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DTSTART;TZID=America/New_York:20260531T150000
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SUMMARY:Copland's Fanfare
DESCRIPTION:Copland’s Fanfare\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusJaki Shelton Green NarratorMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nConor Brown How to Relax with OrigamiDan Locklair SINCE DAWNAaron Copland Symphony No. 3 \n\n\n\n Read program notes and hear audio clips. \n\n\n\n\n\nConor Brown’s quirky How to Relax with Origami folds numerous\, varied miniatures into a brief opening work. Winston-Salem composer Dan Locklair pairs poetry by Maya Angelou—narrated here by NC poet laureate Jaki Shelton Green— with a large orchestra and chorus. Copland’s enormous Symphony No. 3 celebrates the contributions of everyday\, hard-working people and its familiar melody (“Fanfare for the Common Man”) makes for a stunning conclusion to the season and a remarkable fête for America 250. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHEPAULINE TURNER DOUGHTONLEAD CHORUS SPONSORSHIP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nProgram Notesby Dr. David Levy\n\n\n			\n								\n							\n						\n								\n							\n			Conor Abbott Brown:How to Relax with OrigamiAmerican clarinetist\, composer\, synth programmer\, orchestrator\, and producer Conor Abbott Brown was born in Boulder\, CO in 1988. This polymath musician holds degrees from the University of Colorado at Boulder (DMA and MM in Music Composition)\, Bard College (BA in Dance)\, and the Bard College Conservatory of Music (BM in Music Composition). Conor’s compositions\, described as “creatively wrought” and “zesty” by The New York Times and noted for their “sharp humor” by The Aspen Times\, have been performed by the Detroit Symphony Orchestra\, the Albany Symphony\, the Aspen Festival Orchestra\, the Los Angeles Chamber Orchestra\, and others. How to Relax with Origami was composed in 2017 and received its premiere with Leonard Slatkin leading the Detroit Symphony Orchestra in that same year. The work is scored for piccolo\, 2 flutes (2nd doubling piccolo)\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon (doubling 3rd bassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, large percussion group (including unusual instruments such as police whistle\, clown horns\, and hammer)\, harp\, piano\, celesta\, strings.Luke Howard at Brigham Young University has kindly provided the following based on conversations with Conor Brown: How to Relax with Origami\, a series of eight orchestral vignettes\, was conceived in response to the changing socio-political landscape in early 2017.  When the work was premiered by the Detroit Symphony later that year\, the composer recalled\, “I found myself in a grim mood at the confusion\, callousness\, and illogic of the new era.  This is reflected directly in the structure of the piece\, which consists of very short\, internally-conflicted movements that interrelate only in tangential or fraught ways.”The work’s overall structure is\, in Brown’s words\, “the musical equivalent of folding origami out of the cartoons page of a newspaper\,” highlighting the fragmentation and contradictory juxtapositions along with the synthetic forms that result. Some of the subtitles appended to the various movements also refer to the esoteric “muses” that inspired him to create music of binary polarities—high and low culture\, the real and the imagined\, violence and play—exploiting these emotional tensions. Brown also found some hope in the music of Mexican composer Silvestre Revueltas who\, he notes\, “often contrasted dark satire and rapid-fire juxtaposition… with moments of sincerity\, playfulness\, and joy.” The first movement\, “Ducks in a Walnut\,” was inspired by daydreams of “a tiny\, enclosed world populated only by ducks in outrageous costumes.”  Latin-inflected rhythms drive this miniature world\, framed by brief moments of piccolo-flavored cuteness.  “Two-Party System\,” the second movement\, pits contradictory ideas against each other—one an asymmetrical kind of patriotic march\, the other a sustained dissonance.  In a perpetual Ivesian face-off\, neither allows itself to be influenced by the other.“Tempest in a Star Box” is a play on the “storm in a teacup” metaphor\, with an origami twist.  Brown notes that while some have described the origami star box as “useful and cute\,” this movement is neither.  Four borrowed chords are a direct quote from the 1995 clarinet quintet Turning Points by Joan Tower\, Brown’s teacher and mentor\, and a powerful influence on his compositional development.While Brown was working on this piece\, one of his colleagues of Mexican heritage was the victim of a racist hate crime.  In solidarity\, Brown chose to title some of the movements in Spanish.  The fourth movement\, “Ternura volcánica” (“Volcanic Tenderness”) employs a suitably oxymoronic phrase borrowed from Pablo Neruda’s poetic memorial to Silvestre Revueltas\, and features a lonely\, poignant clarinet solo mocked by a slide whistle at the conclusion.The title of the fifth movement\, “Guepardos hacen el caballito\,” has a somewhat less sentimental origin; it is the caption of one of Gary Larson’s celebrated Far Side cartoons\, “Cheetah Wheelies\,” translated into Spanish.  Another daydream\, this time eating a piece of the finest French washed-rind cheese\, inspired the exceptionally brief and acerbic sixth movement\, “Biting into Mold.”  “The Last of the Snowmen” references an episode of the Cartoon Network’s animated series Courage the Cowardly Dog\, as well an invoking the specter of global warming.The final movement\, “Ojo de Ana Coluto\,” is a multilayered pun.  Literally\, the “eye of Ana Coluto\,” it anthropomorphizes (in Spanish) the grammatical construct known as “anacoluthon\,” in which a sentence breaks off midpoint and pursues a conclusion with no logical relation to the opening.  It is the exact term for the kind of internally-fraught constructs that have played out musically in each of the work’s prior movements as well.  “I picture the word ‘anacoluthon’ incarnated as the Cosmic Judge of Cohesion\,” Brown explains.  “I imagine her gazing down upon me as I write this piece. Although I plead with her that it’s a celebration of free association\, she still condemns the work to oblivion.” Program Note by David B. Levy/Luke Howard\, ©2025 			\n								\n							\n						\n								\n							\n			Dan Locklair:SINCE DAWNAward-winning composer\, organist\, and educator\, Dan Locklair was born in Charlotte\, NC on August 7\, 1949. His musical education includes the Master of Sacred Music degree from the School of Sacred Music of Union Theological Seminary in New York City and a Doctor of Musical Arts degree from the Eastman School of Music in Rochester\, New York. His former teachers have included Joseph Goodman\, Ezra Laderman\, Samuel Adler and Joseph Schwantner (composition)\, as well as Donna Robertson\, Robert Baker and David Craighead (organ). Dr. Locklair is Composer-in-Residence and Professor of Music\, Emeritus at Wake Forest University. His music is widely performed throughout the U.S. and the world. His catalog includes symphonic works\, a ballet\, an opera\, solo\, chamber\, vocal and choral compositions. Outstanding musicians worldwide\, including the Helsinki Philharmonic\, the St. Louis Orchestra\, the Buffalo Philharmonic\, The Louisville Orchestra\, the Elmer Iseler Singers of Canada\, the St. Thomas Choir of Men and Boys (NYC) and the BBC Singers (UK) have performed Locklair’s music. Broadcasts of it have included National Public Radio (NPR)\, American Public Media (APM)\, Vatican Radio\, Czech Radio\, Finnish Radio\, the BBC and the CBC. Recordings of his works are commercially available on numerous CD’s including Naxos\, Koch\, Ondine\, Albany\, MSR\, Priory\, Loft and Convivium (UK). Further details of recordings and publications may be found at http://www.locklair.com.Since Dawn was composed in 1995 for Wake Forest University’s Year of the Arts (1996-7). The work is based on Maya Angelou’s 1993 poem\, “On the Pulse of Morning\,” written and spoken at the inauguration of President Bill Clinton on January 20\, 1993\, was published the next year. Locklair’s setting is dedicated “to Maya Angelou and to all artists who\, through their art\, seek to make the world a better place.” Its first performance took place in Wait Chapel on September 28\, 1996 with Dr. Angelou as Narrator\, and Peter Perret conducting the Winston-Salem Symphony and the Wake Forest University Chorus. It is scored for 2 flutes (2nd doubling piccolo)\, 2 oboes (2nd doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, tuba\, piano\, timpani\, percussion\, strings\, narrator\, and chorus.Dan Locklair has provided his own program notes for Since Dawn: “Maya Angelou (1928-2014) was the first poet since Robert Frost to be asked to create a poem for an American presidential inauguration. Her On the Pulse of Morning both challenged our nation and offered renewed hope as she read her poem at the 1993 inauguration of President Bill Clinton. Although the poem was created to be a part of a national political function\, the significance of the poem goes far beyond the event for which it was created. As all quality art should be able to do\, the poem clearly stands on its own as a work of art as it addresses all of creation.I have long admired the many aspects of Maya Angelou’s creative work and I valued her both as a person and as a colleague at Wake Forest University in Winston-Salem\, North Carolina. From the start of SINCE DAWN I was honored to have had Maya’s strong support and encouragement toward the creation of this\, the first\, musical setting of her On the Pulse of Morning.Dr. Angelou’s On the Pulse of Morning emanates from three key words that form the first line of her poem: “A Rock\, A River\, A Tree.” The ideas represented by these three poetic images are developed throughout the poem. In SINCE DAWN three musical ideas emerge\, most often over a pulsating bass line\, which correspond with each of the three poetic images: A gentle two-note\, sixteenth/dotted-quarter fanfare idea (“A Rock”); a more lyrical and flowing melodic idea (“A River”); a rich and lush chordal idea (“A Tree”). As with the poem’s poetic ideas\, the use and development of these three musical ideas are at the heart of the creation of SINCE DAWN.Except for the very final portion of SINCE DAWN\, there is no textual repetition between the narrator (who functions as a true soloist) and the chorus (which\, like the orchestra and the later two piano version\, functions both alone and in a supportive\, coloristic roles).Near its conclusion\, Maya Angelou’s On the Pulse of Morning challenges us to:“Lift up your hearts.Each new hour holds new chancesFor a new beginning.”It is my hope that all hearts that experience SINCE DAWN will be lifted and moved to new beginnings.” Program Note by David B. Levy/Dan Locklair\, © 2025 			\n								\n							\n						\n								\n							\n			Aaron Copland:Symphony No. 3Aaron Copland was born in Brooklyn\, NY on November 14\, 1900\, and died in North Tarrytown\, NY on December 2\, 1990. In addition to his distinguished accomplishments as a composer\, he was an important author on musical topics\, as well as a gifted pianist and conductor. Furthermore\, he was a mentor to at least two generations of important American composers. Copland\, more than any composer in the 20th century\, gave classical music a distinctly “American” voice. His Symphony no. 3 was first performed in Boston’s Symphony Hall on October 18\, 1946 with Serge Koussevitzky conducting. The work is scored for 3 flutes (piccolo)\, 2 oboes (English horn)\, 2 clarinets (Eb and bass)\, 2 bassoons (contrabassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, celesta\, piano\, and strings.In his notes written for the premiere of his Third Symphony\, Aaron Copland stated his concern that he had previously been “pigeon-holed” as a composer of symphonic jazz\, a folklorist\, and as a “purveyor of Americana.” This artistic self-consciousness explains\, at least in part\, why he chose to fulfill a commission from the Koussevitzky Foundation with a “traditional” four-movement symphony. Copland’s two earlier efforts in the genre do not fit that description insofar as Symphony no. 1 (1924\, rev. 1928) was originally conceived as a composition for organ and orchestra and thus leaned more toward a concerto than a true symphony. He named his Symphony no. 2 (1932-33) a Short Symphony and lasts only fifteen minutes. Copland was a great admirer of the symphonies of Gustav Mahler and Dmitri Shostakovich. This meant that the composition of a true full-length symphony was not an undertaking that he took lightly. Copland was also aware that Koussevitzky\, who was slated to conduct the premiere of the work\, had a strong preference for compositions written in the “grand manner.” The Third Symphony was dedicated “to the memory of my dear friend Natalie Koussevitzky\,” the late wife of the conductor. Coincidentally\, the English composer Benjamin Britten’s great opera\, Peter Grimes\, was the result of a commission from the Koussevitzky Foundation also was dedicated to her memory.The work’s first performance took place in Boston’s Symphony Hall on October 18\, 1946\, and was declared the winner of the New York Music Critics Circle Prize as the best orchestral composition by an American composer for that season. As chronicled by Alex Ross in his fine book\, The Rest is Noise (Picador\, 2007)\, the work’s approbation by the public was tainted by a vitriolic and politically-motivated attack on it by the critic/composer\, Virgil Thomson. Thomson was very much opposed to the New Deal and Henry Wallace\, and found in Copland’s Third Symphony too much sympathy with populism in the mode of the Soviet composer\, Dmitri Shostakovich.The composer wrote his own descriptive notes for the Third Symphony\, which I give below:1. Molto moderato: The opening movement\, which is broad and expressive in character\, opens and closes in the key of E Major. (Formally it bears no relation to the sonata-allegro with which symphonies usually begin.) The themes—three in number—are plainly stated: the first is in the strings\, at the very start without introduction; the second in related mood in violas and oboes; the third\, of a bolder nature\, in the trombones and horns. The general form is that of an arch\, in which the central portion is more animated\, and the final section an extended coda\, presenting a broadened version of the opening material. Both first and third themes are referred to again in later movements of the Symphony.2. Allegro molto: The form of this movement stays closer to normal symphonic procedure. It is the usual scherzo\, with first part\, trio\, and return. A brass introduction leads to the main theme\, which is stated three times in Part 1: at first in horns and violas with continuation in clarinets\, then in unison strings\, and finally in augmentation in the lower brass. The three statements of the theme are separated by the usual episodes. After the climax is reached\, the trio follows with pause. Solo woodwinds sing the new trio melody in lyrical and canonical style. The strings take it up\, and add a new section of their own. The recapitulation of Part 1 is not literal. The principal theme of the scherzo returns in a somewhat disguised form in the solo piano\, leading through previous episodic material to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme\, this time sung in canon and in fortissimo by the entire orchestra.3. Andantino quasi allegretto: The third movement is freest of all in formal structure. Although it is built up sectionally\, the various sections are intended to emerge one from the other in continuous flow\, somewhat in the manner of a closely-knit series of variations. The opening section\, however\, plays no role other than that of introducing the main body of the movement.High up in the unaccompanied first violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony. It is briefly developed in contrapuntal style\, and comes to a full close\, once again in the key of E major. