskii

Anatolii Fedorenko

Olga Levchenko

Alexei Sobolev

Sergey Putnikov

Leonid Akimov

Igor Akimov

Daria Strelnikova

Yulia Paleleva

Viacheslav Chirkunov

Tamerlan Tedeev

2ND VIOLINS

Sergei Starcheus,

Principal

Lina Vartanova,

Assistant Principal

Pavel Gorbenko

Evgenii Durnovo

Evgeny Feofanov

Vladimir Teslia

Elizaveta Dyakova

Varvara Baskova

Maria Dobrogorskaia

Mariia Tkacheva

Ekaterina Karpova

Ekaterina Braisheva

Valeria Kapko

VIOLAS

Sergei Dubov, Principal

Ivan Agafonov,

Assistant Principal

Sofiia Lebed

Sergei Bogdanov

Liubov Popova

Aleksandr Zhulev

Kseniia Zhuleva

Mariia Goriunova

Artem Kukaev

Olga Suslova

Aleksandr Tatarinov

CELLO

Aleksandr Gotgelf,

Principal

Vsevolod Guzov,

Assistant Principal

Aleksandr Grashenkov

Sergey Kazantsev

Natalia Lyubimova

Dmitry Fastunov

Alevtina Fastunova

Ekaterina Kulakovskaia

DOUBLE BASSES

Anton Vinogradov,

Principal

Miroslav Maksimyuk

Vasilii Beschastnov

Alexei Vorobev

Gennadii Karasev

Leonid Bakulin

Aleksandr Muravev

FLUTES

Maxim Rubtsov,

Principal

Konstantin Efimov,

Assistant Principal

Sergei Igrunov

Nikolai Lotakov

OBOES

Olga Tomilova,

Principal

Vitaly Nazarov,

Assistant Principal

Stanislav Tokarev

Ekaterina Bespalova

CLARINETS

Sergey Eletskiy,

Principal

Dmitrii Aizenshtadt,

Assistant Principal

Dmitrii Belik

Khasan Mukhitdinov

BASSOONS

Andrei Shamidanov,

Principal

Danila Iakovlev,

Assistant Principal

Vladimir Markin

Elizaveta Vilkovyskaia

FRENCH HORNS

Igor Makarov, Principal

Alexey Serov,

Assistant Principal

Viktor Bushuev

Anton Afanasyev

Andrei Romanov

TRUMPETS

Vladislav Lavrik,

Principal

Leonid Korkin,

Assistant Principal

Andrey Kolokolov

Konstantin Grigorev

TROMBONES

Ivan Irkhin, Principal

Sergey Koryavichev,

Assistant Principal

Tarasov Maxim

Viacheslav Pachkaev

Dmitry Anakovskiy -

Tuba

PERCUSSION

Alexandr Suvorov,

Principal

Ilia Melikhov,

Assistant Principal

Kirill Lukyanenko

Vitaly Martyanov

Leonid Lysenko

Marina Loginova

HARP

Svetlana Paramonova

PIANO

Leonid Ogrinchuk

STAGE CREW

Alexei Dragun

Vladimir Kireev

INSPECTOR/

LIBRARIAN

Valentin Teslia

LOGISTICS

MANAGER

Amir Iliyasov

FOR OPUS 3

ARTISTS

David V. Foster,

President & CEO

Leonard Stein, Senior

Vice President,

Director, Touring

Division

Robert Berretta, Vice

President, Manager,

Artists & Attractions

Tania Leong,

Associate, Touring

Division

Grace Hertz, Assistant,

Artists & Attractions

John Pendleton,

Company Manager

Irene Lönnblad,

Assistant Company

Manager



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19


CELEBRATING

CAMA's CENTENNIAL

by Hattie Beresford

Celebrating CAMA’s Centennial

commemorates the CAMA story

with hundreds of images and engaging

tales of the spectacular musical performances

brought to the the stages of Santa Barbara’s concert halls.