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia; then faster and heavier—almost dance-like; then more child-like and naïve\, and finally vigorous and forthright. Imperceptibly the whole movement drifts off into the higher regions of the strings\, out of which floats the single line of the beginning\, sung by a solo violin and piccolo\, accompanied this time by harps and celesta. The third movement calls for no brass\, with the exception of a single horn and trumpet.4. Molto deliberato (Fanfare)—Allegro risoluto: The final movement follows without pause. It is the longest movement of the Symphony\, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on “Fanfare for the Common Man\,” which I composed in 1942 at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony. In the present version it is first played pianissimo by flutes and clarinets\, and then suddenly given out by brass and percussion. The fanfare serves as preparation for the main body of the movement which follows. The components of the usual form are there: a first theme in animated sixteenth-note motion; a second theme—broader and more song-like in character; a full-blown development and a refashioned return to the earlier material of the movement\, leading to a peroration. One curious feature of the movement consists in the fact that the second theme is to be found embedded in the development section instead of  being in its customary place. The development\, as such\, concerns itself with the fanfare and the first theme fragments. A shrill tutti chord\, with flutter-tongued brass and piccolos\, brings the development to a close. What follows is not a recapitulation in the ordinary sense. Instead\, a delicate interweaving of the first theme in the higher solo woodwinds is combined with a quiet version of the fanfare in the two bassoons. Combined with this\, the opening theme of the first movement of the Symphony is quoted\, first in the violins\, and later in the solo trombone. Near the end a full-voiced chanting of the second song-like theme is heard in horns and trombones. The symphony concludes on a massive restatement of the opening phrase with which the entire work began. Program note by David B. Levy/Aaron Copland © 2012/2025 \n\n\n\n\nOn Audio\n\n\n\n\n\n\n\nLocklair SINCE DAWNWinston-Salem Symphony | Wake Forest University ChoirsMaya Angelou Narrator | Peter Perret ConductorSeptember 1996 (world premiere) \n\n\n\n\n\n\n\n\n\n\n\nCopland Symphony No. 3Winston-Salem Symphony | Robert Moody ConductorSeptember 2012 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJaki Shelton Green\n\n\n\nJaki Shelton Green\, ninth Poet Laureate of North Carolina appointed in 2018\, is the first African American and third woman to be appointed as the North Carolina Poet Laureate. Some of her recognitions include North Carolina State University 2026 Honorary Doctorate of Humane Letters\, 2022 Forbes Magazine 50 Over 50 Lifestyle List\, 2021 UNC Chapel Hill Frank B. Hanes Writer in Residence\, 2021 recipient of the George School Outstanding Alumni Award\, 2020 Kathryn H. Wallace Award for Community Service\, 2020 St. Andrews University Ethel Fortner Award\, 2020 Northern Orange County Dr. Martin Luther King\, Jr. Achievement Award\, 2020 Lucy Bramlette Patterson Award\, 2019 Academy of American Poet Laureates Fellow\, 2019 North Carolina Humanities Council Caldwell Award\, 2019 Woman of Distinction Excellence in Humanities Award\, 2014 Induction into the North Carolina Literary Hall of Fame\, 2009 North Carolina Piedmont Laureate appointment\, 2003 recipient of the North Carolina Award for Literature. \n\n\n\nJaki Shelton Green recently retired as professor of documentary poetry at Duke University Center for Documentary Studies. Her publications include Dead on Arrival\, Masks\, Dead on Arrival and New Poems\, Conjure Blues\, singing a tree into dance\, and breath of the song\, published by Blair Publishers. Feeding the Light\, i want to undie you\, The Communion of White Dresses published by Jacar Press\, and i want to undie you\, English /Italian bilingual edition published by Lebeg Publishers of Rome Italy. Juneteenth 2020\, she released her first LP poetry album\, The River Speaks of Thirst\, produced by Soul City Sounds and Clearly Records and released a CD\, i want to undie you in 2021. \n\n\n\nJaki Shelton Green is the owner of SistaWRITE providing writing retreats for women writers in across the United States\, Northern Morocco\, the Loire valley in France\, and Ireland. She has been involved with numerous public art collaborations and projects including the NC Freedom Park\, Dix Park Conservancy\, City of Asheville Riverwalk Project\, Mint Museum of Charlotte\, North Carolina African American Heritage Commission Africa to Carolina public art installation. \n\n\n\nHer poetry has been commissioned\, performed\, choreographed\, and translated into symphonies\, film\, and paintings by visual artists\, dance companies\, and musicians including Flutronix\, the Cincinnati Symphony Orchestra\, The North Carolina Symphony Orchestra\, The Art Project of Chicago\, The New York City Girls Choir\, Wichita Falls Texas Symphony\, Lexington Kentucky Philharmonic Orchestra\, Duke University Black Music Lab Project\, the Miami City Ballet\, the Justice Project Theater\, Murmurations Dance Company\, Choreodance Company\, Elon University Dance Department\, Chuck Davis African American Dance Company at the Kennedy Center\, DancaNova at Naropa Institute\, Two Near the Edge Dance Company\, North Carolina State University Dance Department\, North Carolina Central University Dance Department\, North Carolina State University Craft Center\, Gregg Museum of Art and Design\, and Theatre Charlotte. Other collaborations include 2026 Artist in Residence at the Durham NC Unitarian Universalist Fellowship\, the Moroccan Ministry of Education\, the History Museum of Charlotte\, the Blowing Rock Arts and History Museum\, Poet Laureate in Residence at the North Carolina Museum of Art (2021-2024)\, poetry editor for WALTER Magazine.
URL:https://www.wssymphony.org/event/coplands-fanfare/2026-05-31/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Symphony Chorus
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260530T193000
DTEND;TZID=America/New_York:20260530T220000
DTSTAMP:20260617T165144
CREATED:20250605T165918Z
LAST-MODIFIED:20260528T155512Z
UID:10000165-1780169400-1780178400@www.wssymphony.org
SUMMARY:Copland's Fanfare
DESCRIPTION:Copland’s Fanfare\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusJaki Shelton Green NarratorMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nConor Brown How to Relax with OrigamiDan Locklair SINCE DAWNAaron Copland Symphony No. 3 \n\n\n\n Read program notes and hear audio clips. \n\n\n\n\n\nConor Brown’s quirky How to Relax with Origami folds numerous\, varied miniatures into a brief opening work. Winston-Salem composer Dan Locklair pairs poetry by Maya Angelou—narrated here by NC poet laureate Jaki Shelton Green— with a large orchestra and chorus. Copland’s enormous Symphony No. 3 celebrates the contributions of everyday\, hard-working people and its familiar melody (“Fanfare for the Common Man”) makes for a stunning conclusion to the season and a remarkable fête for America 250. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nTHEPAULINE TURNER DOUGHTONLEAD CHORUS SPONSORSHIP \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMay 307:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMay 313:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nProgram Notesby Dr. David Levy\n\n\n			\n								\n							\n						\n								\n							\n			Conor Abbott Brown:How to Relax with OrigamiAmerican clarinetist\, composer\, synth programmer\, orchestrator\, and producer Conor Abbott Brown was born in Boulder\, CO in 1988. This polymath musician holds degrees from the University of Colorado at Boulder (DMA and MM in Music Composition)\, Bard College (BA in Dance)\, and the Bard College Conservatory of Music (BM in Music Composition). Conor’s compositions\, described as “creatively wrought” and “zesty” by The New York Times and noted for their “sharp humor” by The Aspen Times\, have been performed by the Detroit Symphony Orchestra\, the Albany Symphony\, the Aspen Festival Orchestra\, the Los Angeles Chamber Orchestra\, and others. How to Relax with Origami was composed in 2017 and received its premiere with Leonard Slatkin leading the Detroit Symphony Orchestra in that same year. The work is scored for piccolo\, 2 flutes (2nd doubling piccolo)\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon (doubling 3rd bassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, large percussion group (including unusual instruments such as police whistle\, clown horns\, and hammer)\, harp\, piano\, celesta\, strings.Luke Howard at Brigham Young University has kindly provided the following based on conversations with Conor Brown: How to Relax with Origami\, a series of eight orchestral vignettes\, was conceived in response to the changing socio-political landscape in early 2017.  When the work was premiered by the Detroit Symphony later that year\, the composer recalled\, “I found myself in a grim mood at the confusion\, callousness\, and illogic of the new era.  This is reflected directly in the structure of the piece\, which consists of very short\, internally-conflicted movements that interrelate only in tangential or fraught ways.”The work’s overall structure is\, in Brown’s words\, “the musical equivalent of folding origami out of the cartoons page of a newspaper\,” highlighting the fragmentation and contradictory juxtapositions along with the synthetic forms that result. Some of the subtitles appended to the various movements also refer to the esoteric “muses” that inspired him to create music of binary polarities—high and low culture\, the real and the imagined\, violence and play—exploiting these emotional tensions. Brown also found some hope in the music of Mexican composer Silvestre Revueltas who\, he notes\, “often contrasted dark satire and rapid-fire juxtaposition… with moments of sincerity\, playfulness\, and joy.” The first movement\, “Ducks in a Walnut\,” was inspired by daydreams of “a tiny\, enclosed world populated only by ducks in outrageous costumes.”  Latin-inflected rhythms drive this miniature world\, framed by brief moments of piccolo-flavored cuteness.  “Two-Party System\,” the second movement\, pits contradictory ideas against each other—one an asymmetrical kind of patriotic march\, the other a sustained dissonance.  In a perpetual Ivesian face-off\, neither allows itself to be influenced by the other.“Tempest in a Star Box” is a play on the “storm in a teacup” metaphor\, with an origami twist.  Brown notes that while some have described the origami star box as “useful and cute\,” this movement is neither.  Four borrowed chords are a direct quote from the 1995 clarinet quintet Turning Points by Joan Tower\, Brown’s teacher and mentor\, and a powerful influence on his compositional development.While Brown was working on this piece\, one of his colleagues of Mexican heritage was the victim of a racist hate crime.  In solidarity\, Brown chose to title some of the movements in Spanish.  The fourth movement\, “Ternura volcánica” (“Volcanic Tenderness”) employs a suitably oxymoronic phrase borrowed from Pablo Neruda’s poetic memorial to Silvestre Revueltas\, and features a lonely\, poignant clarinet solo mocked by a slide whistle at the conclusion.The title of the fifth movement\, “Guepardos hacen el caballito\,” has a somewhat less sentimental origin; it is the caption of one of Gary Larson’s celebrated Far Side cartoons\, “Cheetah Wheelies\,” translated into Spanish.  Another daydream\, this time eating a piece of the finest French washed-rind cheese\, inspired the exceptionally brief and acerbic sixth movement\, “Biting into Mold.”  “The Last of the Snowmen” references an episode of the Cartoon Network’s animated series Courage the Cowardly Dog\, as well an invoking the specter of global warming.The final movement\, “Ojo de Ana Coluto\,” is a multilayered pun.  Literally\, the “eye of Ana Coluto\,” it anthropomorphizes (in Spanish) the grammatical construct known as “anacoluthon\,” in which a sentence breaks off midpoint and pursues a conclusion with no logical relation to the opening.  It is the exact term for the kind of internally-fraught constructs that have played out musically in each of the work’s prior movements as well.  “I picture the word ‘anacoluthon’ incarnated as the Cosmic Judge of Cohesion\,” Brown explains.  “I imagine her gazing down upon me as I write this piece. Although I plead with her that it’s a celebration of free association\, she still condemns the work to oblivion.” Program Note by David B. Levy/Luke Howard\, ©2025 			\n								\n							\n						\n								\n							\n			Dan Locklair:SINCE DAWNAward-winning composer\, organist\, and educator\, Dan Locklair was born in Charlotte\, NC on August 7\, 1949. His musical education includes the Master of Sacred Music degree from the School of Sacred Music of Union Theological Seminary in New York City and a Doctor of Musical Arts degree from the Eastman School of Music in Rochester\, New York. His former teachers have included Joseph Goodman\, Ezra Laderman\, Samuel Adler and Joseph Schwantner (composition)\, as well as Donna Robertson\, Robert Baker and David Craighead (organ). Dr. Locklair is Composer-in-Residence and Professor of Music\, Emeritus at Wake Forest University. His music is widely performed throughout the U.S. and the world. His catalog includes symphonic works\, a ballet\, an opera\, solo\, chamber\, vocal and choral compositions. Outstanding musicians worldwide\, including the Helsinki Philharmonic\, the St. Louis Orchestra\, the Buffalo Philharmonic\, The Louisville Orchestra\, the Elmer Iseler Singers of Canada\, the St. Thomas Choir of Men and Boys (NYC) and the BBC Singers (UK) have performed Locklair’s music. Broadcasts of it have included National Public Radio (NPR)\, American Public Media (APM)\, Vatican Radio\, Czech Radio\, Finnish Radio\, the BBC and the CBC. Recordings of his works are commercially available on numerous CD’s including Naxos\, Koch\, Ondine\, Albany\, MSR\, Priory\, Loft and Convivium (UK). Further details of recordings and publications may be found at http://www.locklair.com.Since Dawn was composed in 1995 for Wake Forest University’s Year of the Arts (1996-7). The work is based on Maya Angelou’s 1993 poem\, “On the Pulse of Morning\,” written and spoken at the inauguration of President Bill Clinton on January 20\, 1993\, was published the next year. Locklair’s setting is dedicated “to Maya Angelou and to all artists who\, through their art\, seek to make the world a better place.” Its first performance took place in Wait Chapel on September 28\, 1996 with Dr. Angelou as Narrator\, and Peter Perret conducting the Winston-Salem Symphony and the Wake Forest University Chorus. It is scored for 2 flutes (2nd doubling piccolo)\, 2 oboes (2nd doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 3 trombones\, tuba\, piano\, timpani\, percussion\, strings\, narrator\, and chorus.Dan Locklair has provided his own program notes for Since Dawn: “Maya Angelou (1928-2014) was the first poet since Robert Frost to be asked to create a poem for an American presidential inauguration. Her On the Pulse of Morning both challenged our nation and offered renewed hope as she read her poem at the 1993 inauguration of President Bill Clinton. Although the poem was created to be a part of a national political function\, the significance of the poem goes far beyond the event for which it was created. As all quality art should be able to do\, the poem clearly stands on its own as a work of art as it addresses all of creation.I have long admired the many aspects of Maya Angelou’s creative work and I valued her both as a person and as a colleague at Wake Forest University in Winston-Salem\, North Carolina. From the start of SINCE DAWN I was honored to have had Maya’s strong support and encouragement toward the creation of this\, the first\, musical setting of her On the Pulse of Morning.Dr. Angelou’s On the Pulse of Morning emanates from three key words that form the first line of her poem: “A Rock\, A River\, A Tree.” The ideas represented by these three poetic images are developed throughout the poem. In SINCE DAWN three musical ideas emerge\, most often over a pulsating bass line\, which correspond with each of the three poetic images: A gentle two-note\, sixteenth/dotted-quarter fanfare idea (“A Rock”); a more lyrical and flowing melodic idea (“A River”); a rich and lush chordal idea (“A Tree”). As with the poem’s poetic ideas\, the use and development of these three musical ideas are at the heart of the creation of SINCE DAWN.Except for the very final portion of SINCE DAWN\, there is no textual repetition between the narrator (who functions as a true soloist) and the chorus (which\, like the orchestra and the later two piano version\, functions both alone and in a supportive\, coloristic roles).Near its conclusion\, Maya Angelou’s On the Pulse of Morning challenges us to:“Lift up your hearts.Each new hour holds new chancesFor a new beginning.”It is my hope that all hearts that experience SINCE DAWN will be lifted and moved to new beginnings.” Program Note by David B. Levy/Dan Locklair\, © 2025 			\n								\n							\n						\n								\n							\n			Aaron Copland:Symphony No. 3Aaron Copland was born in Brooklyn\, NY on November 14\, 1900\, and died in North Tarrytown\, NY on December 2\, 1990. In addition to his distinguished accomplishments as a composer\, he was an important author on musical topics\, as well as a gifted pianist and conductor. Furthermore\, he was a mentor to at least two generations of important American composers. Copland\, more than any composer in the 20th century\, gave classical music a distinctly “American” voice. His Symphony no. 3 was first performed in Boston’s Symphony Hall on October 18\, 1946 with Serge Koussevitzky conducting. The work is scored for 3 flutes (piccolo)\, 2 oboes (English horn)\, 2 clarinets (Eb and bass)\, 2 bassoons (contrabassoon)\, 4 horns\, 4 trumpets\, 3 trombones\, tuba\, timpani\, percussion\, celesta\, piano\, and strings.In his notes written for the premiere of his Third Symphony\, Aaron Copland stated his concern that he had previously been “pigeon-holed” as a composer of symphonic jazz\, a folklorist\, and as a “purveyor of Americana.” This artistic self-consciousness explains\, at least in part\, why he chose to fulfill a commission from the Koussevitzky Foundation with a “traditional” four-movement symphony. Copland’s two earlier efforts in the genre do not fit that description insofar as Symphony no. 1 (1924\, rev. 1928) was originally conceived as a composition for organ and orchestra and thus leaned more toward a concerto than a true symphony. He named his Symphony no. 2 (1932-33) a Short Symphony and lasts only fifteen minutes. Copland was a great admirer of the symphonies of Gustav Mahler and Dmitri Shostakovich. This meant that the composition of a true full-length symphony was not an undertaking that he took lightly. Copland was also aware that Koussevitzky\, who was slated to conduct the premiere of the work\, had a strong preference for compositions written in the “grand manner.” The Third Symphony was dedicated “to the memory of my dear friend Natalie Koussevitzky\,” the late wife of the conductor. Coincidentally\, the English composer Benjamin Britten’s great opera\, Peter Grimes\, was the result of a commission from the Koussevitzky Foundation also was dedicated to her memory.The work’s first performance took place in Boston’s Symphony Hall on October 18\, 1946\, and was declared the winner of the New York Music Critics Circle Prize as the best orchestral composition by an American composer for that season. As chronicled by Alex Ross in his fine book\, The Rest is Noise (Picador\, 2007)\, the work’s approbation by the public was tainted by a vitriolic and politically-motivated attack on it by the critic/composer\, Virgil Thomson. Thomson was very much opposed to the New Deal and Henry Wallace\, and found in Copland’s Third Symphony too much sympathy with populism in the mode of the Soviet composer\, Dmitri Shostakovich.The composer wrote his own descriptive notes for the Third Symphony\, which I give below:1. Molto moderato: The opening movement\, which is broad and expressive in character\, opens and closes in the key of E Major. (Formally it bears no relation to the sonata-allegro with which symphonies usually begin.) The themes—three in number—are plainly stated: the first is in the strings\, at the very start without introduction; the second in related mood in violas and oboes; the third\, of a bolder nature\, in the trombones and horns. The general form is that of an arch\, in which the central portion is more animated\, and the final section an extended coda\, presenting a broadened version of the opening material. Both first and third themes are referred to again in later movements of the Symphony.2. Allegro molto: The form of this movement stays closer to normal symphonic procedure. It is the usual scherzo\, with first part\, trio\, and return. A brass introduction leads to the main theme\, which is stated three times in Part 1: at first in horns and violas with continuation in clarinets\, then in unison strings\, and finally in augmentation in the lower brass. The three statements of the theme are separated by the usual episodes. After the climax is reached\, the trio follows with pause. Solo woodwinds sing the new trio melody in lyrical and canonical style. The strings take it up\, and add a new section of their own. The recapitulation of Part 1 is not literal. The principal theme of the scherzo returns in a somewhat disguised form in the solo piano\, leading through previous episodic material to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme\, this time sung in canon and in fortissimo by the entire orchestra.3. Andantino quasi allegretto: The third movement is freest of all in formal structure. Although it is built up sectionally\, the various sections are intended to emerge one from the other in continuous flow\, somewhat in the manner of a closely-knit series of variations. The opening section\, however\, plays no role other than that of introducing the main body of the movement.High up in the unaccompanied first violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony. It is briefly developed in contrapuntal style\, and comes to a full close\, once again in the key of E major. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow: at first with quiet singing nostalgia; then faster and heavier—almost dance-like; then more child-like and naïve\, and finally vigorous and forthright. Imperceptibly the whole movement drifts off into the higher regions of the strings\, out of which floats the single line of the beginning\, sung by a solo violin and piccolo\, accompanied this time by harps and celesta. The third movement calls for no brass\, with the exception of a single horn and trumpet.4. Molto deliberato (Fanfare)—Allegro risoluto: The final movement follows without pause. It is the longest movement of the Symphony\, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on “Fanfare for the Common Man\,” which I composed in 1942 at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony. In the present version it is first played pianissimo by flutes and clarinets\, and then suddenly given out by brass and percussion. The fanfare serves as preparation for the main body of the movement which follows. The components of the usual form are there: a first theme in animated sixteenth-note motion; a second theme—broader and more song-like in character; a full-blown development and a refashioned return to the earlier material of the movement\, leading to a peroration. One curious feature of the movement consists in the fact that the second theme is to be found embedded in the development section instead of  being in its customary place. The development\, as such\, concerns itself with the fanfare and the first theme fragments. A shrill tutti chord\, with flutter-tongued brass and piccolos\, brings the development to a close. What follows is not a recapitulation in the ordinary sense. Instead\, a delicate interweaving of the first theme in the higher solo woodwinds is combined with a quiet version of the fanfare in the two bassoons. Combined with this\, the opening theme of the first movement of the Symphony is quoted\, first in the violins\, and later in the solo trombone. Near the end a full-voiced chanting of the second song-like theme is heard in horns and trombones. The symphony concludes on a massive restatement of the opening phrase with which the entire work began. Program note by David B. Levy/Aaron Copland © 2012/2025 \n\n\n\n\nOn Audio\n\n\n\n\n\n\n\nLocklair SINCE DAWNWinston-Salem Symphony | Wake Forest University ChoirsMaya Angelou Narrator | Peter Perret ConductorSeptember 1996 (world premiere) \n\n\n\n\n\n\n\n\n\n\n\nCopland Symphony No. 3Winston-Salem Symphony | Robert Moody ConductorSeptember 2012 \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJaki Shelton Green\n\n\n\nJaki Shelton Green\, ninth Poet Laureate of North Carolina appointed in 2018\, is the first African American and third woman to be appointed as the North Carolina Poet Laureate. Some of her recognitions include North Carolina State University 2026 Honorary Doctorate of Humane Letters\, 2022 Forbes Magazine 50 Over 50 Lifestyle List\, 2021 UNC Chapel Hill Frank B. Hanes Writer in Residence\, 2021 recipient of the George School Outstanding Alumni Award\, 2020 Kathryn H. Wallace Award for Community Service\, 2020 St. Andrews University Ethel Fortner Award\, 2020 Northern Orange County Dr. Martin Luther King\, Jr. Achievement Award\, 2020 Lucy Bramlette Patterson Award\, 2019 Academy of American Poet Laureates Fellow\, 2019 North Carolina Humanities Council Caldwell Award\, 2019 Woman of Distinction Excellence in Humanities Award\, 2014 Induction into the North Carolina Literary Hall of Fame\, 2009 North Carolina Piedmont Laureate appointment\, 2003 recipient of the North Carolina Award for Literature. \n\n\n\nJaki Shelton Green recently retired as professor of documentary poetry at Duke University Center for Documentary Studies. Her publications include Dead on Arrival\, Masks\, Dead on Arrival and New Poems\, Conjure Blues\, singing a tree into dance\, and breath of the song\, published by Blair Publishers. Feeding the Light\, i want to undie you\, The Communion of White Dresses published by Jacar Press\, and i want to undie you\, English /Italian bilingual edition published by Lebeg Publishers of Rome Italy. Juneteenth 2020\, she released her first LP poetry album\, The River Speaks of Thirst\, produced by Soul City Sounds and Clearly Records and released a CD\, i want to undie you in 2021. \n\n\n\nJaki Shelton Green is the owner of SistaWRITE providing writing retreats for women writers in across the United States\, Northern Morocco\, the Loire valley in France\, and Ireland. She has been involved with numerous public art collaborations and projects including the NC Freedom Park\, Dix Park Conservancy\, City of Asheville Riverwalk Project\, Mint Museum of Charlotte\, North Carolina African American Heritage Commission Africa to Carolina public art installation. \n\n\n\nHer poetry has been commissioned\, performed\, choreographed\, and translated into symphonies\, film\, and paintings by visual artists\, dance companies\, and musicians including Flutronix\, the Cincinnati Symphony Orchestra\, The North Carolina Symphony Orchestra\, The Art Project of Chicago\, The New York City Girls Choir\, Wichita Falls Texas Symphony\, Lexington Kentucky Philharmonic Orchestra\, Duke University Black Music Lab Project\, the Miami City Ballet\, the Justice Project Theater\, Murmurations Dance Company\, Choreodance Company\, Elon University Dance Department\, Chuck Davis African American Dance Company at the Kennedy Center\, DancaNova at Naropa Institute\, Two Near the Edge Dance Company\, North Carolina State University Dance Department\, North Carolina Central University Dance Department\, North Carolina State University Craft Center\, Gregg Museum of Art and Design\, and Theatre Charlotte. Other collaborations include 2026 Artist in Residence at the Durham NC Unitarian Universalist Fellowship\, the Moroccan Ministry of Education\, the History Museum of Charlotte\, the Blowing Rock Arts and History Museum\, Poet Laureate in Residence at the North Carolina Museum of Art (2021-2024)\, poetry editor for WALTER Magazine.