Beautiful music, exciting music, profound music — Community

Arts Music Association has been bringing this gift to Santa Barbara for

100 years. Born in the dark days following World War I, flourishing during

the Roaring Twenties, and eluding demise during the Great Depression,

CAMA has endured through a story of struggle, survival and triumph as

compelling as the world-renowned music and performers it brought.

ABOUT THE AUTHOR

Besides writing a local history column for the Montecito Journal for

over a decade, Hattie Beresford has written two issues of Noticias

and co-edited My Santa Barbara Scrap Book, the memoir of artist

Elizabeth Eaton Burton, for the Santa Barbara Historical Museum. Her

most recent book, The Way It Was: Santa Barbara Comes of Age, is a

collection of a few of her nearly 300 articles written for the Journal.

ON SALE TONIGHT

IN THE GRANADA THEATRE LOBBY

—AND AT CHAUCER'S BOOK STORE

$30.00 + tax

CAMA's Community

spotlight

Betty Meyer has been with the

CAMA community for many years and she

served as a CAMA Board Member for more

than a decade.

CAMA celebrates you, Betty,

in your 99th year!

MASTERSERIES AT THE LOBERO THEATRE

SEASON SPONSORSHIP: ESPERIA FOUNDATION

Tales of Two Cities

The Leipzig-Damascus Coffee House

Conceived, programmed, and scripted by Alison Mackay

Saturday, March 9 | Lobero Theatre, 8:00 PM

Tafelmusik Baroque Orchestra with Trio Arabica

Elisa Citterio Director

It’s 1740, and coffee houses are the places to listen to music and share stories, in both the famous

trading center of Leipzig and one of the oldest cities in the world, Damascus. Anyone who has attended

one of Tafelmusik’s three previous multi-media concert projects at the Lobero in the past decade

can attest to the incredible originality and conception of their insightful musical stage creations that

combine live music, text and stunning projections transporting the audience back in time and place.

Not to be missed!

CONCERT PARTNERS:

Deborah & Peter Bertling • Robert Boghosian & Mary E. Gates Warren • Bridget Colleary

Dorothy & John Gardner • Elizabeth Karlsberg & Jeff Young • Lynn P. Kirst

TICKETS (805) 963-0761 • lobero.com

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC


21


Anne-Sophie Mutter

Esa-Pekka Salonen

Santa Barbara Band

Community Arts String Orchestra

CAMA’S CENTENNIAL

100 th and 101 st SEASONS

Honoring CAMA’s 100-year tradition of bringing the finest classical

music in the world to our special community, we invite you to

participate in CAMA’s historic Centennial Celebration.

We are celebrating CAMA's Centennial by gratefully acknowledging donors who

contribute during CAMA’s 100th and 101st Seasons. Contributions of $250 and

above during this time will be recognized in the Centennial acknowlegements in

our concert programs.

Please contact either Elizabeth Alvarez or Nancy Lynn

at (805) 966-4324 to learn more.

Renée Fleming

Michael Tilson Thomas

André Previn

London Philharmonic

Lisa-Marie MAzzucco photo

“It’s always been a

great pleasure for

me to perform on the

CAMA series, and

I’m looking forward to

many more visits.

I send you my heartiest

congratulations

on your centennial

season. Bravo!”