URL:https://www.wssymphony.org/event/coplands-fanfare/2026-05-30/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Symphony Chorus
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DTSTART;TZID=America/New_York:20260426T150000
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SUMMARY:Storm Large
DESCRIPTION:Storm LargeThe Seven Deadly Sins\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\nSat\, Apr 257:30 P \n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\nSun\, Apr 263:00 P \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyStorm Large VocalistHudson Shad Men’s Vocal QuartetMichelle Merrill Conductor \n\n\n\nAnna Clyne This Midnight Hour13 minBizet Excerpts from Carmen25 minIntermissionWeill The Seven Deadly Sins37 min \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nBizet “March of the Toreadors” from CarmenWinston-Salem Symphony | Robert Moody ConductorSeptember 2016 \n\n\n\n\n\nFearless women. Unforgettable music. A composition that begins “a naked woman running mad through the pure night\,” sets the stage for a femme fatale evening. The story of Bizet’s temptress Carmen is told through a symphonic suite from the familiar opera. And the scandalously fabulous chanteuse Storm Large guides us through the seven deadly sins in song. \n\n\n\n\n\n\n\n\n\n\n\nNC Connection\n\n\n\nAn East Coast native but longtime West Coast resident (San Francisco\, Portland)\, Storm Large has recently put down roots in Asheville\, NC and has established herself in that amazing community and their thriving arts scene. #nosoundlikehome \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. Carol Reynolds is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 257:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nStorm Large\n\n\n\nStorm Large: musician\, actor\, playwright\, author\, awesome. She shot to national prominence in 2006 as a finalist on the CBS show Rock Star: Supernova\, where despite having been eliminated in the week before the finale\, Storm built a fan base that follows her around the world to this day. She was seen on the 2021 season of America’s Got Talent. \n\n\n\nStorm spent the 90s singing in clubs throughout San Francisco. Tired of the club scene\, she moved to Portland to pursue a new career as a chef\, but a last-minute cancellation in 2002 at the Portland club “Dante’s” turned into a standing Wednesday night engagement for Storm and her new band\, The Balls. It wasn’t long before Storm had a cult-like following in Portland\, and a renewed singing career that was soon to be launched onto the international stage. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nStorm’s 2021 performances on America’s Got Talent — especially this one\, of “I’ve Got You Under My Skin — left Simon\, Heidi\, and Howie floored. Rockstar\, yes … but also searingly intense as a classical artist\, too. You’ll love her in Weill’s The Seven Deadly Sins. \n\n\n\n\n\n\n\n\n\n\n\nStorm gives a fantastic and fun synopsis of Kurt Weill’s The Seven Deadly Sins in this promo for the Detroit Symphony Orchestra (where WSS music director Michelle Merrill served as associate conductor!) ahead of 2013 concerts in Detroit’s Symphony Hall and on tour in Carnegie Hall. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHudson Shad\n\n\n\nHUDSON SHAD has a thriving relationship with some of the great conductors and symphony orchestras of the world. The Hudson Shad Quartet frequently performs Kurt Weill’s Die Sieben Todsunden (The Seven Deadly Sins). They have appeared with Kurt Masur and the New York Philharmonic\, Michael Tilson Thomas and the San Francisco Symphony alongside such distinguished singers as Marianne Faithfull and Julia Migenes in the role of Anna. Hudson Shad’s performance of Weill’s Mahagonny Songspiel with the St. Paul Chamber Orchestra was recorded broadcast on NPR in 1996.  \n\n\n\nHudson Shad was formed in 1992 to revive the artistry of the celebrated vocal ensemble “The Comedian Harmonists”\, who\, in the ’20s and ’30s\, brought to European audiences the sounds of American a capella singing. When Hudson Shad gave their German debut in the summer of 1995\, they were hailed as the first equal heirs to the Comedian Harmonists by national news magazine Der Stern. \n\n\n\nThe group’s repertoire is by no means limited to the Music of the Comedian Harmonists\, however. In their concerts they present American songs of the 20’s\, including the repertoire of The Revelers\, The Mills Brothers\, and The Paul Whiteman Orchestra. Furthermore\, their diversity includes evergreens from the 60’s like “Martha My Dear” and “The Lion Sleeps Tonight\,” as well as gospel songs and Schubert lieder. In January 1997 they were featured artists in Lincoln Center’s bicentennial Schubert celebration with Kurt Masur and the New York Philharmonic. In 1999\, Hudson Shad starred in Band in Berlin at the Helen Hayes Theater on Broadway.
URL:https://www.wssymphony.org/event/storm-large/2026-04-26/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260425T193000
DTEND;TZID=America/New_York:20260425T213000
DTSTAMP:20260617T165144
CREATED:20250529T190637Z
LAST-MODIFIED:20260416T203900Z
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SUMMARY:Storm Large
DESCRIPTION:Storm LargeThe Seven Deadly Sins\n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\nSat\, Apr 257:30 P \n\n\n\n\n\n\n\n\n\n\n \n\n\n\n\n\n\nSun\, Apr 263:00 P \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyStorm Large VocalistHudson Shad Men’s Vocal QuartetMichelle Merrill Conductor \n\n\n\nAnna Clyne This Midnight Hour13 minBizet Excerpts from Carmen25 minIntermissionWeill The Seven Deadly Sins37 min \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nBizet “March of the Toreadors” from CarmenWinston-Salem Symphony | Robert Moody ConductorSeptember 2016 \n\n\n\n\n\nFearless women. Unforgettable music. A composition that begins “a naked woman running mad through the pure night\,” sets the stage for a femme fatale evening. The story of Bizet’s temptress Carmen is told through a symphonic suite from the familiar opera. And the scandalously fabulous chanteuse Storm Large guides us through the seven deadly sins in song. \n\n\n\n\n\n\n\n\n\n\n\nNC Connection\n\n\n\nAn East Coast native but longtime West Coast resident (San Francisco\, Portland)\, Storm Large has recently put down roots in Asheville\, NC and has established herself in that amazing community and their thriving arts scene. #nosoundlikehome \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. Carol Reynolds is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 257:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nStorm Large\n\n\n\nStorm Large: musician\, actor\, playwright\, author\, awesome. She shot to national prominence in 2006 as a finalist on the CBS show Rock Star: Supernova\, where despite having been eliminated in the week before the finale\, Storm built a fan base that follows her around the world to this day. She was seen on the 2021 season of America’s Got Talent. \n\n\n\nStorm spent the 90s singing in clubs throughout San Francisco. Tired of the club scene\, she moved to Portland to pursue a new career as a chef\, but a last-minute cancellation in 2002 at the Portland club “Dante’s” turned into a standing Wednesday night engagement for Storm and her new band\, The Balls. It wasn’t long before Storm had a cult-like following in Portland\, and a renewed singing career that was soon to be launched onto the international stage. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nStorm’s 2021 performances on America’s Got Talent — especially this one\, of “I’ve Got You Under My Skin — left Simon\, Heidi\, and Howie floored. Rockstar\, yes … but also searingly intense as a classical artist\, too. You’ll love her in Weill’s The Seven Deadly Sins. \n\n\n\n\n\n\n\n\n\n\n\nStorm gives a fantastic and fun synopsis of Kurt Weill’s The Seven Deadly Sins in this promo for the Detroit Symphony Orchestra (where WSS music director Michelle Merrill served as associate conductor!) ahead of 2013 concerts in Detroit’s Symphony Hall and on tour in Carnegie Hall. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHudson Shad\n\n\n\nHUDSON SHAD has a thriving relationship with some of the great conductors and symphony orchestras of the world. The Hudson Shad Quartet frequently performs Kurt Weill’s Die Sieben Todsunden (The Seven Deadly Sins). They have appeared with Kurt Masur and the New York Philharmonic\, Michael Tilson Thomas and the San Francisco Symphony alongside such distinguished singers as Marianne Faithfull and Julia Migenes in the role of Anna. Hudson Shad’s performance of Weill’s Mahagonny Songspiel with the St. Paul Chamber Orchestra was recorded broadcast on NPR in 1996.  \n\n\n\nHudson Shad was formed in 1992 to revive the artistry of the celebrated vocal ensemble “The Comedian Harmonists”\, who\, in the ’20s and ’30s\, brought to European audiences the sounds of American a capella singing. When Hudson Shad gave their German debut in the summer of 1995\, they were hailed as the first equal heirs to the Comedian Harmonists by national news magazine Der Stern. \n\n\n\nThe group’s repertoire is by no means limited to the Music of the Comedian Harmonists\, however. In their concerts they present American songs of the 20’s\, including the repertoire of The Revelers\, The Mills Brothers\, and The Paul Whiteman Orchestra. Furthermore\, their diversity includes evergreens from the 60’s like “Martha My Dear” and “The Lion Sleeps Tonight\,” as well as gospel songs and Schubert lieder. In January 1997 they were featured artists in Lincoln Center’s bicentennial Schubert celebration with Kurt Masur and the New York Philharmonic. In 1999\, Hudson Shad starred in Band in Berlin at the Helen Hayes Theater on Broadway.
URL:https://www.wssymphony.org/event/storm-large/2026-04-25/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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DTSTART;TZID=America/New_York:20260308T150000
DTEND;TZID=America/New_York:20260308T170000
DTSTAMP:20260617T165144
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LAST-MODIFIED:20260304T214043Z
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SUMMARY:Beethoven + Borodin
DESCRIPTION:Beethoven + Borodinwith the Symphony Chorus\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 7\, 20267:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 8\, 20263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusKathryn Levy FluteMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nBeethoven Symphony No. 8  Program Notes \n\n\n\nGriffes Poem for flute and Orchestra  Program Notes \n\n\n\nQuinn Mason Princesa de la Luna  Program Notes \n\n\n\nBorodin Polovtsian Dances from Prince Igor  Program Notes \n\n\n\nThis program will be performed without intermission and is expected to last approximately 1 hour and 15 minutes. \n\n\n\nBeethoven’s firework Eighth Symphony and Borodin’s familiar and raucous Polovstian Dances (featuring the Symphony Chorus) bookend a concert with a quieter middle. Charles Griffes’s Poem features WSS principal flutist Kathryn Levy\, celebrating her 50th season with the orchestra; Quinn Mason’s recent Princesa de la Luna is a palette of colors and textures for a string orchestra with harp. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsor:Dr. Patricia Willis \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 77:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 83:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Chorus Rehearsal Room\, directly adjacent to Reynolds Auditorium on its north side\, for a lively discussion about the music and surrounding context. Local musicologist and WFU emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before the concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKathryn Levy Flute\n\n\n\nFlutist Kathryn Levy is a native of Salinas\, California.  She studied flute with Katherine Sorensen of San Jose\, Paul Renzi of San Francisco\, Roger Stevens at the Music Academy of the West in Santa Barbara\, Maurice Sharpe at the Aspen Music Festival and Joseph Mariano at the Eastman School of Music in Rochester\, New York where she earned both the BM and the Coveted Performer’s Certificate. In 1976\, Ms. Levy moved to Winston-Salem\, NC where she teaches in the Wake Forest University Department of Music. She has developed the flute choir and wind chamber music programs in addition to her studio teaching and has performed frequently in faculty chamber music concerts. \n\n\n\nMs. Levy is equally at home as an orchestral musician\, having served as a flutist in the New Orleans Philharmonic\, the Rochester Philharmonic and numerous summer festival orchestras. She currently holds the position of Principal Flute with the Winston-Salem Symphony and Piccoloist with the Chautauqua Symphony. \n\n\n\n\nRead more.