—ITZHAK PERLMAN, CO-CHAIR,

CAMA CENTENNIAL

HONORARY ARTISTS COUNCIL

centennial honorary artists council

Itzhak Perlman

honorary co-chair

Sara Miller McCune

honorary co-chair

Vladimir Ashkenazy

Isabel Bayrakdarian

Joshua Bell

Alfred Brendel

Renée Fleming

Daniele Gatti

Richard Goode

Hilary Hahn

Stephen Hough

Olga Kern

Lang Lang

Jerome Lowenthal

Zubin Mehta

Anne-Sophie Mutter

Sir András Schiff

Peter Serkin

Leonard Slatkin

Christian Tetzlaff

Jean-Yves Thibaudet

Chris Thile

Michael Tilson Thomas

Dawn Upshaw

André Watts

Pinchas Zukerman


23


CENTENNIAL CELEBRATION DONORS

MAESTRO

$1,000,000 and above

CONCERTMASTER

$500,000–$999,999

CRESCENDO

$250,000–$499,999

Bitsy & Denny Bacon and The Becton Family Foundation


CADENZA

$100,000–$249,999

Judith L. Hopkinson

Samuel B. and Margaret C. Mosher Foundation

Ed & Sue Birch / Robert & Christine Emmons

SAGE Publishing



RONDO

$50,000–$99,999

Anonymous


NancyBell Coe & William Burke

Lois Sandra Kroc

Sara Miller McCune


Mari & Hank Mitchel

Bob & Val Montgomery


Cumulative contributions of $50,000 and above during CAMA’s Centennial Seasons

will include Centennial Circle membership.


CONCERTO

$25,000–$49,999

Marta Babson

Suzanne & Russell Bock

Meg & Dan Burnham

The Stephen & Carla Hahn

Foundation

The Walter J. & Holly O.

Thomson Foundation


Performing Arts

Patricia Yzurdiaga

SONATA

$10,000–$24,999

Anonymous

Alison & Jan Bowlus

City of Santa Barbara

Bridget Colleary

George H. Griffiths and Olive

J. Griffiths Charitable Fund

Hollis Norris Fund

Natalia & Michael Howe

Ann Jackson Family

Foundation



Kum Su Kim & John Perry

Mary Lloyd & Kendall Mills

Montecito Bank & Trust

John & Ellen Pillsbury

Anne Smith Towbes

The Shanbrom Family

Foundation

Hubert Vos

The CAMA Women’s Board

VIVACE

$5,000–$9,999

Anonymous

Peggy & Kurt Anderson



Stephen Cloud

Edward DeLoreto

Elizabeth Karlsberg &

Jeff Young

Jill Doré Kent

ALLEGRO

$2,500–$4,999

Helene & Jerry Beaver

Shelley & Mark Bookspan

Robert Boghosian &


Suzanne & Peyton Bucy

Roger & Sarah Chrisman, Schlinger

Chrisman Foundation

Fredericka & Dennis Emory

Ronald & Rosalind A. Fendon

Mary & Raymond Freeman

Priscilla & Jason Gaines

Dorothy & John Gardner

Shirley Ann & James H. Hurley, Jr.

William H. Kearns Foundation

Connie & Richard Kennelly

Mahri Kerley/Chaucer's Books

Chris Lancashire &

Catherine Gee


Craig & Ellen Parton

Irene & Robert Stone/Stone

Family Foundation

Barbara & Sam Toumayan

Winona Fund

Lynn P. Kirst

Lois Kroc

Stefanie Lancaster Charitable

Foundation

MaryAnn Lange

Shirley & Seymour Lehrer

Dona & George McCauley

Performing Arts Scholarship

Foundation

Diana & Roger Phillips

Ann M. Picker

Dorothy Roberts


Judith F. Smith

Carrie Towbes & John Lewis

Steven Trueblood

(Continued next page.)

CAMA’s Centennial spans two concert seasons, 2018/2019 and 2019/2020.

The CAMA Board gratefully acknowledges and thanks the generosity of the

CAMA community. Donor lists will be fully updated February 2019.

All cummulative donations of $250 and above through

the 100 th and 101 st Seasons will be listed.

Please call Elizabeth Alvarez should you notice any errors on these pages – (805) 276-8270.