URL:https://www.wssymphony.org/event/beethoven-borodin/2026-03-08/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Symphony Chorus
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END:VEVENT
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DTSTART;TZID=America/New_York:20260307T193000
DTEND;TZID=America/New_York:20260307T213000
DTSTAMP:20260617T165144
CREATED:20250529T190054Z
LAST-MODIFIED:20260304T214043Z
UID:10000155-1772911800-1772919000@www.wssymphony.org
SUMMARY:Beethoven + Borodin
DESCRIPTION:Beethoven + Borodinwith the Symphony Chorus\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 7\, 20267:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 8\, 20263:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusKathryn Levy FluteMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nBeethoven Symphony No. 8  Program Notes \n\n\n\nGriffes Poem for flute and Orchestra  Program Notes \n\n\n\nQuinn Mason Princesa de la Luna  Program Notes \n\n\n\nBorodin Polovtsian Dances from Prince Igor  Program Notes \n\n\n\nThis program will be performed without intermission and is expected to last approximately 1 hour and 15 minutes. \n\n\n\nBeethoven’s firework Eighth Symphony and Borodin’s familiar and raucous Polovstian Dances (featuring the Symphony Chorus) bookend a concert with a quieter middle. Charles Griffes’s Poem features WSS principal flutist Kathryn Levy\, celebrating her 50th season with the orchestra; Quinn Mason’s recent Princesa de la Luna is a palette of colors and textures for a string orchestra with harp. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsor:Dr. Patricia Willis \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 77:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 83:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Chorus Rehearsal Room\, directly adjacent to Reynolds Auditorium on its north side\, for a lively discussion about the music and surrounding context. Local musicologist and WFU emeritus professor of music Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before the concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKathryn Levy Flute\n\n\n\nFlutist Kathryn Levy is a native of Salinas\, California.  She studied flute with Katherine Sorensen of San Jose\, Paul Renzi of San Francisco\, Roger Stevens at the Music Academy of the West in Santa Barbara\, Maurice Sharpe at the Aspen Music Festival and Joseph Mariano at the Eastman School of Music in Rochester\, New York where she earned both the BM and the Coveted Performer’s Certificate. In 1976\, Ms. Levy moved to Winston-Salem\, NC where she teaches in the Wake Forest University Department of Music. She has developed the flute choir and wind chamber music programs in addition to her studio teaching and has performed frequently in faculty chamber music concerts. \n\n\n\nMs. Levy is equally at home as an orchestral musician\, having served as a flutist in the New Orleans Philharmonic\, the Rochester Philharmonic and numerous summer festival orchestras. She currently holds the position of Principal Flute with the Winston-Salem Symphony and Piccoloist with the Chautauqua Symphony. \n\n\n\n\nRead more.
URL:https://www.wssymphony.org/event/beethoven-borodin/2026-03-07/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Symphony Chorus
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260214T170000
DTEND;TZID=America/New_York:20260214T190000
DTSTAMP:20260617T165144
CREATED:20250825T162338Z
LAST-MODIFIED:20260209T175753Z
UID:10000134-1771088400-1771095600@www.wssymphony.org
SUMMARY:Be Mine
DESCRIPTION:Be MineA Valentine’s Playlist\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayFeb 14\, 20265:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyJodi Burns SopranoMichelle Merrill Conductor \n\n\n\n\n\n\n\n\n\n\n\nFeaturing cherished favorites for classical music lovers\, this Valentine’s Day\, early-evening concert will be the perfect start to a romantic night on the town. The intermission-free program will easily allow for a 7pm dinner—and best of all\, audience-favorite Jodi Burns stars! \n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsors:Bill & Judy Watson \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRepertoire to include:Gershwin Crazy for You OvertureBernstein Selections from West Side Storyde Falla “Ritual Fire Dance” from El Amor BrujoMascagni Intermezzo from Cavalleria RusticanaDebussy/Calliet: Clair de LuneMahler Adagietto from Symphony No. 5Rodgers/Bennett: “Some Enchanted Evening” from South Pacific \n\n\n\n\nAdd a lovely treat to your evening by pre-ordering a rose or a small box of chocolates from Bo-Ty Walker Florist! Simply add to your ticket purchase. Items will be available for you at the door.Rose: $5 / Chocolates: $12Limited Availability \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSatFeb 145:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorn Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJodi Burns\, soprano\n\n\n\nJodi Burns has been described as singing with a “plush voice and rich expressivity”(The New York Times). In her appearance as Anna Sorenson in Kevin Puts’ Silent Night\, (Piedmont Opera)\, The Winston-Salem Journal notes\, “Burns dazzle[s] with her lustrous soprano and bright charisma. The production is elevated whenever she appears on stage.” Whether performing in intimate venues or on the opera stage\, she appeals to a rich and diverse audience. \n\n\n\n\nRead more.
URL:https://www.wssymphony.org/event/be-mine/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,HOLIDAY25
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X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Reynolds Auditorium 301 Hawthorne Rd. NW Winston-Salem NC 27104;X-APPLE-RADIUS=500;X-TITLE=301 Hawthorne Rd. NW:geo:-80.2648333,36.1011236
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251116T150000
DTEND;TZID=America/New_York:20251116T163000
DTSTAMP:20260617T165144
CREATED:20250529T181228Z
LAST-MODIFIED:20251105T154713Z
UID:10000125-1763305200-1763310600@www.wssymphony.org
SUMMARY:Mozart & Ravel
DESCRIPTION:Mozart & Ravelplus the Crouching Tiger Concerto\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayNov 15\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayNov 16\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyChristine Lamprea CelloPaperhand Puppet ProjectMichelle Merrill Conductor \n\n\n\nMozart Overture to The Magic FluteTan Dun Crouching Tiger Cello ConcertoRavel Mother Goose (full ballet) \n\n\n\n\n\nSome of the best music tells a story. This concert features an overture from an opera\, a thrilling cello concerto distilled from a film score\, and a fairy tale ballet performed by the amazing\, larger-than-life puppets of Paperhand Puppet Project. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsors:Ralph Womble & Ashley Edwards \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSat\, Nov 157:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSun\, Nov 163:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristine Lamprea Cello\n\n\n\n\n\n\n\nCHRISTINE LAMPREA\, Cellist and 2018 Sphinx Medal of Excellence Winner\, is an artist known for her emotionally committed and intense performances. Upon her Carnegie Hall debut as soloist in 2013\, she has since returned to Carnegie\, as well as performed with orchestras such Costa Rica National Symphony\, Detroit Symphony\, Houston Symphony\, National Symphony of Michoacan\, New Jersey Symphony\, San Antonio Symphony\, Santa Fe Pro Musica\, and toured with the Sphinx Virtuosi across the U.S. As a recitalist\, Ms. Lamprea has appeared on prestigious series at Illinois’ Krannert Center for the  Performing Arts\, Florida’s Kravis Center for the Performing Arts\, Pepperdine University\, the Los Angeles County Museum of Art\, and the Washington Performing Arts Society. In demand as a chamber musician\, she performs   regularly with the Jupiter Symphony Chamber Players\, and has performed with such musicians as Shmuel Ashkenasi\,   Sarah Chang\, Itzhak Perlman\, Roger Tapping\, and Carol Wincenc.                                           \n\n\n\nMs. Lamprea strives to expand her musical boundaries by exploring many genres of music and non-traditional   venues for performance and teaching. Her Songs of Colombia Suite includes arrangements of traditional South  American tunes for cello and piano or guitar\, and have been performed at the Colombian Embassy and Supreme Court of the United States for Justice Sonia Sotomayor. She has worked with members of Baroque ensemble Les Arts Florissants\, and studied sonatas with fortepiano with Audrey Axinn. She has premiered several works by composers of today. In recent years\, she commissioned cadenzas for the Haydn D Major Concerto by Jessie Montgomery\, and premiered Jeffrey Mumford’s cello concerto “of fields unfolding…echoing depths of resonant light” with the San Antonio Symphony. \n\n\n\nMs. Lamprea is on the cello faculty at the Longy School of Music of Bard College\, serves as substitute faculty at the Juilliard School\, and served as Lecturer of Cello at the Texas Christian University School of Music for the 2018-19 academic year. Ms. Lamprea has given masterclasses for the Vivac-e Festival\, Idyllwild Arts Academy\, Wintergreen Summer Music Festival\, among others. She has worked with Ecuadorian youth in the cities of Quito and Guayaquil\, as part of a residency between The Juilliard School and “Sinfonia Por La Vida\,” a social inclusion program modeled after Venezuela’s El Sistema program. Christine Lamprea is the recipient of a Paul and Daisy Soros Fellowship for New Americans\, which supported her studies at the New England Conservatory\, and a Sphinx MPower Artist Grant\, which supported her study with acclaimed cellist Matt Haimovitz. She studied with Bonnie Hampton at The Juilliard School and holds a Master’s degree from the New England Conservatory\, where she studied with Natasha Brofsky. Additional influences were Lynn Harrell\, Frans Helmerson\, and Philippe Muller. Previous teachers include Ken Freudigman and Ken Ishii.     \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPaperhand Puppet Project\n\n\n\nPaperhand Puppet Project’s mission is to create art that inspires connection. By practicing\, performing and teaching the art of puppetry\, we strive to nurture the best in humanity\, build creative culture\, and help celebrate and protect the natural world. \n\n\n\nOur vision is inspired by our love for the earth and its creatures (including humans). We will synthesize many art forms including\, but never limited to\, sculpting\, painting\, dance\, music\, improvisation\, costume design\, set design and theater. We are committed to creating multi-scaled and multi-disciplinary puppet performances that support this vision. \n\n\n\nWe will use this puppetry\, performance and creativity to undermine and eradicate greed\, hate and fear and promote justice\, equality and peace. We will work uncompromisingly to these ends. \n\n\n\nPaperhand Puppet Project is comprised of artists who share their energy\, creativity\, sweat\, smarts\, strength\, support and hold a belief in our vision and promote our mission. Community is the lifeblood of Paperhand. It makes our creations\, our performances and Paperhand Puppet Project’s existence possible.   \n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\n\nBeethoven + Borodinwith the Symphony Chorus\n\n\n\nBeethoven’s firework 8th Symphony and Borodin’s familiar and raucous Polovstian Dances. \n\n\n\n\nMar 7 & 8\n\n\n\n\n\n\n\n\nCopland’s Fanfareplus music of Conor Brown & Dan Locklair\n\n\n\nA program of music by American composers both fresh and familiar folds our 25/26 season. \n\n\n\n\nMay 30 & 31
URL:https://www.wssymphony.org/event/mozart-ravel/2025-11-16/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Family Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251115T193000
DTEND;TZID=America/New_York:20251115T220000
DTSTAMP:20260617T165144
CREATED:20250529T181228Z
LAST-MODIFIED:20251105T154713Z
UID:10000124-1763235000-1763244000@www.wssymphony.org
SUMMARY:Mozart & Ravel
DESCRIPTION:Mozart & Ravelplus the Crouching Tiger Concerto\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayNov 15\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayNov 16\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyChristine Lamprea CelloPaperhand Puppet ProjectMichelle Merrill Conductor \n\n\n\nMozart Overture to The Magic FluteTan Dun Crouching Tiger Cello ConcertoRavel Mother Goose (full ballet) \n\n\n\n\n\nSome of the best music tells a story. This concert features an overture from an opera\, a thrilling cello concerto distilled from a film score\, and a fairy tale ballet performed by the amazing\, larger-than-life puppets of Paperhand Puppet Project. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nIndividual Concert Sponsors:Ralph Womble & Ashley Edwards \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSat\, Nov 157:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSun\, Nov 163:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristine Lamprea Cello\n\n\n\n\n\n\n\nCHRISTINE LAMPREA\, Cellist and 2018 Sphinx Medal of Excellence Winner\, is an artist known for her emotionally committed and intense performances. Upon her Carnegie Hall debut as soloist in 2013\, she has since returned to Carnegie\, as well as performed with orchestras such Costa Rica National Symphony\, Detroit Symphony\, Houston Symphony\, National Symphony of Michoacan\, New Jersey Symphony\, San Antonio Symphony\, Santa Fe Pro Musica\, and toured with the Sphinx Virtuosi across the U.S. As a recitalist\, Ms. Lamprea has appeared on prestigious series at Illinois’ Krannert Center for the  Performing Arts\, Florida’s Kravis Center for the Performing Arts\, Pepperdine University\, the Los Angeles County Museum of Art\, and the Washington Performing Arts Society. In demand as a chamber musician\, she performs   regularly with the Jupiter Symphony Chamber Players\, and has performed with such musicians as Shmuel Ashkenasi\,   Sarah Chang\, Itzhak Perlman\, Roger Tapping\, and Carol Wincenc.                                           \n\n\n\nMs. Lamprea strives to expand her musical boundaries by exploring many genres of music and non-traditional   venues for performance and teaching. Her Songs of Colombia Suite includes arrangements of traditional South  American tunes for cello and piano or guitar\, and have been performed at the Colombian Embassy and Supreme Court of the United States for Justice Sonia Sotomayor. She has worked with members of Baroque ensemble Les Arts Florissants\, and studied sonatas with fortepiano with Audrey Axinn. She has premiered several works by composers of today. In recent years\, she commissioned cadenzas for the Haydn D Major Concerto by Jessie Montgomery\, and premiered Jeffrey Mumford’s cello concerto “of fields unfolding…echoing depths of resonant light” with the San Antonio Symphony. \n\n\n\nMs. Lamprea is on the cello faculty at the Longy School of Music of Bard College\, serves as substitute faculty at the Juilliard School\, and served as Lecturer of Cello at the Texas Christian University School of Music for the 2018-19 academic year. Ms. Lamprea has given masterclasses for the Vivac-e Festival\, Idyllwild Arts Academy\, Wintergreen Summer Music Festival\, among others. She has worked with Ecuadorian youth in the cities of Quito and Guayaquil\, as part of a residency between The Juilliard School and “Sinfonia Por La Vida\,” a social inclusion program modeled after Venezuela’s El Sistema program. Christine Lamprea is the recipient of a Paul and Daisy Soros Fellowship for New Americans\, which supported her studies at the New England Conservatory\, and a Sphinx MPower Artist Grant\, which supported her study with acclaimed cellist Matt Haimovitz. She studied with Bonnie Hampton at The Juilliard School and holds a Master’s degree from the New England Conservatory\, where she studied with Natasha Brofsky. Additional influences were Lynn Harrell\, Frans Helmerson\, and Philippe Muller. Previous teachers include Ken Freudigman and Ken Ishii.     \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPaperhand Puppet Project\n\n\n\nPaperhand Puppet Project’s mission is to create art that inspires connection. By practicing\, performing and teaching the art of puppetry\, we strive to nurture the best in humanity\, build creative culture\, and help celebrate and protect the natural world. \n\n\n\nOur vision is inspired by our love for the earth and its creatures (including humans). We will synthesize many art forms including\, but never limited to\, sculpting\, painting\, dance\, music\, improvisation\, costume design\, set design and theater. We are committed to creating multi-scaled and multi-disciplinary puppet performances that support this vision. \n\n\n\nWe will use this puppetry\, performance and creativity to undermine and eradicate greed\, hate and fear and promote justice\, equality and peace. We will work uncompromisingly to these ends. \n\n\n\nPaperhand Puppet Project is comprised of artists who share their energy\, creativity\, sweat\, smarts\, strength\, support and hold a belief in our vision and promote our mission. Community is the lifeblood of Paperhand. It makes our creations\, our performances and Paperhand Puppet Project’s existence possible.   \n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\n\nBeethoven + Borodinwith the Symphony Chorus\n\n\n\nBeethoven’s firework 8th Symphony and Borodin’s familiar and raucous Polovstian Dances. \n\n\n\n\nMar 7 & 8\n\n\n\n\n\n\n\n\nCopland’s Fanfareplus music of Conor Brown & Dan Locklair\n\n\n\nA program of music by American composers both fresh and familiar folds our 25/26 season. \n\n\n\n\nMay 30 & 31
URL:https://www.wssymphony.org/event/mozart-ravel/2025-11-15/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series,Family Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250921T150000
DTEND;TZID=America/New_York:20250921T173000
DTSTAMP:20260617T165144
CREATED:20250529T153555Z
LAST-MODIFIED:20250826T173038Z
UID:10000152-1758466800-1758475800@www.wssymphony.org
SUMMARY:Marsalis + Tchaikovsky
DESCRIPTION:Marsalis + Tchaikovskyplus the William Tell Overture\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdaySep 20\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundaySep 21\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyKelly Hall-Tompkins ViolinMichelle Merrill Conductor \n\n\n\nRossini William Tell OvertureWynton Marsalis Violin ConcertoTchaikovsky Symphony No. 5 \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nTchaikovsky Symphony No. 5Winston-Salem Symphony | Matthew Troy ConductorNovember 2014 \n\n\n\n\n\nThere’s so much more to the William Tell Overture than just the familiar “Lone Ranger” theme. A beautiful cello section solo and a threatening storm scene lead to the fanfare tune we all know and love from TV. Wynton Marsalis’s recent violin concerto blends soulful and intense virtuosity with jazzy New Orleans romp\, and Tchaikovsky’s Fifth will take you on a journey from resigning to fate to the tender melody of a solo French horn\, a lively waltz\, and ultimate triumph. \n\n\n\n\n\n\n\n\n\n\n\nNC Connection\n\n\n\nJazz trumpeter\, bandleader\, National Medal of Arts laureate\, and Pulitzer Prize-winning composer Wynton Marsalis spent two formative summers as a teenager in the student program at Greensboro’s Eastern Music Festival. Since then\, he has returned numerous times as a guest performer and master teacher. #nosoundlikehome \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdaySep 207:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundaySep 213:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKelly Hall-Tompkins\n\n\n\nWinner of a Naumburg International Violin Competition Honorarium Prize and featured in the Smithsonian Museum for African-American History\, Ms. Hall-Tompkins is a violin soloist entrepreneur who has been acclaimed by The New York Times as “the versatile violinist who makes the music come alive\,” for her “tonal mastery” (BBC Music Magazine) and as The New York Times “New Yorker of the Year.” \n\n\n\nShe has appeared as co-soloist in Carnegie Hall with Glenn Dicterow and conductor Leonard Slatkin\, in London at Queen Elizabeth Hall\, at Lincoln Center and with the Symphonies of Dallas\, Jacksonville\, Oakland\, recitals in Paris\, New York\, Toronto\, Washington\, Chicago\, and festivals of Tanglewood\, Ravinia\, Santa Fe\, France\, Germany and Italy. She was “Fiddler”/Violin Soloist of the Grammy/Tony-nominated Broadway production of Fiddler on the Roof.  Inspired by her experience\, she commissioned and developed the first ever Fiddler solo disc of all new arrangements\, “The Fiddler Expanding Tradition\,” which is featured in the new documentary “Fiddler: A Miracle of Miracles” on the 55-year history of the musical.  \n\n\n\nAs founder of Music Kitchen–Food for the Soul\, Kelly Hall-Tompkins is a pioneer of social justice in classical music\, bringing top artists in over 100 concerts coast to coast in homeless shelters from New York to Los Angeles and in internationally in Paris\, France.  Music Kitchen made its Carnegie Hall debut to present the Forgotten Voices song cycle on May 21\, 2020 in Association with Carnegie Hall. \n\n\n\n\n\n\n\n\n\nView Kelly’s promotional video for her tour of the Wynton Marsalis Violin Concerto\, which happens to include a cameo appearance or two by our own former music director\, Robert Moody! Kelly has performed this work with orchestras across the US and at Switzerland’s famed Lucerne Festival with the Chineke! Orchestra. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\nMozart & Ravelplus the Crouching Tiger Concerto\n\n\n\nPaperhand Puppet Theatre brings their GIANT puppets to the stage for Ravel’s Mother Goose ballet suite; Christine Lamprea shines in a cello concerto by Tan Dun while Mozart’s “Magic Flute” sets the scene.  \n\n\n\n\nNov 15 & 16\n\n\n\n\n\n\n\n\nThe Music ofFLEETWOOD MAC\n\n\n\nThe WSS\, guest vocalists\, and the fan-favorite Jeans ‘n Classics band come together to celebrate the supergroup’s decades of hits. \n\n\n\n\nApr 6\, 2024
URL:https://www.wssymphony.org/event/marsalis-tchaikovsky/2025-09-21/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250920T193000
DTEND;TZID=America/New_York:20250920T220000
DTSTAMP:20260617T165144
CREATED:20250529T153555Z
LAST-MODIFIED:20250826T173038Z
UID:10000119-1758396600-1758405600@www.wssymphony.org
SUMMARY:Marsalis + Tchaikovsky
DESCRIPTION:Marsalis + Tchaikovskyplus the William Tell Overture\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdaySep 20\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundaySep 21\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyKelly Hall-Tompkins ViolinMichelle Merrill Conductor \n\n\n\nRossini William Tell OvertureWynton Marsalis Violin ConcertoTchaikovsky Symphony No. 5 \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nTchaikovsky Symphony No. 5Winston-Salem Symphony | Matthew Troy ConductorNovember 2014 \n\n\n\n\n\nThere’s so much more to the William Tell Overture than just the familiar “Lone Ranger” theme. A beautiful cello section solo and a threatening storm scene lead to the fanfare tune we all know and love from TV. Wynton Marsalis’s recent violin concerto blends soulful and intense virtuosity with jazzy New Orleans romp\, and Tchaikovsky’s Fifth will take you on a journey from resigning to fate to the tender melody of a solo French horn\, a lively waltz\, and ultimate triumph. \n\n\n\n\n\n\n\n\n\n\n\nNC Connection\n\n\n\nJazz trumpeter\, bandleader\, National Medal of Arts laureate\, and Pulitzer Prize-winning composer Wynton Marsalis spent two formative summers as a teenager in the student program at Greensboro’s Eastern Music Festival. Since then\, he has returned numerous times as a guest performer and master teacher. #nosoundlikehome \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdaySep 207:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundaySep 213:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKelly Hall-Tompkins\n\n\n\nWinner of a Naumburg International Violin Competition Honorarium Prize and featured in the Smithsonian Museum for African-American History\, Ms. Hall-Tompkins is a violin soloist entrepreneur who has been acclaimed by The New York Times as “the versatile violinist who makes the music come alive\,” for her “tonal mastery” (BBC Music Magazine) and as The New York Times “New Yorker of the Year.” \n\n\n\nShe has appeared as co-soloist in Carnegie Hall with Glenn Dicterow and conductor Leonard Slatkin\, in London at Queen Elizabeth Hall\, at Lincoln Center and with the Symphonies of Dallas\, Jacksonville\, Oakland\, recitals in Paris\, New York\, Toronto\, Washington\, Chicago\, and festivals of Tanglewood\, Ravinia\, Santa Fe\, France\, Germany and Italy. She was “Fiddler”/Violin Soloist of the Grammy/Tony-nominated Broadway production of Fiddler on the Roof.  Inspired by her experience\, she commissioned and developed the first ever Fiddler solo disc of all new arrangements\, “The Fiddler Expanding Tradition\,” which is featured in the new documentary “Fiddler: A Miracle of Miracles” on the 55-year history of the musical.  \n\n\n\nAs founder of Music Kitchen–Food for the Soul\, Kelly Hall-Tompkins is a pioneer of social justice in classical music\, bringing top artists in over 100 concerts coast to coast in homeless shelters from New York to Los Angeles and in internationally in Paris\, France.  Music Kitchen made its Carnegie Hall debut to present the Forgotten Voices song cycle on May 21\, 2020 in Association with Carnegie Hall. \n\n\n\n\n\n\n\n\n\nView Kelly’s promotional video for her tour of the Wynton Marsalis Violin Concerto\, which happens to include a cameo appearance or two by our own former music director\, Robert Moody! Kelly has performed this work with orchestras across the US and at Switzerland’s famed Lucerne Festival with the Chineke! Orchestra. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nYou May Also Like…\n\n\n\n\n\n\n\n\n\n\nMozart & Ravelplus the Crouching Tiger Concerto\n\n\n\nPaperhand Puppet Theatre brings their GIANT puppets to the stage for Ravel’s Mother Goose ballet suite; Christine Lamprea shines in a cello concerto by Tan Dun while Mozart’s “Magic Flute” sets the scene.  \n\n\n\n\nNov 15 & 16\n\n\n\n\n\n\n\n\nThe Music ofFLEETWOOD MAC\n\n\n\nThe WSS\, guest vocalists\, and the fan-favorite Jeans ‘n Classics band come together to celebrate the supergroup’s decades of hits. \n\n\n\n\nApr 6\, 2024
URL:https://www.wssymphony.org/event/marsalis-tchaikovsky/2025-09-20/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250427T150000
DTEND;TZID=America/New_York:20250427T173000
DTSTAMP:20260617T165144
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SUMMARY:Verdi's Requiem
DESCRIPTION:Verdi’s Requiem\n\n\n\nLarge orchestra and chorus | Powerful drama \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayApril 26\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayApril 27\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusOthalie Graham SopranoRaehann Bryce-Davis Mezzo SopranoCooper Nolan TenorBill McMurray BassMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nGiuseppe VerdiRequiem \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nRenowned for its dramatic intensity and profound emotional depth\, Verdi’s concert-stage masterpiece will be brought to life by a symphony orchestra\, chorus\, and a quartet of soloists whose voices will soar through the hall. \n\n\n\nFrom the powerful and haunting “Dies irae” to the tender “Agnus dei\,” each movement unfolds with gripping fervor\, showcasing Verdi’s unparalleled ability to blend grandeur with intimacy. Join us for a performance that will resonate long after the final note\, as we embark on a journey through the depths of human emotion and spiritual contemplation with Verdi’s Requiem. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Room 302 of Wait Chapel\, accessed from the north atrium of the building\, for a lively discussion about the music and surrounding context. Musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 267:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 273:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOthalie Graham\, soprano\n\n\n\nCanadian-American soprano Othalie Graham continues to receive critical acclaim throughout North America and is widely known for her interpretations of the title roles in Turandot and Aida and her commitment to Wagnerian repertoire. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRaehann Bryce-Davis\, mezzo-soprano\n\n\n\nRaehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCooper Nolan\, tenor\n\n\n\nTenor Cooper Nolan\, praised for his “bright\, shining\, tenor” (Musical America) and his “powerhouse voice” (Opera News)\, is increasingly making a name for himself as an important interpreter of some of opera’s most demanding tenor roles. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nBill McMurray\, baritone\n\n\n\nWith more than forty operatic roles to his credit\, Bill McMurray has been described as “A baritone with warm\, rich tones and superb stage presence” by the Durham Herald Sun. Roles to his credit include Figaro (Il Barbiere di Siviglia)\, Marcello (La bohème)\, Dulcamara (L’elisir d’amore)\, Count Almaviva (Le nozze di Figaro)\, and Escamillo (Carmen).  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChris Gilliam\, chorus director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Chris Gilliam is the Director of Choral Activities at Wake Forest University\, director of the Winston-Salem Symphony Chorus\, the artistic director and conductor for the Winston-Salem Choral Artists\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nWait ChapelWake Forest University2625 Wake Forest Rd.Winston-Salem\, NC 27106 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Apr 25 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses Verdi’s Requiem with the work’s soloists: Othalie Graham\, Raehann Bryce-Davis\, Cooper Nolan\, and Daniel Rich . \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Apr 24 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/verdis-requiem/2025-04-27/