25


CENTENNIAL CELEBRATION DONORS

(Continued from previous page)

ADAGIO

$1,000–$2,499

Todd & Allyson Aldrich Family Charitable Fund

Diane Boss

Wendel Bruss

Karen Bushnell

Annette & Richard Caleel

Patricia Clark

Joan & Steven Crossland

Gregory Dahlen III & Christi Walden

Jan Davis-Hadley

Margaret & Ronald Dolkart

Wendy & Rudy Eisler

Nancy Englander

Katina Etsell

Nancyann & Robert Failing

Margo & Bob Feinberg

Jill Felber

Catherine H. Gainey

Andrea & Ron Gallo

David Hamilton

Renee & Richard Hawley

Maison K

Karin Nelson & Eugene Hibbs/Maren Henle

Gerhart Hoffmeister

Joanne C. Holderman

Jackie Inskeep

Diane Johnson

Gerd & Peter Jordano

James Kearns

Sally Kinney

Karin Jacobson & Hans Koellner

Kathryn Lawhun & Mark Shinbrot

Dora Anne Little

Cynthia Brown & Arthur Ludwig

Nancy & James Lynn

Gloria & Keith Martin

Maureen Masson

Ruth & John Matuszeski

Karine & Donald McCall

Frank McGinity

Sally & George Messerlian

Russell Mueller

Northern Trust

Ellen Lehrer Orlando & Thomas Orlando

Gail Osherenko & Oran Young

Patti Ottoboni

Anne & Daniel Ovadia

Donald Rink

Tiffany & Justin Rizzo-Weaver

Regina & Rick Roney

Ada B. Sandburg


Anitra & Jack Sheen

Barbara & Wayne Smith

Marion Stewart

Milan E. Timm

Mark E. Trueblood

UCSB - Department of Music, University of

California, Santa Barbara

Esther & Tom Wachtell

Barbara & Gary Waer

Sheila Wald

Nick & Patty Weber

Dr. Robert Weinman

Judy L. Weisman

Westmont College

Victoria & Norman Williamson

Nancy & Byron Kent Wood

Cheryl & Peter Ziegler

Ann & Dick Zylstra

ANDANTE

$250–$999

Sylvia Abualy

Antoinette & Shawn Addison

Jyl & Allan Atmore

Howard A. Babus

Becky & William Banning

Patricia & Richard Blake

Edith M. Clark

Lavelda & Lynn Clock

Betsy & Kenneth Coates

Michael & Ruth Ann Collins

Nancy Donaldson

Michael K. Dunn

Ann & David Dwelley

Meg & Jim Easton

Julia Emerson

Thomas & Doris Everhart

Eunice & J. Thomas Fly

Ghita Ginberg

Nancy & Frederic Golden

Robert Hanrahan

Lorna S. Hedges

Glenn Jordan & Michael Stubbs

Debbie & Frank Kendrick

June & William Kistler

Christie & Morgan Lloyd

Barbara & Ernest Marx

Phyllis Brady & Andy Masters

Jeffrey McFarland

Patriicia & William McKinnon

Christine & James V. McNamara

Andrew Mester

James P. And Shirley F. McFarland Fund of

The Minneapolis Foundation

Peter L. Morris

Mrs. Raymond King Myerson

Maureen O'Rourke

Hensley & James Peterson

David & Dottie Pickering

Minie & Hjalmar Pompe van Meerdervoort

Patricia & Robert Reid

Rotary Club of Montecito Foundation, Inc.