LOCATION:Wait Chapel\, 2625 Wake Forest Rd.\, Winston-Salem\, NC\, 27106
CATEGORIES:Classics Series,Symphony Chorus
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DTSTART;TZID=America/New_York:20250426T193000
DTEND;TZID=America/New_York:20250426T220000
DTSTAMP:20260617T165144
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SUMMARY:Verdi's Requiem
DESCRIPTION:Verdi’s Requiem\n\n\n\nLarge orchestra and chorus | Powerful drama \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayApril 26\, 20257:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayApril 27\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyWinston-Salem Symphony ChorusOthalie Graham SopranoRaehann Bryce-Davis Mezzo SopranoCooper Nolan TenorBill McMurray BassMichelle Merrill ConductorChris Gilliam Chorus Director \n\n\n\nGiuseppe VerdiRequiem \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nRenowned for its dramatic intensity and profound emotional depth\, Verdi’s concert-stage masterpiece will be brought to life by a symphony orchestra\, chorus\, and a quartet of soloists whose voices will soar through the hall. \n\n\n\nFrom the powerful and haunting “Dies irae” to the tender “Agnus dei\,” each movement unfolds with gripping fervor\, showcasing Verdi’s unparalleled ability to blend grandeur with intimacy. Join us for a performance that will resonate long after the final note\, as we embark on a journey through the depths of human emotion and spiritual contemplation with Verdi’s Requiem. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Room 302 of Wait Chapel\, accessed from the north atrium of the building\, for a lively discussion about the music and surrounding context. Musicologist Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayApr 267:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayApr 273:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nOthalie Graham\, soprano\n\n\n\nCanadian-American soprano Othalie Graham continues to receive critical acclaim throughout North America and is widely known for her interpretations of the title roles in Turandot and Aida and her commitment to Wagnerian repertoire. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRaehann Bryce-Davis\, mezzo-soprano\n\n\n\nRaehann Bryce-Davis has been hailed by The New York Times as a “striking mezzo soprano” and by the San Francisco Chronicle for her “electrifying sense of fearlessness.” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCooper Nolan\, tenor\n\n\n\nTenor Cooper Nolan\, praised for his “bright\, shining\, tenor” (Musical America) and his “powerhouse voice” (Opera News)\, is increasingly making a name for himself as an important interpreter of some of opera’s most demanding tenor roles. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nBill McMurray\, baritone\n\n\n\nWith more than forty operatic roles to his credit\, Bill McMurray has been described as “A baritone with warm\, rich tones and superb stage presence” by the Durham Herald Sun. Roles to his credit include Figaro (Il Barbiere di Siviglia)\, Marcello (La bohème)\, Dulcamara (L’elisir d’amore)\, Count Almaviva (Le nozze di Figaro)\, and Escamillo (Carmen).  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChris Gilliam\, chorus director\n\n\n\nA conductor praised for his “precision and clarity\,” and performances hailed as “enlightened\,” Chris Gilliam is the Director of Choral Activities at Wake Forest University\, director of the Winston-Salem Symphony Chorus\, the artistic director and conductor for the Winston-Salem Choral Artists\, and Director of Music at Highland Presbyterian Church in Winston-Salem. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nWait ChapelWake Forest University2625 Wake Forest Rd.Winston-Salem\, NC 27106 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Apr 25 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses Verdi’s Requiem with the work’s soloists: Othalie Graham\, Raehann Bryce-Davis\, Cooper Nolan\, and Daniel Rich . \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Apr 24 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/verdis-requiem/2025-04-26/
LOCATION:Wait Chapel\, 2625 Wake Forest Rd.\, Winston-Salem\, NC\, 27106
CATEGORIES:Classics Series,Symphony Chorus
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250309T150000
DTEND;TZID=America/New_York:20250309T173000
DTSTAMP:20260617T165144
CREATED:20240729T195651Z
LAST-MODIFIED:20250225T013049Z
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SUMMARY:A Chamber Serenade
DESCRIPTION:Britten &Mozart\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 8\, 20255:00 PM  \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 9\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyKarim Sulayman TenorChristopher Caudill HornMichelle Merrill Conductor \n\n\n\nArvo PärtCantus in memoriam Benjamin Britten \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes  \n\n\n\n\n\nBenjamin BrittenSerenade for Tenor\, Horn\, and Strings \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nW.A. MozartSymphony No. 41\, K551  “Jupiter” \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nEstonian composer Arvo Pärt’s Cantus unfolds with haunting simplicity and profound solemnity\, paying homage to Benjamin Britten’s legacy and musical influence. Britten’s Serenade\, a masterpiece for smaller orchestra\, weaves together tenor and horn solos with ethereal string textures\, exploring themes of night\, nature\, and human existence. Mozart’s final symphony crowns the evening with its exuberant energy and brilliance. Join us for an unforgettable concert experience that traverses the depths of contemplation\, beauty\, and musical mastery across centuries and styles. \n\n\n\nPlease note:The Saturday evening\, Mar 8 performance is at 5:00 PM. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 85:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 93:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 4:00 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Centenary Church Dining Room\, directly off the 4½ Street lobby\, for a lively discussion about the music and surrounding context. Musicologist and Wake Forest University professor emeritus Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any classically-inspired concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKarim Sulayman\, tenor\n\n\n\nLebanese-American tenor Karim Sulayman has garnered international attention as a sophisticated and versatile artist\, praised for his “lucid\, velvety tenor and pop-star charisma” (BBC Music Magazine). The 2019 Best Classical Solo Vocal GRAMMY® Award winner\, he continues to earn acclaim for his original and innovative programming and recording projects\, while regularly performing on the world’s stages in opera\, orchestral concerts\, recital and chamber music. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristopher Caudill\, horn\n\n\n\nChristopher Caudill began playing the horn at age ten while living in London\, England\, with his \nfamily. Piano and violin lessons had failed to do the trick\, but a London Symphony concert at the \nBarbican with famous soloist Barry Tuckwell made him fall in love with the horn. He is a graduate \nof Northwestern University\, where he earned a B.A. in European History before studying horn \nwith the Chicago Symphony’s former Principal Horn\, Dale Clevenger. He was a member of the \nCivic Orchestra of Chicago\, and the New World Symphony in Miami where he met his horn duet \npartner\, Rachel Niketopoulos. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nCentenary United Methodist Church646 W. Fifth St.Winston-Salem\, NC 27101 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Mar 7 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill\, Karim Sulayman\, and Christopher Caudill talk about the work of Arvo Pärt\, Benjamin Britten\, and Mozart. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Mar 6 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/a-chamber-serenade/2025-03-09/
LOCATION:Centenary United Methodist Church\, 646 W. 5th St.\, Winston-Salem\, NC\, United States
CATEGORIES:Classics Series
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DTSTART;TZID=America/New_York:20250308T170000
DTEND;TZID=America/New_York:20250308T190000
DTSTAMP:20260617T165144
CREATED:20240729T195651Z
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SUMMARY:A Chamber Serenade
DESCRIPTION:Britten &Mozart\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayMar 8\, 20255:00 PM  \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayMar 9\, 20253:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyKarim Sulayman TenorChristopher Caudill HornMichelle Merrill Conductor \n\n\n\nArvo PärtCantus in memoriam Benjamin Britten \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes  \n\n\n\n\n\nBenjamin BrittenSerenade for Tenor\, Horn\, and Strings \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nW.A. MozartSymphony No. 41\, K551  “Jupiter” \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nEstonian composer Arvo Pärt’s Cantus unfolds with haunting simplicity and profound solemnity\, paying homage to Benjamin Britten’s legacy and musical influence. Britten’s Serenade\, a masterpiece for smaller orchestra\, weaves together tenor and horn solos with ethereal string textures\, exploring themes of night\, nature\, and human existence. Mozart’s final symphony crowns the evening with its exuberant energy and brilliance. Join us for an unforgettable concert experience that traverses the depths of contemplation\, beauty\, and musical mastery across centuries and styles. \n\n\n\nPlease note:The Saturday evening\, Mar 8 performance is at 5:00 PM. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayMar 85:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayMar 93:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 4:00 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in Centenary Church Dining Room\, directly off the 4½ Street lobby\, for a lively discussion about the music and surrounding context. Musicologist and Wake Forest University professor emeritus Dr. David Levy is your guide—pre-concert talks are free to attend\, and occur one hour before any classically-inspired concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKarim Sulayman\, tenor\n\n\n\nLebanese-American tenor Karim Sulayman has garnered international attention as a sophisticated and versatile artist\, praised for his “lucid\, velvety tenor and pop-star charisma” (BBC Music Magazine). The 2019 Best Classical Solo Vocal GRAMMY® Award winner\, he continues to earn acclaim for his original and innovative programming and recording projects\, while regularly performing on the world’s stages in opera\, orchestral concerts\, recital and chamber music. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nChristopher Caudill\, horn\n\n\n\nChristopher Caudill began playing the horn at age ten while living in London\, England\, with his \nfamily. Piano and violin lessons had failed to do the trick\, but a London Symphony concert at the \nBarbican with famous soloist Barry Tuckwell made him fall in love with the horn. He is a graduate \nof Northwestern University\, where he earned a B.A. in European History before studying horn \nwith the Chicago Symphony’s former Principal Horn\, Dale Clevenger. He was a member of the \nCivic Orchestra of Chicago\, and the New World Symphony in Miami where he met his horn duet \npartner\, Rachel Niketopoulos. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nCentenary United Methodist Church646 W. Fifth St.Winston-Salem\, NC 27101 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Mar 7 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill\, Karim Sulayman\, and Christopher Caudill talk about the work of Arvo Pärt\, Benjamin Britten\, and Mozart. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Mar 6 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/a-chamber-serenade/2025-03-08/
LOCATION:Centenary United Methodist Church\, 646 W. 5th St.\, Winston-Salem\, NC\, United States
CATEGORIES:Classics Series
ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2024/04/047_20220424-DSC07289_JFarleyPhotography-copy.webp
GEO:36.0985935;-80.2508964
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END:VEVENT
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DTSTART;TZID=America/New_York:20241117T150000
DTEND;TZID=America/New_York:20241117T173000
DTSTAMP:20260617T165144
CREATED:20240729T195730Z
LAST-MODIFIED:20241108T035149Z
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SUMMARY:Expansive Soundscapes