Lynn & Mark Schiffmacher

Naomi Schmidt

Maureen & Les Shapiro

Halina W. Silverman

Paul and Delia Smith

Linda Stafford Burrows

Beverly & Michael Steinfeld

Jacqueline & Ronald Stevens

Elaine Sweet

Carol Vernon & Robert Turbin

Mary H. Walsh

Lorraine & Stephen Weatherford

Grace & Edward Yoon

As of February 5, 2019


MUSIC EDUCATION

MUSIC EDUCATION PROGRAM

$25,000 and above

The Walter J. & Holly O. Thomson Foundation

$10,000–$24,999

Ms. Irene Stone/ Stone Family Foundation

Mary Lloyd & Kendall Mills

$1,000–$9,999

CAMA Women's Board


Stefanie L. Lancaster Charitable Foundation

Sara Miller McCune

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

The Henry E. & Lola Monroe Foundation

Performing Arts Scholarship Foundation

Westmont College

$100–$999

Becky & William Banning

Lynn P. Kirst

James P. and Shirley F. McFarland Fund

of the Minneapolis Foundation

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

Keith J. Mautino

Performing Arts Scholarship Foundation

Marjorie S. Petersen

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.

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

MEMORIAL GIFTS

Joan Crossland

NancyBell Coe &

Bill Burke

Carolyn & Dennis Naiman

Nancy Lynn


Jim Ryerson

Christine Ryerson

Sharon Felber Taylor

Bridget Colleary

Cornelia Chapman

Ellicott Million

Else (Leinie) Schilling

Bard

Joanne C. Holderman

Frederica Vogle

Burrows


Dr. Robert Sinsheimer

& Karen Sinsheimer

Robert Boghosian &


Lynn R. Matteson

Lynn P. Kirst

David Malvinni


Dr. Eric Boehm

Judy Pochini

Professor Frederick F.

Lange

MaryAnn Lange

Robert S. Grant

Robert L. Grant

Dr. Robert Failing

Mrs. Betty Meyer

Dr. Walter Picker

Ann M. Picker

Tita Lanning

Keith Mautino

Michael Towbes

Bridget B. Colleary

Gerd & Peter Jordano

Harold M. Williams

Nancy Englander

Sybil Mueller

Lynn P. Kirst

Nan Burns, Dr. Greg

Dahlen, Robert S. Grant

William S. Hanrahan

Susie Vos

Bridget B. Colleary


27


CAMA Centennial Presidents’ Dinner Sponsors

ROBERT K. MONTGOMERY, President

Bitsy Becton Bacon

with

PAST PRESIDENTS

Judith L. Hopkinson

Arthur R. Gaudi James H. Hurley, Jr. Herbert J. Kendall

Andre Saltoun

Judith F. Smith

With special thanks to

Montgomery Vineyard

Nell Campbell photo

HONORING

ARTHUR R. GAUDI

2019 MOZART SOCIETY AWARD

JANUARY 26, 2019

The Mozart Society includes donors who have

gifted $10,000 or more to CAMA's Endowment.

The CAMA Board of Directors gratefully thanks all

contributors for their trust. Through the Centennial

Celebration the Board invites you to join them in their

commitment to ensure the next 100 years of bringing

the world's finest classical music to Santa Barbara.


The CAMA Women’s Board Presents

A PRE-CONCERT LECTURE SERIES

2018/2019—CENTENNIAL SEASON

Doors to The Granada Theatre will open

for the lecture 15 minutes before lecture.

Lecture seating is limited to the first 100

patrons. First come, first served.

CAMA's Women's Board gratefully

thanks the following supporters!

Symphony Level $5,000

Patricia Yzurdiaga

Sonata Level $1,000

Peter & Rebecca Adams

Mrs. Richard H. Roberts


Rondo Level $100–$500

Anonymous (2)

Bridget B. Colleary

Edward DeLoreto

Karin Nelson & Eugene Hibbs, Jr.

and Maren N. Henle

Joanne C. Holderman

Lois Kroc

Elen & Craig Parton

Andre & Michele Saltoun



Esa-Pekka Salonen

March 20, 2019

Wednesday, Lecture begins at 7:00 PM

PHILHARMONIA ORCHESTRA

ESA-PEKKA SALONEN, Conductor

The Granada Theatre

PRE-CONCERT LECTURE

Simon Williams, Professor Emeritus, UCSB

Department of Theater and Dance; Opera

and Theater Critic

April 5, 2019

Friday, Lecture begins at 7:00 PM

ROYAL SCOTTISH NATIONAL

ORCHESTRA

THOMAS SØNDERGÅRD, CONDUCTOR

The Granada Theatre

PRE-CONCERT LECTURE

Adrian Spence,

Artistic Director of Camerata Pacifica

COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC


29

MUSIC EDUCATION PROGRAM

LIFETIME GIVING

diamond circle

$500,000 and above

Bitsy & Denny Bacon and

The Becton Family

Foundation

Suzanne & Russell Bock

Linda Brown*

Andrew H. Burnett

Foundation

Esperia Foundation

The Stephen &

Carla Hahn Foundation

Judith L. Hopkinson


SAGE Publishing

Michael Towbes /


Performing Arts

sapphire circle

$250,000–$499,999

Anonymous

The CAMA Women's Board

Léni Fé Bland

Sara Miller McCune

The Samuel B. & Margaret C.

Mosher Foundation

The Stepanek Foundation

The Wood-Claeyssens

Foundation

ruby circle

$100,000–$249,999

The Adams Foundation

Ann Jackson Family

Foundation


Dan & Meg Burnham

Virginia Castagnola-Hunter

NancyBell Coe &

William Burke

Robert & Christine Emmons

Mary & Raymond Freeman

Dr. Dolores M. Hsu

Hollis Norris Fund

Shirley Ann &

James H. Hurley Jr.

Shirley & Seymour Lehrer


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

The Henry E. &

Lola Monroe Foundation

John & Kathleen Moseley/

The Nichols Foundation

Val & Bob Montgomery

Nancy & William G. Myers


Michele & Andre Saltoun

The Santa Barbara Foundation

Jan & John G Severson

Judith F. Smith

Jeanne C. Thayer

Mrs. Walter Thomson

Union Bank

Dr. & Mrs. H. Wallace Vandever

The Wallis Foundation

Winona Fund


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. Jane Catlett

Roger & Sarah Chrisman

Mr. & Mrs. Robert M. Colleary

Mrs. Maurice E. Faulkner

Arthur R. Gaudi

Mr. & Mrs. Robert B. Gilson

The George H. Griffiths &

Olive J. Griffiths Charitable

Foundation

Mr. Richard Hellman

Joanne C. Holderman

Michael & Natalia Howe

Hutton Parker Foundation


Judith Little

John & Lucy Lundegard


Mrs. Max E. Meyer

Craig & Ellen Parton


Foundation

Marjorie S. Petersen/ La

Arcada Investment Corp.

Diana & Roger Phillips

Mr. Ted Plute &

Mr. Larry Falxa

Lady Ridley-Tree




topaz circle

$25,000–$49,999

Anonymous

Edward Bakewell

Helene & Jerry Beaver

Robert Boghosian &


Alison & Jan Bowlus



Ms. Huguette Clark

Mrs. Leonard Dalsemer

Edward S. Deloreto

Mr. & Mrs. Larry Durham

Lynn P. Kirst &

Lynn R. Matteson

Dr. & Mrs. Robert Failing

Priscilla & Jason Gaines

The George Frederick

Jewett Foundation

Patricia Kaplan

Elizabeth Karlsberg

& Jeff Young


Jill Dore Kent

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 McGinity

Sheila Bourke McGinity

James & Mary Morouse

Northern Trust

Patricia Hitchcock O’Connell

Efrem Ostrow Living Trust

Mr. Ernest J. Panosian

Kathryn H. Phillips

Mrs. Kenneth Riley

Anitra & Jack Sheen

Marion Stewart

Ina Tournallyay

Mrs. Edward Valentine

The Outhwaite Foundation

The Elizabeth Firth Wade

Endowment Fund

Mrs. Roderick Webster

Westmont College

amethyst circle

$10,000–$24,999

Anonymous

Anonymous

Rebecca & Peter Adams

Mrs. David Allison

Dr. & Mrs. Mortimer Andron

Mr. & Mrs. Robert Arthur

Mr. & Mrs. J.W. Bailey

Marta Babson

Mrs. Archie Bard

Leslie & Phillip Bernstein

Frank Blue & Lida Light Blue

Mrs. Erno Bonebakker

CAMA Fellows

Mrs. Margo Chapman

Chubb-Sovereign Life

Insurance Co.