DESCRIPTION:Expansive Soundscapes\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayNov 16\, 20247:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayNov 17\, 20243:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonySterling Elliott CelloJodi Burns SopranoJason McKinney BassMichelle Merrill Conductor \n\n\n\nAntonín DvořákCello Concerto \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nCarl NielsenSymphony No. 3\, “Espansiva” \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nImmerse yourself in a mid-autumn concert as the lyrical beauty of Dvořák’s Cello Concerto\, performed by the imminent Sterling Elliott\, complements Nielsen’s Symphony No. 3\, “Espansiva\,” in a program that spans the breadth of human emotion. Dvořák’s masterpiece captivates with its soulful melodies and profound introspection\, showcasing the cello’s rich sonorities and technical brilliance. Nielsen’s “Espansiva\,” renowned for its expansive orchestration and innovative use of human voices\, offers a contrast with its bold symphonic gestures and lyrical themes that celebrate the vitality of life. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. Carol Reynolds is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayNov 167:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayNov 173:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSterling Elliott\, cello\n\n\n\nAcclaimed for his stellar stage presence and joyous musicianship\, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. Already in his young career\, he has appeared with major orchestras such as the Philadelphia Orchestra\, the New York Philharmonic\, the Boston Symphony\, the Cleveland Orchestra\, and the Los Angeles Philharmonic. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJodi Burns\, soprano\n\n\n\nJodi Burns has been described as singing with a “plush voice and rich expressivity” (The New York Times). In her appearance as Anna Sorenson in Kevin Puts’ Silent Night\, (Piedmont Opera)\, The Winston-Salem Journal noted\, “Burns dazzle[s] with her lustrous soprano and bright charisma…” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJason McKinney\, bass\n\n\n\nOriginally from Milwaukee\, WI\, Jason McKinney graduated from the University Of North Carolina School of the Arts\, where he studied voice with soprano Marilyn Taylor and tenor Glenn Siebert\, conducting with Maestro James Allbritten\, and composing with Kenneth Frazelle. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Nov 15 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses the work of Dvorak and Nielsen with guest cellist Sterling Elliott. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Nov 14 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/expansive-soundscapes/2024-11-17/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241116T193000
DTEND;TZID=America/New_York:20241116T220000
DTSTAMP:20260617T165144
CREATED:20240729T195730Z
LAST-MODIFIED:20241108T035149Z
UID:10000071-1731785400-1731794400@www.wssymphony.org
SUMMARY:Expansive Soundscapes
DESCRIPTION:Expansive Soundscapes\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdayNov 16\, 20247:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundayNov 17\, 20243:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonySterling Elliott CelloJodi Burns SopranoJason McKinney BassMichelle Merrill Conductor \n\n\n\nAntonín DvořákCello Concerto \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nCarl NielsenSymphony No. 3\, “Espansiva” \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nImmerse yourself in a mid-autumn concert as the lyrical beauty of Dvořák’s Cello Concerto\, performed by the imminent Sterling Elliott\, complements Nielsen’s Symphony No. 3\, “Espansiva\,” in a program that spans the breadth of human emotion. Dvořák’s masterpiece captivates with its soulful melodies and profound introspection\, showcasing the cello’s rich sonorities and technical brilliance. Nielsen’s “Espansiva\,” renowned for its expansive orchestration and innovative use of human voices\, offers a contrast with its bold symphonic gestures and lyrical themes that celebrate the vitality of life. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Local musicologist Dr. Carol Reynolds is your guide—pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdayNov 167:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundayNov 173:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSterling Elliott\, cello\n\n\n\nAcclaimed for his stellar stage presence and joyous musicianship\, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. Already in his young career\, he has appeared with major orchestras such as the Philadelphia Orchestra\, the New York Philharmonic\, the Boston Symphony\, the Cleveland Orchestra\, and the Los Angeles Philharmonic. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJodi Burns\, soprano\n\n\n\nJodi Burns has been described as singing with a “plush voice and rich expressivity” (The New York Times). In her appearance as Anna Sorenson in Kevin Puts’ Silent Night\, (Piedmont Opera)\, The Winston-Salem Journal noted\, “Burns dazzle[s] with her lustrous soprano and bright charisma…” \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJason McKinney\, bass\n\n\n\nOriginally from Milwaukee\, WI\, Jason McKinney graduated from the University Of North Carolina School of the Arts\, where he studied voice with soprano Marilyn Taylor and tenor Glenn Siebert\, conducting with Maestro James Allbritten\, and composing with Kenneth Frazelle. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Nov 15 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses the work of Dvorak and Nielsen with guest cellist Sterling Elliott. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, Nov 14 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase.
URL:https://www.wssymphony.org/event/expansive-soundscapes/2024-11-16/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
ATTACH;FMTTYPE=image/webp:https://www.wssymphony.org/wp-content/uploads/2024/11/Sterling-1920x1080-1.webp
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END:VEVENT
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DTSTART;TZID=America/New_York:20240922T150000
DTEND;TZID=America/New_York:20240922T173000
DTSTAMP:20260617T165144
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LAST-MODIFIED:20240917T234747Z
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SUMMARY:Rhapsody in Blue
DESCRIPTION:Rhapsody in Blue\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdaySep 21\, 20247:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundaySep 22\, 20243:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyRay Ushikubo PianoMichelle Merrill Conductor \n\n\n\nJohannes BrahmsSymphony No. 2 in D Major \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nGeorge GershwinRhapsody in Blue \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nRichard StraussSuite from Der Rosenkavalier \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nBrahms’ Second Symphony\, known for its sunny disposition and pastoral charm\, sets the stage with its lyrical melodies and lush orchestration. Echoing this bright cheer\, excerpts from Strauss’ opera Der Rosenkavalier evoke the elegance and romance of Viennese waltzes\, captivating audiences with their sumptuous melodies and rich orchestral colors. Between\, dazzling pianist Ray Ushikubo then takes center stage with Gershwin’s jazz- infused masterpiece\, effortlessly blending classical refinement with the exuberance of American jazz\, showcasing his virtuosity and versatility on the piano. Together\, these works illuminate the concert hall with a kaleidoscope of emotions and musical brilliance\, offering a captivating journey through 19th-century elegance and 20th-century innovation. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University musicologist Dr. Megan Francisco will give insight to the works of Brahms\, Gershwin\, and Strauss. Pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdaySep 217:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundaySep 223:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRay Ushikubo\, piano\n\n\n\nKnown for his “disciplined focus and clarity… and marvelous dynamic nuance” (Arts Knoxville)\, Ray Ushikubo is a twenty-three-year-old Japanese-American pianist and violinist who has performed on the stages of Carnegie Hall and Walt Disney Concert Hall\, and appeared on NBC’s The Tonight Show with Jay Leno.  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Sep 20 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses the work of Brahms\, Gershwin\, and Strauss with guest pianist Ray Ushikubo. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, May 2 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDrinks at The Remedy\n\n\n\nSaturday evening\, after the concertThe Remedy Cafe & Bar492 West End Blvd. \n\n\n\nAfter the Saturday concert\, join us at The Remedy for a glass of wine and chat with Symphony musicians and fellow concertgoers in a hip\, cozy atmosphere.
URL:https://www.wssymphony.org/event/rhapsody-in-blue/2024-09-22/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240921T193000
DTEND;TZID=America/New_York:20240921T220000
DTSTAMP:20260617T165144
CREATED:20240729T195750Z
LAST-MODIFIED:20240917T234747Z
UID:10000063-1726947000-1726956000@www.wssymphony.org
SUMMARY:Rhapsody in Blue
DESCRIPTION:Rhapsody in Blue\n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSaturdaySep 21\, 20247:30 PM \n\n\n\n\n\n\n\n\n\n\n Buy\n\n\n\n\n\n\nSundaySep 22\, 20243:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWinston-Salem SymphonyRay Ushikubo PianoMichelle Merrill Conductor \n\n\n\nJohannes BrahmsSymphony No. 2 in D Major \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nGeorge GershwinRhapsody in Blue \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\nRichard StraussSuite from Der Rosenkavalier \n\n\n\n\n\n\n\n\n\n\n\nProgram Notes \n\n\n\n\n\n\n\nBrahms’ Second Symphony\, known for its sunny disposition and pastoral charm\, sets the stage with its lyrical melodies and lush orchestration. Echoing this bright cheer\, excerpts from Strauss’ opera Der Rosenkavalier evoke the elegance and romance of Viennese waltzes\, captivating audiences with their sumptuous melodies and rich orchestral colors. Between\, dazzling pianist Ray Ushikubo then takes center stage with Gershwin’s jazz- infused masterpiece\, effortlessly blending classical refinement with the exuberance of American jazz\, showcasing his virtuosity and versatility on the piano. Together\, these works illuminate the concert hall with a kaleidoscope of emotions and musical brilliance\, offering a captivating journey through 19th-century elegance and 20th-century innovation. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nPre-Concert Talk\n\n\n\nSaturday at 6:30 PM | Sunday at 2:00 PM \n\n\n\nAll audience members are invited to join us in the Judy Voss Jones Fine Arts Center\, directly behind Reynolds Auditorium on its west side\, for a lively discussion about the music and surrounding context. Wake Forest University musicologist Dr. Megan Francisco will give insight to the works of Brahms\, Gershwin\, and Strauss. Pre-concert talks are free to attend\, and occur one hour before any Classics Series concert. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSingle tickets to this event go on sale June 2\, but you can save your seat with a subscription! \n\n\n\n\n\n\n\n\n\n\n  Subscribe now.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSaturdaySep 217:30 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSundaySep 223:00 PM \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRay Ushikubo\, piano\n\n\n\nKnown for his “disciplined focus and clarity… and marvelous dynamic nuance” (Arts Knoxville)\, Ray Ushikubo is a twenty-three-year-old Japanese-American pianist and violinist who has performed on the stages of Carnegie Hall and Walt Disney Concert Hall\, and appeared on NBC’s The Tonight Show with Jay Leno.  \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMichelle Merrill\, conductor\n\n\n\nWSS Music Director Michelle Merrill served four years as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra and also serves as the Music Director of the Coastal Symphony of Georgia\, where she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.  Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna Philharmonic and the American Austrian Foundation\, which enabled her to be in residence at the world-renowned Salzburg Festival. \n\n\n\n\nRead more.\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nVenue\n\n\n\nReynolds Auditorium301 N. Hawthorne Rd.Winston-Salem\, NC 27104 \n\n\n\n\nDirections & Parking\n\n\n\n\n\n\n\n\n\n\n\n\n\nRideshare and Dining\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nWhat will my view be like?\n\n\n\nWhile Reynolds Auditorium’s sightlines and sound are best enjoyed in the Mezzanine\, Orchestra-level seating also offers superb viewing and sound\, especially in rows F through O. Please bear in mind that Reynolds Auditorium is a historic venue; there is no elevator\, thus the Mezzanine and Balcony levels are only accessed via stairs. Accessible seating is available on the Orchestra level at the rear of the house and along the outside left and right.  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nRelated Events\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nMusic Lovers’ Luncheon\n\n\n\nFriday\, Sep 20 at NoonForsyth Country Club3101 Country Club Rd.\, Winston-Salem \n\n\n\nEnjoy lunch with a side of interesting conversation! Michelle Merrill discusses the work of Brahms\, Gershwin\, and Strauss with guest pianist Ray Ushikubo. \n\n\n\n\n Buy\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nSymphony by the Glass\n\n\n\nThursday\, May 2 at 5pmThe Caviste1100 Reynolda Rd \n\n\n\nStop by for an afterwork glass from a selection of wines specifically paired to this week’s program! Enjoy music by WSS musicians and casual conversation with other Symphony goers. The event is free to attend; wines are available for purchase. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nDrinks at The Remedy\n\n\n\nSaturday evening\, after the concertThe Remedy Cafe & Bar492 West End Blvd. \n\n\n\nAfter the Saturday concert\, join us at The Remedy for a glass of wine and chat with Symphony musicians and fellow concertgoers in a hip\, cozy atmosphere.
URL:https://www.wssymphony.org/event/rhapsody-in-blue/2024-09-21/
LOCATION:Reynolds Auditorium\, 301 Hawthorne Rd. NW\, Winston-Salem\, NC\, 27104
CATEGORIES:Classics Series
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