Carnzu A Clark

Chaucer's Books/ Mahri Kerley

Lavelda & Lynn Clock

Dr. Gregory Dahlen & Nan Burns

Karen Davidson M.D.

Julia Dawson

Mr. & Mrs. William Esrey

Fredericka & Dennis Emory

Ronald & Rosalind A. Fendon

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

Robert Hanrahan

Lorraine C. Hansen

Mr. & Mrs. Stanley Hatch

Renee & Richard Hawley

Dr. & Mrs. Alan Heeger

Karin Nelson & Eugene

Hibbs/Maren Henle

Mr. Preston Hotchkis

Glenn Jordan & Michael

Stubbs

Elizabeth & Gary Johnston

KDB Radio

Linda & Michael Keston

Mrs. Robert J. Kuhn

Katherine Lloyd/ Actief-cm, Inc

Lois Kroc

Dora Anne Little

Ruth & John Matuszeski

Keith Mautino

Dona & George McCauley

Jayne Menkemeller

Russell Mueller

Myra & Spencer Nadler

Joanne & Alden Orpet

Mr. & Mrs. Charles Patridge

Patricia & Carl Perry

John Perry

Mrs. Ray K. Person

Ellen & John Pillsbury

Anne & Wesley Poulson

Susannah Rake

Mr. & Mrs. Frank Reed

Jack Revoyr

Betty & Don Richardson

The Grace Jones Richardson

Trust

Dorothy Roberts

The Roberts Bros. Foundation

John Saladino

Jack & Anitra Sheen

Sally & Jan Smit

Betty Stephens &

Lindsay Fisher

Selby & Diane Sullivan

Joseph M. Thomas

Irene & Robert Stone/Stone

Family Foundation

Milan E. Timm

Mark E. Trueblood

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


BUSINESS SUPPORTERS

We thank the many businesses that support

CAMA's programs and events!

Laurel Abbott, Berkshire Hathaway Luxury

Properties

American Riviera Bank

James P. Ballantine

Belmond El Encanto

Bertling Law Group

Blue Star Parking

Bon Fortune Style & Events

Wes Bredall

Heather Bryden

Ca' Dario

Camerata Pacifica

Casa Dorinda

C'est Cheese

Chaucer's Books

Chooket Patisserie

Cottage Health System

Custom Printing

Eye Glass Factory

Felici Events

First Republic Bank

Flag Factory of Santa Barbara

Frequency Wine

Gainey Vineyard

Grace Design Associates

Colin Hayward/The Hayward Group

Steven Handelman Studios

Hogue & Company

Holdren's Catering

Indigo Interiors

Inside Wine Santa Barbara

Islay A/V

Jardesca

Maravilla/Senior Resource Group

Microsoft® Corporation

Mission Security


Montgomery Vineyard

Northern Trust

Oak Cottage of Santa Barbara

Oceania Cruises

Olio e Limone/Olio Crudo Bar/

Olio Pizzeria

Opera Santa Barbara

Pacific Coast Business Times

Peregrine Galleries


Foundation

Regent Seven Seas Cruises

Renaud's Patisserie & Bistro

Rose Story Farm

Sabine Myers Design

SAGE Publishing

Santa Barbara Choral Society


Santa Barbara Travel Bureau

Stewart Fine Art

The Tent Merchant

The Upham Hotel

UCSB Arts & Lectures

Westmont Orchestra


31

Russian National Orchestra—February 27, 2019—CAMA's International Series at The Granada Theatre, Santa Barbara

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